‘Sound and Crossing(s)’
– A Concept for the Theertha Performance Platform 2017-
The Theertha Performance Platform engaged with ‘Borders and Lines’ in its first iteration in 2015. A small collective of artists using performance as their dominant expression attempted to seize and cross the many ‘borders’ of the very busy Borella Junction of Colombo; the borders of the city, its structures and structuring rituals remained borders even as they were crossed. In effect, the very idea of crossing reestablishes the border – maybe in a different manner as borders through their being assert ‘ends’ and ‘beginnings’ simultaneously. This simultaneity engenders a sense of linearity between these two dispositions, or these two realities, of ‘ends’ and ‘beginnings’ causing deep ontological anxieties; anxieties produced because it follows then that every beginning could also be perceived as a beginning of an end. In this locus of transference and liminality that can cause sensations of despair and frustration, what one wants is to be like sound. Sound, by its configuration, traverses borders – the very idea of the border becomes mutable through sound because sound as philosophically conceived is not attached to its origin: sound is sound because it leaves its place of origin. Sound crosses without crossing (to cross one should first have a sense of a border, and sound is not cognizant of this), spreading and reaching the seen and the unseen. The predicament of the seen and the unseen – from the perspective of the thinking subject who knows what seeing is and is not – is that they are predicated upon borders – or perceived borders. How then do we artistically position, and content with the philosophy and sensations of sound crossing(s)?