Table Of ContentThe
Anunnaki
Project
presents
Gods
of
the
Night
A
theatrical,
aerial
exploration
of
ancient
Mesopotamian
mythology
Inanna and Ereshkigal, ca. 3,500 B.C.
July
25-‐26,
2008
I
want
to
extend
a
warm
welcome
and
sincere
thanks
to
each
of
you
for
joining
us
for
this
adventure
we
call
Gods
of
the
Night.
The
title
of
our
show
comes
from
a
second
millennium
BCE
prayer
which
appears
on
the
following
page.
The
prayer
highlights
the
integration
of
the
divine
into
the
lives
of
those
in
the
ancient
near
east.
In
our
present
era
of
vast
technological
accomplishment,
it
is
impossible
to
consider
the
value
belief
systems
of
the
ancient
world
without
wondering
if
perhaps
we
have
lost
something
precious
and
irreplaceable.
Giants
were
in
the
earth
in
those
days…
This
production
will
perhaps
be
the
most
intimate
look
we
have
taken
at
the
mythology
of
the
Sumerian
people.
This
is
an
extremely
important
phase
in
our
progression
as
an
organization
as
it
was
the
Sumerian
cosmogonical
psyche
that
initiated
many
of
The
Anunnaki
Project’s
concepts
of
performative
mythology.
The
first
half
our
production
explores
the
interaction
between
the
Sumerian
people
and
the
planetary
deities
who
ruled
the
world
at
the
time.
The
attributes
and
traits
ascribed
to
these
deities
by
the
ancient
people
have
survived
the
centuries
and
still
occupy
our
minds
today.
This
is
a
testament
to
the
powerful
magic
of
the
Sumerian
imagination.
The
second
half
of
the
show
depicts
the
descent
of
Inanna
to
the
Underworld.
I
consider
Inanna’s
tale
to
be
the
sequel
to
the
genesis
of
Ereshkigal
(Queen
of
the
Underworld).
Ereshkigal’s
story
is
included
in
a
Sumerian
creation
myth
and
tells
how
Ereshkigal,
once
a
solar
deity,
was
lured
into
the
underworld
by
Kur,
a
dragon
that
filled
minds
with
anger,
fear
and
insecurity.
Enki
descended
to
save
his
sister
Ereshkigal
from
Kur,
but
by
the
time
he
reached
her,
she
had
transformed
into
a
rotting
goddess
of
decay
and
death.
In
tonight’s
tale
of
the
descent
of
Inanna,
the
plot
centers
around
Enki
and
how
he
initiates
Inanna’s
journey
to
encounter
aspects
of
the
world
she
had
not
ever
fathomed.
In
a
sense,
this
story
is
also
a
redemption
tale,
as
it
is
here
that
Ereshkigal
finally
seems
to
rest
at
peace
in
her
cosmogonical
role
as
a
cthonic
goddess.
I
ask
you
to
open
your
imagination,
reach
back
in
time
and
relate
yourself
to
these
dead
gods
as
we
might
imagine
the
temple
priestess
watched
the
setting
sun
across
the
Euphrates
Valley
5,000
years
ago.
Make
these
gods
live
again
in
your
hearts
and
minds.
Join
us
now,
as
we
bring
back
the
gods
of
night!
Audi
ignis
vocem!
John
S.
Murphy
Artistic
Director
and
Founder,
The
Anunnaki
Project
Introduction
and
Welcome:
Ray
Irvin
Part
I:
Prayer
to
the
Gods
of
Night
Haruspex
(Priest):
Amy
Worline
They
are
lying
down,
the
Great
Ones
The
bars
have
fallen,
the
bolts
are
shot,
The
crowds
and
all
the
people
rest,
The
open
gates
are
locked.
The
gods
of
the
land,
the
goddesses,
Šamaš,
Sin,
Adad,
Ištar,
Sun,
Moon,
turmoil,
love
Lie
down
to
sleep
in
heaven.
The
judgment
seat
is
empty
now,
For
no
god
now
is
still
at
work.
Night
has
drawn
down
the
curtain,
The
temples
and
sanctuaries
are
silent,
dark.
Now
the
traveler
calls
to
his
god,
Defendant
and
plaintiff
sleep
in
peace,
For
the
judge
of
truth,
the
father
of
the
fatherless,
Šamaš,
has
gone
to
his
chamber.
‘O
Great
Ones,
Princes
of
the
Night,
Bright
Ones,
Gibil
the
furnace,
Irra
war-‐lord
of
the
Underworld,
Bow-‐star
and
Yoke,
Orion,
Pleiades,
Dragon,
The
Wild
Bull,
the
Goat,
and
the
Great
Bear,
Stand
by
me
in
my
divination.
By
this
lamb
that
I
am
offering,
May
truth
appear!
-‐Mesopotamian
Prayer,
ca.
3,000
B.C.E.
Part
II:
Planets
In
the
temple
of
Anu
at
Uruk
in
a
nocturnal
ceremony
offerings
are
made
on
the
16th
to
the
heavenly
manifestations
of
the
temple’s
main
deities:
to
“Anu
of
the
sky”
and
“Antu
of
the
sky”
as
well
as
to
the
seven
planets,
now
named
in
the
sequence
of
Jupiter,
Venus,
Mercury,
Saturn,
Mars,
the
rising
of
the
Sun,
and
the
sighting
of
the
Moon.
-‐Astral
Magic
in
Babylonia,
Erica
Reiner
Marduk
(Jupiter)
John
Murphy
The
Heroic,
holy
god,
foremost
of
the
gods,
more
majestic
than
the
stars
in
the
sky.
Accompaniment
It
Is
Accomplished
Peter
Gabriel
Choreography
John
Murphy
Choreographer’s
Statement
An
homage
to
one
of
my
mentors,
Robert
Davidson,
in
this
piece
I
depict
the
hero
archetype
in
a
different
light;
not
as
a
great
warrior
conquering,
but
as
the
soul
who
is
confronted
with
a
force
that
inspires
fear,
horror,
and
anguish
within
him.
Despite
the
urge
to
turn
away,
the
hero
chooses
to
walk
straight
into
the
gaping
maw
that
confronts
him.
Ištar
(Venus)
Tanya
Brno
and
Charly
McCreary
Resplendent
Ištar,
morning
star,
evening
star,
luminary
of
heaven,
goddess
of
love,
goddess
of
war.
Accompaniment
Sailing
to
Byzantium,
Lisa
Gerrard
and
Patrick
Cassidy
Choreography
Charly
McCreary
with
Elsie
Smith,
New
England
Center
for
Circus
Arts
Choreographer’s
Statement
The
stark
simplicity
of
the
double
lyra
apparatus,
invented
specifically
for
this
piece,
and
the
powerful,
elegant
movements
of
the
dancers
depict
this
beloved
Goddess
in
Her
dualistic
nature.
Gudud
(Mercury)
Bridget
Gunning
and
Nicole
Sasala
with
Katrina
Alston,
Leah
Leslie,
Rachel
Severson,
and
Amy
Shuster
The
Leaping
One,
star
of
sunrise
and
sunset.
Accompaniment
Of
These,
Hope,
Peter
Gabriel
Choreography
Nicole
Sasala
Choreographer’s
Statement
The
dualistic
energy
of
Mercury
spins
and
swirls
through
the
night
sky
as
the
fastest
of
all
planets,
influencing
those
on
the
earth
and
sometimes
bringing
them
along
for
the
ride.
Saguš
(Saturn)
Mary
Cutrera
The
Steady
One.
Accompaniment
Salem’s
Lot,
Dead
Can
Dance
Choreography
Mary
Cutrera
Choreographer’s
Statement
"Within
the
crowded
rings,
particles
constantly
jostle
their
neighbors,
bumping
each
other
into
wider
or
narrower
orbits
by
the
exchange
of
energy
and
momentum."
Dava
Sobel
Nergal
(Mars)
John
S.
Murphy
with
Katrina
Alston,
Mary
Cutrera,
Amanda
Frank,
Bridget
Gunning,
Leah
Leslie,
Jon
McClintock,
Charly
McCreary,
Nicole
Sasala,
Rachel
Severson,
Amy
Shuster,
and
Amy
Worline
The
Enemy,
red
planet,
presides
over
destruction,
pestilence,
and
plague.
Nergal’s
presence
portends
the
death
of
the
herds.
Accompaniment
Total
Decay,
In
Slaughter
Natives
Choreography
Nicole
Sasala
Choreographer’s
Statement
Mars
was
believed
to
cast
powerful
energies
upon
living
things,
resulting
in
plagues,
drought,
and
death.
Thus
in
this
piece
Nergal
reaps
his
chaos
upon
the
earth.
Šamaš
(Sun)
Tanya
Brno
Omnipresent
and
omniscient,
patron
deity
of
the
haruspex,
Šamaš
may
be
invoked
to
ward
off
ghosts
and
evil.
Accompaniment
Vedes
Amigo,
Qntal
Choreography
Tanya
Brno
with
Kari
Podgorski
Choreographer’s
Statement
The
Sun
both
gives
and
takes
life,
controls
the
tides,
violently
erupts
yet
stays
constant
in
its
galactic
orbit,
graceful
and
assured
as
the
planets
revolve
around
it.
I
translated
this
energy
into
strong
and
controlled
yet
sometimes
rapidly
changing
movements
that
begin,
end,
and
emanate
from
the
center
of
the
body.
The
body's
curved
lines
become
elongated
as
rays
emanating
from
this
center.
Sin
(Moon)
John
S.
Murphy
with
Mary
Cutrera,
Amanda
Frank,
Bridget
Gunning,
Charly
McCreary
and
Nicole
Sasala
Crescent
of
the
great
heavens,
father
of
Šamaš
and
Ištar,
Sin
has
an
affinity
with
sorceresses
who
are
able
to
draw
down
the
moon.
Accompaniment
Requiem
de
Sol,
Vishnu’s
Secret
Choreography
John
Murphy
(lyra
solo),
Charly
McCreary,
and
Nicole
Sasala
Choreographer
Statement
By
the
light
of
the
full
moon,
female
sorceresses
draw
down
the
moonlight
into
themselves.
It
is
an
entrancing
combination
of
ecstasy
and
chaos.
-‐-‐
Intermission
(20
minutes)
-‐-‐
Part
III:
The
Descent
of
Inanna
Cast
(In
Order
of
Appearance)
Inanna:
Charly
McCreary
Dumuzi
(husband
of
Inanna):
John
Murphy
Enki
(brother
of
Ereshkigal):
Andy
Demetre
Ninshubur
(royal
attendant):
Tanya
Brno
Neti
(Gatekeeper):
John
Murphy
Gate
Demons:
Amanda
Frank
and
Nicole
Sasala
Gate
Bodies:
Tanya
Brno,
Bridget
Gunning,
Jon
McClintock
7
Anunnaki:
Katrina
Alston,
Monica
Cavagnaro,
Heidi
Leisholmn,
Leah
Leslie,
Rachel
Severson,
Amy
Shuster,
Amy
Worline
Lost
Souls:
Ashley
Bates,
Carolyn
Shaw
Busby,
Dona
Cutsogeorge,
Christine
Denker,
Steena
Fullmer-‐
Anderson,
Joanna
Guyette,
Jane
Hemmen,
Adrienne
Kreiger,
Angela
Langmann,
Lisa
Larson,
Vicki
Lomnicky,
Rachel
Su,
Nicole
Vela,
Katerina
Wen,
Kairo
Yates
Ereshkigal
(Queen
of
the
Underworld):
Mary
Cutrera
Enlil:
Jon
McClintock
Nanna:
Ray
Irvin
Galatur:
Nicole
Sasala
Kurgarru:
Bridget
Gunning
Galla
Demons:
Amanda
Frank
and
Rachel
Severson
Scene
I:
Inanna
and
the
Huluppu
Tree
In
the
royal
palace,
Inanna’s
beloved
Huluppu
tree
dies.
Indignant
and
distraught,
she
turns
her
ear
to
the
Great
Below
and,
despite
faithful
Ninshubur’s
pleas,
decides
to
confront
Death.
Enki
bestows
the
7
me
(magical
attributes)
upon
her
in
preparation
for
her
journey.
Inanna
instructs
Ninshubur
on
what
to
do
should
she
not
return
from
the
Underworld.
Accompaniment
The
Moribund
Tree
and
The
Toad
and
The
Fairy
and
The
Labyrinth,
Javier
Navarrete
Scene
II:
Descent
of
Inanna
Inanna
arrives
at
the
Gate
to
the
Underworld
and
is
examined
by
Neti,
the
Gatekeeper.
Ereshkigal
orders
the
Anunnaki
to
strip
Inanna
of
the
7
me
and
bring
her
forth,
naked
and
vulnerable.
Ereshkigal
initiates
Inanna
into
the
mystery
of
Death
and
leaves
her
to
hang
on
a
hook
to
rot
for
three
days
and
three
nights.
Accompaniment
The
Narrow
Gate,
Raison
d’Être
Scene
III:
Ninshubur’s
Plea
Three
days
and
three
nights
have
passed,
and
Ninshubur
is
desperate
for
Inanna’s
return.
Ninshubur
begs
Enlil
and
Nanna,
father
Gods,
for
help
but
they
deny
her.
At
last
Enki,
brother
of
Ereshkigal,
agrees
to
help
Ninshubur
rescue
Inanna.
From
the
dirt
under
his
fingernails,
Enki
creates
the
galatur
and
kurgarru,
elemental
beings
who
will
enter
the
Underworld
bearing
the
grass
and
water
of
life
in
hopes
of
resurrecting
Inanna
and
bringing
her
home.
Accompaniment
Vivo,
Anchorage
Scene
IV:
The
Rise
of
Inanna
The
galatur
and
kurgarru
surreptitiously
weave
their
way
through
the
Great
Below
and
arrive
at
the
foot
of
Ereshkigal’s
throne.
Ereshkigal
lays
upon
her
throne
suffering
the
pains
of
death
and
childbirth
as
her
shadow
self
(Inanna)
rots
and
prepares
to
be
reborn.
At
the
offering
of
sympathy,
Ereshkigal
agrees
to
release
Inanna’s
corpse
to
the
galatur
and
the
kurgarru
and
Inanna
is
revivified.
Inanna
attempts
to
depart
from
the
Underworld,
and
is
stopped
by
Ereshkigal,
who
says
she
may
only
leave
if
she
finds
a
replacement
for
herself.
To
ensure
that
her
charge
is
carried
out,
Ereshkigal
attaches
two
galla
demons
to
Inanna.
Accompaniment
24th
Moment,
The
Nefilim
Towards
the
Tower,
Lisa
Gerrard
Description:cosmogonical psyche that initiated many of The Anunnaki Project's concepts of
in this piece I depict the hero archetype in a different light; not as a great.
