sarma

Mahi Dimietriadi-Lindahl, choreographer of the group Asomates Dynameis (Bodyless Powers) used the myth of Demetra and the Kore (Daughter/Persephone) in order to give her own version (intent on generalisation) of the travel of women in the World Beneath. Analysing the Greek mythology or that of the great tragedies, one has the opportunity to create wider categorisations by interpreting the mythical element of the narrative. The theoretical stance that one chooses from which to execute such an analysis, is vastly important and directly linked to the outcome. If we accept that the myth of Demetra, Hades and Persephone refer to the position of women as “sacrificial”, as the subtitle of the performance that the choreographer has chosen, would have us believe, it might also refer to a possible genealogy of the sacrificed women. This concept means that women are placed in society following an ontogenetic, primeval attempt to categorise them. I believe that this claim is a very interesting viewpoint which has proven an extremely fertile ground for the choreographical development of the theme (despite the inadvertent shortening of its staging).

On the other hand, the reinstatement of the third condition, that of Hades, the strange husband, could be the starting point of other thoughts without the need to aim at a “unified” result. I do not think that anyone would deny that Persephone’s husband is “strange” (a colloquial term which suggests unexpected or unintelligible). The choice of Death (in a wide sense, the King of the Dead), for a partner provokes surprise. Of course the relationship between the spouses is a violent one as Hades had abducted Persephone. Ultimately, Kore (the Daughter) is tamed and though the fruit (pomegranate) she accepts to return to her dark kingdom. The fruit, the seeds of which are used even today for both sad and joyful events, is the only one that she will receive from her husband. Persephone will not have any children and will thus entertain her boredom in the company of Ekate.

Coupling with Death, as is known, does not produce any descendants. Demetra however, seeks her own offspring (becoming pregnant in the process by Poseidon). Desperate and angry with Hades for his trickery, she manages to negotiate having Persephone with her for half of the year. The relationship between mother and child will be played out in perpetuity. The shortened duration of their togetherness, already it becomes similar with the process of memory which will turn into a future ritual. The divine origin of the two women which will keep them young forever, stands as an indirect justification of the constant and unaltered connection in time. In this cycle of repetition, Kore remains the child and Demetra is the mother, their relationship immobilises time determining as inalienable points of reference their coming together and their separations. The abduction of Persephone by Pluto takes away the right to propagation, but bestows eternal youth in an ambivalent narration of a phantasised harmonious connection between daughter and mother; they are only separated by death but they always return to their undividable unity. Persephone’s gender identity causes us to question the theme of fertility/conception. We observe that her homecoming to her mother’s (Demetra’s) embrace results in fertility. The Daughter (Kore) resembles a bisexual being, whose presence allows conception to take place, though she can not conceive. Furthermore she appears to be an integral part of Demetra. The hermaphrodite goddess, flowering and full of fruit from her intercourse with the Daughter, is more akin to a phallic being, a rather nightmarish representation of a primitive/primeval phantasy. In many interpretation of the myth, Persephone appears to be one side of Demetra and not a separate goddess.

Persephone, indissoluble from Mother, “sees” and “is seen” by her. She assists in Demetra’s explicit representation as a bisexual being but also by contributing to her mother’s desire, she remains heroine of a very alluring narrative. The myth, which has beautified and pushed away those aspects which in the course of generations, collectively and individually were marginalized; the myth which creates the right conditions of a successful handling of the issues that it has brought to the fore.

Asomates Dynameis Dance Co presented the basic plot of the myth in a rather slow ritual using the movements of modern dance. The most impressive parts of the choreography were the solos of the male dancer in the role of Hades; they were full of original moves and extremely interesting. Also the parts, showing the tenderness between the two women. Those however, ringing “true” were the sections which alluded to an erotic relationship between the two. Mahi Dimitriades’ Persephone reacted by singing at the end of the performance the known folk song “….I will see Alexandri” departing triumphantly, independent from the dark kingdom and the shadow of the Great Mother.