As promised, I'm back to share the rest of my drawings of Nick Cave's enchanting piece, Heard NY. (Scroll down to see part 1.)
After stepping into the bottom half of their costumes (think colorful, layered hula skirts), one of each pair of dancers puts on the head of the horse, also covered in raffia.
The music begins with a dreamlike harp, and a playful, bell-like percussion instrument. The live musicians add so much excitement to the piece, I can't imagine the piece with recorded music.
The horses, newly awakened, sniff and nose each other, and playfully prance and high-step around. They notice the audience and come over to greet curious onlookers nose-to-nose.
Suddenly, a drum sounds. The dancers break apart and sway, shake, and shimmy. The raffia of their costumes make them look like friendly, magic muppets.
And just as suddenly, the drum fades and the harp re-emerges, and the horses reassemble themselves.
I had a professor in college who said that the ancients thought inbetween spaces and states were tricky. Places like crossroads—and train terminals, if they'd had them—could be unpredictable, and wise travelers sought the protection of Hermes to see them through the dangerous crossing. You would leave a trusted space like your home to go to some other known place, but until you arrived there, you were in a space unknown, a space where anything could happen. Nick Cave's piece really reminded me of that idea. At the crossroads, leaving the familiar and the known, we step into a magical place—perhaps unpredictable, but also beautiful and joyous. If you haven't already seen it, it's performed twice a day through Sunday, so definitely go see it!