Hidden treasures discovered while digging through Frank Moore's huge archives.

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REVIEW OF FRANK MOORE’S “PASSIONS PLAY” PERFORMANCE By STAVROS KRYSIAK

Saturday March 7, 1992, FauxReal, Oakland, California.


Flier for the performance by LaBash

I, STAVROS experienced a unique event, in which I was shamanized by Frank Moore at an event billed as the “Passions Play.” I met Frank on GEnie, where I learned that Frank Moore had been investigated by Jesse Helms. I was intrigued with Frank’s posts about his Shamanistic Art, and when the opportunity came for me to attend his Passions Play, I couldn’t resist. I had to go to find out what a Shaman was and what he did.

On Saturday March 7, I drove to Oakland, to an artist studio located on the waterfront near Jack London Square. I knew at once that I was at the right place when I saw a woman standing in front of a building with a blanket. Frank had instructed us to bring a blanket.

I entered the studio where I could hear a man singing. It was a chant and his voice would move from high tones down to low ones, as he periodically slapped his body to the mantra he was singing. He was naked. His body was covered only with body paint, as were two other painted men, who walked around those of us sitting on the floor. They moved ever so gracefully and ever so slowly.

After about a half hour or more, one of the men came up to people sitting on the floor and ask them if they wished to be prepared to see the shaman, who was in his cave. The cave was behind the curtain in the front of the room. At this point, one couple decided this wasn’t for them and they left the room, never to experience the visit to the shaman.

Those that elected to go were taken in pairs. They were first blindfolded. Before they were led to the front of the room, where the entrance to the cave was situated, they were kissed on both cheeks.

We could hear weird sounds coming from the shaman in the cave. A very beautiful naked woman, who was also decorated with body paint came out of the cave. She walked up to the blindfolded participant and gave instructions. They were given a cup containing a magical formula, which tasted mysteriously like water. This, they were told, would release their inhibitions. Then they were taken to the cave.

Some would come back sooner than others. Some came back naked, others fully dressed. One young man hadn’t come out yet, when it was my turn. He was one of the first to go in. After drinking the magic formula I was lead into the cave. My instructions were not to speak in words and only in sounds.

When I left the cave I was instructed to go back to my nest and not to reveal what had happened in there. And I will not break that word even for this review.

After I came out, I was asked by an elderly gentleman if it was a positive experience. I gave him a thumbs up. Later, when he came out he gave me the thumbs up sign.

After all had entered the cave and returned to their nests, we prepared to see the shaman. Until this moment I had touched Frank Moore and had written to him on GEnie but I had never seen him.

The Shaman enters and he is placed naked in a wheelchair. Before my very eyes is that great intellect I have come to respect on the GEnie Bulletin Boards.

Then to the tune of music, he made the most God awful animal sounds and grunts. There was a happy smile on his face. I had read other reviews of his work, where they refer to Frank’s grotesque body, but I couldn’t see the grotesqueness. I saw a very happy person.

Frank was later strapped into the wheelchair. They placed a head band on his head, which had a pointer attached to it. In front of him there was a word board. Frank, who was born with Cerebral Palsy, couldn’t control the muscles of 90% of his body. He cannot speak and using the only muscles he can control, his neck muscles, he communicated to us much like he communicates on GEnie, only using the word board instead of a keyboard. It’s his survival in this state, as a happy being, that gives him the power to be a shaman.

We then followed his instructions and prepared to die, so we could be reborn. As I laid on the floor, death visited me and took off my clothes. I was prepared to be reborn. About 40 naked bodies huddled together in the center of the room. It was a cool evening and the body warmth of skin against skin brought warmth to each of us in our bodies and in our hearts. A group of adult men and women were playfully pretending that they were these creatures of evolution. Bodies were rubbing against bodies. Not since I was a naked babe, have I remembered my sense of touch being so fulfilled. My cup of the delight of touch had runneth over. We were single cell beings, multiple cells, seaweed, ants, birds, and other creatures until we evolved to that human form of a child, who was ready for eroplay.

Eroplay is a word coined by Frank Moore. It is a non-sexual but erotic playing. Unlike sex there is no climax. Magically, we were brought to the place where we were ready to be taught eroplay.

We were broken up randomly, mostly into pairs, but some in threesomes. The pairs would be a man and a woman, two men, or two women. At random times we were randomly moved to different partners. We received random instructions to rub your belly, or rub your partner’s belly. Rub cheeks. Rub butts. Lay on top of your partner touching their whole body with your whole body. Embrace and rock back and forth. Touch genitals.

Then we watched the great shaman perform the most erotic eroplay with a woman. In all my life I never have seen anything as erotic, as that woman playing with Frank. We were mesmerized, as he played with her. Strobe lights flashed as assistants came out and covered us with Saran Wrap and foil. It was a sight to behold, as we engaged in spontaneous eroplay under a blanket of wrap, which connected us all. By the end of the evening I found myself filled to capacity with the child-like eroplay. It transformed me to another world. I broke taboos I never dreamed of breaking. It felt good. It was a safe place for all of us.

I said good-bye to the shaman at about 3 AM. As I was ready to leave I stopped to watch three men engaged in eroplay. It was beautiful. I felt beautiful, the shaman was beautiful. I exited the magical cave and entered the world of taboos, left with the memory of a magical experience that will be with me forever.

Thus Stavros was shamanized.

The Night of Taboo-Benders, Slaughterhouse, Oakland, CA

This show, that was put together by John the Baker, took place the day after Frank’s birthday in 2004. Kirsten arranged to have a large blow-up of the show’s poster made to hang on the wall backstage for people to write birthday wishes on. Below is the poster we took home after the event:

Here are the details of the show along with some photos and backstage footage!

The Night of Taboo-Benders
a benefit for www . luver . com
A night of cultural terrorism and subversion with legendary hard/deep core reality messers deep in the bowels of the underground where luver.com webcasts 24/7!
It was an historic show!
The Slaughterhouse, Saturday, June 26, 2004

Featuring
(in order of appearance)
Hep Si
New Earth Creeps
Fluff Grrl
The Feederz
Frank Moore’s Cherotic All-Star Band



More: eroplay.com/Cave/taboobenders/index.html

Passion Quest

This “note” was written by Frank in October 1993 after the October 9 “Passion Quest” performance at Passion Flower in Oakland. The March 19, 1994, “Passion Quest 2,” also at Passion Flower,  incorporates the changes Frank talks about in this note. The scripts for both performances are available to download below under each poster.

Here is Frank’s note:

Yesterday I rewrote sections of the all-night ritual…partly in response to the increasing anti-sex environment of our culture (I wanted to make it clearer that the work is NOT anti-sexual)…and partly (mainly) following the desire of the ritual itself to go into different, “deeper” physical trance states. (“Deeper” is a misleading term because of its vertical linearity.)

These are some of the new sections:

“WE ARE GOING ON A NONLINEAR JOURNEY, A TRANCE JOURNEY, A JOURNEY BEYOND TIME AND TABOO, A JOURNEY OF PLAY, A JOURNEY TO LILA. FOR THIS JOURNEY, I NEED HEROS WHO ARE WILLING TO GO INTO THE TABOO AREAS OF EROPLAY, WILLING TO PUSH BEYOND WHERE IT IS COMFORTABLE AND SAFE TO EXPLORE AND BUILD A LARGER ZONE OF SAFENESS. ONE ADVANTAGE OF WORKING IN A SMALL ENCLOSED SPACE IS IT FOCUSES THE ENERGY, BUILDING UP PRIMAL FORCES. ALSO, BY HAVING OUR PLAYING EXIST WITHIN THE SACRED CIRCLE OF RITUAL, OUR PLAYING CAN BE DONE OUTSIDE THE CONTEXT OF TABOOS, WITHOUT BEING INFLUENCED BY JUDGMENTS OF THE AUDIENCE. SO THE PLAY, WITHIN THE EROPLAY RITUALS, CAN BE INTENSE, VULNERABLE, AND MAGICAL WITHOUT ANYTHING SEXUAL ABOUT IT. THIS ENERGY THEN WILL BE LEAKED OUT FROM THE ENCLOSED SPACE INTO THE OPEN PERFORMANCE SPACE, BECOMING THE MOST POWERFUL THING HAPPENING IN THAT PLACE. USING THE MAGICAL STATE RELEASED BY OUR PLAYING, THE DUEL-BODIED ROCKING JOYOUS FIGURE OF LILA WILL CARRY US IN A TRANCE, THROUGH SEX, TO WHAT IS BEYOND…TO THE REALM OF ALL-POSSIBILITIES.”

and:

“EROPLAY AND WHAT IS USUALLY CALLED “SEX” ARE BUT TWO OF MANY WAYS TO RELEASE AND CHANNEL THE ENERGY OF PHYSICAL PLAY. IN THE WESTERN CULTURE, THESE MANY WAYS HAVE BEEN HIDDEN FROM US WITHIN SEX. EROPLAYING WILL LEAD US TO DISCOVERING THESE MANY OTHER WAYS. EROPLAY IS NOT ANTI-SEXUAL ANYMORE THAN WALKING IS ANTI-SWIMMING.”

During the years I was exploring just eroplay trance in my work, I found that people in their head would pull themselves out of the playing when the play reached a certain intensity. What was happening was they were stepping out of the play to check if the play had turned from eroplay into sexual. Most of the time, this stepping back and checking was not from mistrust or not wanting to play, but from a carefulness and a confusion. But what the stepping back does is remove the person from the experiencing (playing) mode into the thinking/observing mode. This creates the jerkiness which is not pleasurable. This greatly limits the playing/experiencing, greatly increasing the confusion factor. It took me several years to come up with a way around this dynamic. I finally started asking people before they committed to the work if they would be willing to use sex in the work. This willingness bypassed a lot of pulling back, jerkiness, confusion, carefulness…and the whole sexual question…allowing the person to experience the play with the intensity unlimited. The play remained eroplay. The reasons that the play needed to remain eroplay rather than sexual in the work were practical rather than moral.

When the work turned to exploring, mapping, other physical trances “closer” to “sexual”, the need for this willingness grew for practical reasons.

The eroplay rituals will stay about the same, with only a slight widening of the frame. The real change will be in the WRAPPING/ROCKING ritual in that the rocking couple will have a wider “keyboard” of gestures, including “sexual” (really sursexual or tansexual). This new range of possibilities will effect the ritual…even on the nights when the couple (really the trance) happen not to “use” the “sexual” gestures.

During the WRAPPING/ROCKING ritual, the “audience” sit and watch and are wrapped together by nude body-painted dancers. The physical focus, the physical trance generator, is the rocking couple who are using the wider keyboard. The rocking couple are a female cast member (Linda in recent performances) and me. I’m not sure the audience will be aware of the widening…but they will be effected by it. The eroplay rituals in which the “audience” physically participate more remain the same.

Frank Moore
October 1993

Passion Quest poster
Passion Quest poster by LaBash

DOWNLOAD “PASSION QUEST” SCRIPT

Passion Quest 2 poster
“Passion Quest 2” poster by LaBash

DOWNLOAD “PASSION QUEST 2” SCRIPT

“Passion Quest” ticket, front and back
“Passion Quest” ticket, front and back
“Passion Quest 2” ticket, front and back
“Passion Quest 2” ticket, front and back