Panay opens her performance by walking slowly on stage, gently cradling an atomo (clay pot, Pangcah language) against her stomach. As she places the atomo in the center of the stage, vines, feathers, and flowers appear from all directions, gathering around the vessel. Pottery is a significant marker of human development, and the atomo is a testament to Amis and Pangcah peoples’ long history of artistic creativity, sophisticated social systems, and cultural depth. In the past these pots were used as containers for rice or water. Panay continues her performance, slowly unraveling a spiral of red threads around the atomo. It reminded me of a Paiwan story about ancestors who were born in clay pots. The red thread symbolizes kawas, the connection between humans and spirits, as well as an umbilical cord, a carrier of energy and life. Panay also plays with the relation between light and dark, juxtaposing the sun, Ina, which brings warmth and illumination, with adingu, the Pangcah word for both shadow and soul. In a single scene, objects, persons, light, shadow, and spirit all flow together, drawing strength from each other and overflowing with possibility.