Arting & Writing - Kristin Cerda

FOR READING

APORIA OR OTHER INDISCRETIONS

Lumen Magazine (September 2015)

Excerpt from Calor: A Dictionary

The Acentos Review (May 2013)

Excerpt from {measurable angle [is to (meaning as periphery) to] tide}

out of nothing] (Fall 2010)

5 Pieces from {measurable angle [is to (meaning as periphery) is to] tide}

Omnia Vanitas Review (Fall 2009)

Half.Life/Wretched Symphony 1.0 (2006)

A Hypertext Poetic Narrative

FOR LISTENING

Reading from {measurable angle…

FOR EXPERIENCING

Hilo: Estuarial for the Beaver Moon (2017)

Hilo was a poetic ritual for the full moon (November 2017), which used radical presence, sound, poetry, and movement to energetically–and literally–bind the audience together, and create a vehicle of intention and healing.

Each audience member was asked to receive and embody one of two words: rupture or rapture.

Exploring the ideas of invisible care, vulnerability, and the power of witnessing, MoonWoman served as the energetic conduit between humans and their moon.

Below is the poem composed to focus the ritual’s original envisioning. During the performance, only a few key lines were delivered as energetic anchors.

[silence]

(1)

The moon moves in and out of view in order

to teach us 28 lessons in pulling it together.

The hips are a place of tension, the continental divide of

as above, so below. We stretch and fold

into shapes trying to forget when we were

lunar, or largely composed of instinctive movement–

no gaze–all our parts intact.

“Intact” means there were many secret divisions

to begin with, and this is the secret

of an Earth-bound life. The illusion

of a single breath moving in and out of the throat,

and so we spill ourselves urgently,

not quite reaching the line.

(2)

The line where the body moves

in and out of time. The division of

Rupture and Rapture, a slight adjustment

of the jaw and tongue. Separate

nodes of rhizome and these bodies

are called synapse. Or, we are told

that bodies of bodies are somehow always bound

by other bodies. No initial utterance

because we are like water in water.

(3)

a mother’s body loosely draped in light

the way transluscence is a suggestion

with few other options.

an orbiting body moves outside of the gaze,

unless we are willing to always be center

she orbits………….she orbits FOR YOU because these bodies are words stretching themselves across the thin line of time. Word is one and a word is many, multivalent–the mystics call to us and we will not look up. Because we fear if we do, we will become the moon.

She orbits, and she waits

wanting us, as words.

wanting to slink silvery and tender

between our ribs,

to bridge the synapse

we’ve conjured into being.

LET US BE THE MOON’S WORDS

LET US RHIZOME

LET US LAY DOWN ACROSS THE LINE OF TIME

LET US BE A SINGLE POEM

REVERBERATING FROM A CIRCLE THAT IS OUR ORBIT OF HER

[be.your.words.NOW]

Forest for the Words (2017)

with Saehee Cho

“When we see the forest for the trees, we see that what we each take leaves something behind, and a change is made forever. A textu(r)al journey where the body, language, and the natural world conspire to weave something collaborative and new. In this immersive food installation, participants navigate stringed space, gathering delights from a textile forest. The treasures they find will then be remade through building new contexts. Eat what the forest whispers, drink its prophetic nectars, breathe new meanings into its words.”