Inanna is the first Queen, the first Deity for whom an epic poem, with a named author, was written.

It predates Gilgamesh and it’s better. It takes place in what is now Iraq, the birthplace of civilization, of written language for most of the world, of law, of agriculture, and of accounting for trade.

In one of the chapters on her life, she descends through the seven gates of hell, removing a bit of armor, a garment, or an adornment at each level. While she is below, nothing grows or prospers above. This story precedes the veils of Salome in the Bible and similar resurrection stories about Persephone and Christ.

There are parallels with mystic chakra systems and Maslow’s Heirachy of Needs.


I imagine, in great detail, multi-sensual ceremonial events based on her stories, integrating ancient arts with avante guard biotechnology to create consciousness raising, healing art.

It’s Buto-esque – in its meditative effect, ascetic rather than spectacular. Yet it engages every sense intentionally to systematically awaken the energy centers of consciousness.

Music and Soundtrack– is generated from sounds made by alchemical elements: wind, water, fire, metal, wood and stone. Algorithms, tested via biofeedback for their efficacy, are designed to carry the stories forward, while intuitive musicians improvise within the structure, in sensitive responses relative to the moods of the audience.  The basic sounds, the scales,  are recorded from the locations where the piece is performed, so that local audiences will hear their environments singing to them, calling them to awaken.

The opera singers use multi-tonal and throat singing. The English dialogue and lyrics are that of Noah Kramer and Dianne Wolkstein’s version.

Lights, colors, sacred geometry, are likewise designed and tested for their effects on the brain activity. Images from the clay tablets are animated to represent the other worldly creatures described in the myths.

Movement/Dance-oriental style dance, specifically focused on the chakra system. Dancers selected for their capacity to contain, control and elicit energy responses.

Choreography moves from behind the audience (in the round), within and in front, to a central lower area. Aerial performances for the otherworldly creatures is in front and above the audience.





Vibrations, Rhythms. It’s performed in the round, with eight speakers designed to create textures and sculptures of sound vibration, inspired and informed by Cymatics. 

Binaural audio processes are used and tested via biofeedback.




Smells, incense, essential oils, and Tastes all based on the elements, and chakras- are offered at specific points in the time based art happening.


The intention is to awaken in the audience’s empathy and understanding of the inter-connectedness of all beings.


I imagine it being performed all over the world by emotionally and spiritually mature singers, dancers, musicians and aerial artists, finally coming to be played in Jerusalem and home to the fork at the Tigris and Euphrates.