Only Connect: Meredith Monk’s Antidote to What Divides Us

As the story goes, Indra, the king of the gods, takes a net and stretches it across the universe. At each joint is a jewel, unique and infinitely faceted, that reflects all the others in an endless web of interdependence.

This tale, from Indian myth, and shared by Hinduism and Buddhism, is the basis for Meredith Monk’s immense, interdisciplinary “Indra’s Net,” which has its North American staged premiere at the Park Avenue Armory on Monday. The concluding installment in a trilogy about connectedness and the natural world, it arrives at the start of Monk’s 60th performance season, and in New York, where her idiosyncratic artistry has long been synonymous with the downtown scene and spirit.

“I just am really grateful that I’ve had a life where I’ve done what I’ve loved all these years,” said Monk, 81, a polymathic avant-gardist who has long eluded categorization, and has composed, choreographed, directed, sung and played in her works. “I’ve held out this long, and my voice is holding out.”

“Indra’s Net” is preceded in the trilogy by “On Behalf of Nature” (2013) and “Cellular Songs” (2018), but it was the first to enter Monk’s mind. Nearly 15 years ago, she was working on “Weave” for the St. Louis Symphony Orchestra; written for two vocal soloists, an orchestra and chorus, its structure recalled, for her, the myth’s story. But the title “Indra’s Net” didn’t feel right for that piece, so she held on to it for later.

Still, she was haunted by the title and the story. Monk is an artist who embraces humanity with Whitmanesque generosity, and her earlier works have shared themes with the interconnectedness of Indra’s net. It was at the front of her mind as she made drawings after the premiere of “Weave.” And then again one afternoon as she sat at her piano and came up with eight-bar themes for “jewels” in the net. But she put all that away and wrote “On Behalf of Nature” instead.