{"id":1143,"date":"2023-01-23T20:15:35","date_gmt":"2023-01-23T20:15:35","guid":{"rendered":"https:\/\/yayforeverything.com\/helices\/?page_id=1143"},"modified":"2026-02-06T14:48:15","modified_gmt":"2026-02-06T14:48:15","slug":"m6-jenny","status":"publish","type":"page","link":"https:\/\/yayforeverything.com\/helices\/m6-jenny\/","title":{"rendered":"Movement 6 – Jenny"},"content":{"rendered":"\t\t
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Movement<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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6<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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provocation<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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In her Movement 5<\/a>, Binda created an installation of a life-size paper body suspended over an anatomically correct arrangement of clay organs<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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response<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Jenny<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Switch to Binda<\/span><\/a><\/div><\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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It is being such a pleasure to collect the seeds and blossoms of the different vines that are twining through this project. <\/p>

Movement 5 marked a major shift for me in this project. When I walked upstairs to Binda\u2019s studio and saw my own (paper) body suspended from the ceiling and grounded to the floor, not just red threads of aliveness but thick red yarn of aliveness coiling down open all my (her, our) organs laid bare beneath \u2014 the game had changed. Binda\u2019s vision, and her craft, was an invitation to something so much larger. I had to step up. I wanted to become.<\/p>

Standing looking at her installation, I had spoken aloud the words, \u201cthe body and the story of the body.\u201d The solidity of the organs, the innards in their body-cavity colors, juxtaposed with the delicate paper outline that hung above, literally scribed with words and flowers. The body and the story of the body. How do those live together, inform each other? Are they separate, or inseparable? <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"m6-jenny\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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The antecedents to some of the lyrics:<\/p>

A few days after our fifth Cross, my son got a tattoo of a dahlia and a hibiscus on his forearm. I wanted to know why flowers, why those flowers. Surely there was a story? \u201cThey\u2019re pretty,\u201d he said. \u201cWhen I\u2019m eighty, they’ll still be pretty. It doesn\u2019t have to mean anything more than that.\u201d On the contrary, I thought, what could<\/i> mean more that? <\/p>

My husband has a tattoo, too \u2014 a yin-yang symbol on the back of his shoulder. It\u2019s been there for years, though, and it\u2019s spread and faded some, so it no longer looks like the yin-yang. Instead, it looks to me like a moon. <\/p>

Many of these lyrics derive from advice or direction offered by Jonathan Stancato of the Inside Voice studio.<\/p>

The middle, spoken words are all quotes from Binda\u2019s previous movements.<\/p>

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