Always Already has two facets: an 8-hour performance installation and a stand-alone one-hour performance, embedded within the installation.
For the first six hours of the performance installation, two women progress slowly with repetitive motions developing an atmosphere in the room, while working with materials to prepare the space for an imminent performance. The space is set methodically and with care in order that all elements are deeply laid and fully embodied by the time they get there. It is a ritual to summon the performance.
Movement segments erupt or slowly seep into the room, sometimes manifesting from stillness, as if by standing still to wait they find the impulse. The work of configuring and reconfiguring the materials is its own movement. Both women warp the loom and then, as they go, masses of wool are arranged and set into various configurations. The performers alternate between movement associated with these arrangements, set choreography, the preparation of paper leaves and other constructions positioned for later activation, and periods of stillness within tableaus.
Between 11 am and 5 pm, the audience is invited to stay for long or short durations, possibly dipping in and out a few times throughout the six hours to check on the performers’ progress.
The one-hour performance is built into the penultimate hour of the installation. This hour has a thicker weave of voice and movement, focusing on transformation: our ongoing processes of becoming, the hybridity of life inherent in the world, the incorporation of foreign bodies, fluid identity, and acceptance. The performance constitutes thick time where questions and conversations take place and small songs and dances encapsulate larger themes of patience, perseverance and constantly becoming.
The audience is encouraged to watch this hour in its entirety.
Following the one-hour performance, the final hour is focused on the slow, delicate dismantling of material arrangements interspersed with performative fragments from the preceding seven hours.