In this cognoscape, I embody the spirit of, the renowned storyteller and trickster from West African and Caribbean folklore. Unlike the traditional academic voice, my role here is more akin to that of an enigmatic guide, weaving narratives and challenging norms. This document is not merely a textual presentation; it's an integral part of the artistic expression itself.

The form, language, approach, and tone within this document are intentionally fluid and dynamic, reflecting my exploration of various methods and perspectives. Like Anansi himself, known for his cunning and ability to shift shapes and perspectives, this document aims to be a catalyst that alters the reader's mental landscape. It's crafted to provoke thought, inspire upliftment, and incite a shift in consciousness – moving, shaping, and offering deep reflections.

As you navigate through these pages, you'll find that this work hints at the potential for future academic and creative endeavors – lectures, scholarly papers, books – all springing from the artistic research underpinning this piece. It touches upon a multitude of concepts that have been carefully considered throughout the creative process. These ideas collectively sketch out a philosophy and a practical approach to both survival and the art of living.

This document is an artistic exercise, inviting the reader to muse on if curriculum looked and sounded more like this, if this is what is presented, to think about the use of terminology from physics and «factual» disciplines applied to spiritual concepts, rendering them in the same factual light. Because it is facts if viewed endogenically. It is what Brenda Dixon Gotschild calls «Choreography for the page», and what Toni Morrison calls «striking a tone». 

This cognoscape lets you peer into the intricacies of my mind, attempting to traverse "Anansi's Web" without tripping. In essence, it seeks to transcribe the complex, polyrhythmic, and polycentric thought processes and theories that operate simultaneously within my psyche, sometimes harmoniously co-existing, other times deliberately clashing.

There is an underlying logic threading through this cognoscape, for those who search for it. All terms and descriptions provided have been seasoned through lectures and classes during my Ph.D. research period. They have been refined, tested, and embraced by the community. Their utility and effectiveness have been acknowledged, some more than others. They've withstood the initial crucible of scrutiny, serving not only as artistic sparks and stimuli but also as vessels of knowledge and pathways to deeper understanding and being. I am aware that each and every one of the topics, theories and coined terms delivered in this document could warrant a doctorate in and of itself, but such is the nature of the layered and complex African Diaspora Practice, it is a lot, and much, and many, and multiple and poly, and will always avoid capture. As such what I have attempted to do is to walk the web, and maybe weave a tiny portion, for others to sense the vibration, and to wrap in silk what they may. 

THOMAS ISAK MICHAEL (TALAWA) PRESTØ

Even if this cognoscape is largely self-referential due in part to its artistic nature, and as a reflection of my inner process, there is a community that has engaged with me throughout this doctorate. This community is too vast to mention in its entirety, yet I will highlight some individuals. It's crucial to note that the list of omissions is much longer than the list of acknowledgments. The following names are presented in a non-hierarchical order, yet they could all be considered nodes in the web — the web that weaves around this work and around me:

• Monique Prestø (mother)
• Borghild Rud (Great Grandomother)
• Raymond Rasch (father)
• Dr. Harold Charles-Haris (Grandfather, mentor, radical elder)
• Don Smith (Grandfather)
• Steen Charles-Harris (R.I.P) (Uncle)
• Peer Emil Charles-Harris (Uncle) 
• Karl Gunnar Charles-Harris (Uncle)
• Sven Charles-Harris (Uncle)
• Cleo Parker Robinson (Artistic Director, rolemodel)
• Wolman Michelle Luciano (Colleague, node of intelligence in the work)  
• Joel Ramirez (Colleague, node of intelligence in the work)  
• Lacky Mahamed (Colleague, node of intelligence in the work)  
• Pearl Tawiah (Colleague, node of intelligence in the work)  
• Brenda Dixon Gotschild (mentor, radical elder)
• Christine Mark (First Trinidadian Dance teacher, folk dances)
• Yanique Hume (Radical Elder, Reasercher, sister in spirit)
• Astrid Haga (godmother and nr1 supporter of Tabanka)
• Kari Mona Rud Prestø (Grandmother)
• Sarjo Sankareh (Colleague, node of intelligence in the work)
• Diamond Samuel (Colleague, node of intelligence in the work)
• Akie De Leon (Pioneer, Mentor, Radical Elder)
• Sidiki Camara (Master Percussionist/Musician, Intelligence in the work, Mentor, Radical Elder)
• Shaness Kemp (Colleague, node of intelligence in the work)
• L’Antoinette Stines (Radical Elder)
• Pawlet Brookes MBE (Mentor, Radical Elder, publisher, curator)
• Tia-Monique Uzor (Fellow village researcher)
• Barth Niava (Pioneer in Norway, Radical Elder)
• Yvonne Daniel (Radical Elder)
• Makeda Thomas (Radical co villager)
• Tracee Meyn (Colleague, node of intelligence in the work) (Radical Elder)
• Solo Diarra (Colleague, node of intelligence in the work)  
• Sylvanus Kuwor (Radical Elder, Master Percussionist)
• Kieron Sargeant (Fellow village researcher)
• Funmi Adewole (Radical elder, former interlocutor)
• Dr. H. Patten (Radical Elder)
• A’Keitha Carey (Fellow Village researcher)
• Siv Misund (Colleague, node of intelligence in the work)
• Stian Ehi Jensen (Colleague, node of intelligence in the work)
• Trina Coleman (Colleague, node of intelligence in the work)
• Cliff Moustache (Pioneer, radical elder)
• Malika Makouf Rasmussen (pioneer, radical elder)
• Thomas DeFrantz (External mentor in the Pd.D Project, Radical Elder)
• Collette Eloi (fellow Ph.d sufferer).
• Anita Rathore (mentor, antiracism)
• Ella Gosh (supporter, mentor, pusher)
• Latanya Stigner (Colleague, node of intelligence in the work)  
• Quentin Sledge (Colleague, node of intelligence in the work)  
• Alexander Montgomery-Anderson (Colleague, node of intelligence in the work)  
• Jamie Thompson
• Vicki Igbokwe-Ozoagu (fellow Artistic Director village member)
• Alesandra Seutin ( fellow Artistic Director village member)
• Patrick Acogny (Radical Elder)
• Alexander Montgomery Anderson (Colleague, node of intelligence in the work)  
• Jamie Philberg (Warrior sister and Kalenda warrior)
• Victor Olivares Pedersen (Colleague, node of intelligence in the work)  
• Per Roar (Master Degree supervisor)
• Silje Eikemo Sande (Colleague Norwegian arts sector)
• Mette Edwartsen (interlocatour)
• Gregor Breedy (Radical Elder)
• Mindy Giles (Village member)
• Ekperedinma Okeke (Colleague, node of intelligence in the work)  
• Aliochy Aragon (Colleague, node of intelligence in the work)  
• Amy Grain (greatest administrative support)
• Melissa Young (Fellow artistic Direcetor Village Member)
• Kariamu Welsh (R.I.P) (Radical Elder)
• Vivienne Gauthiere (R.I.P) (Radical Elder)
• Jackie Guy (R.I.P) (Radical Elder)

I am profoundly grateful to these individuals for their support, insights, and contributions, which have significantly enriched this research journey

DEDICATION

As I sat in my high school science class, pondering over cellular mechanisms and ecosystem dynamics, my grandfather—Dr. Harold Charles-Harris —offered me an ontological palette that blended scientific complexity with the rich hues of African Diaspora spirituality. His interpretations of scientific phenomena through the narrative lens of Erzulie Dantor—our ancestral goddess of love—was not just an academic exercise; it was a reclamation of indigenous wisdom systems that seamlessly wove science into the very fabric of our lived experience.

My grandfather embodies the concept of a Radical Elder in the most profound sense. Far from relegating himself to the quietude often reserved for his age, Dr. Harold Charles-Harris used his life experience to bridge seemingly disparate worlds. He synthesized modern scientific understanding with African Diaspora spirituality, thereby creating a rich and nuanced framework not just for academic pursuit but for understanding the complexity of life itself. His activism wasn't loud or showy; it was profound and resonated deeply within those lucky enough to be mentored by him. His radical elderhood broke barriers in both science and spirituality, creating spaces where young minds like mine could thrive at the intersection of both.

The eclecticism of my grandfather's teachings bore fruit when I aced my science class. I attribute this achievement to his charismatic, pedagogic style that harmonized modern scientific theory with traditional knowledge systems, making the complex intricacies of the subject not only accessible but deeply resonant.

My journey toward the penning of this reflection—indeed, toward my Ph.D. project "Anansis' Web—Entanglements Without Tripping"—is possible solely due to the path Dr. Harold Charles-Harris laid before me. A unique blend of Western medical training and ancestral wisdom, my grandfather imparted to me a distinctive approach to understanding the world, one where the dichotomy between tradition and modernity was rendered irrelevant. His feet have taken steps that have dramatically shortened and eased my own journey; for this, I remain eternally thankful.

When I found myself in the dehumanizing grips of a Neo-Nazi stronghold in Norway, he ventured forth to bring me into an environment where my identity could flourish rather than wither. He taught me the transformative power of Caribbean culture, deploying an arsenal of Calypso, Extemporisation, and African Diaspora Dance, notably being my first instructor in the latter. His teachings were calibrated with an impeccable precision that brought together medical acumen, ancestral wisdom, and a profound understanding of human anatomy, culture, and spirituality.

The dissonance I felt as a product of multiple heritages and diasporas melted away in the rhythmic movements of Caribbean dance. My grandfather taught me that in the dance of life, one need not choose between identities, cultures, or epistemologies. The boundaries blurred, and in that liberation, I found myself whole.

For those of us wrestling with the complexities of multiple heritages, torn between worlds and identities, the compass provided by my grandfather—a Radical Elder in every sense of the term—has been invaluable. As I navigate the intricacies of my academic and personal life, I do so with the complete and unflinching confidence that I am, in essence, the embodiment of my grandfather's wisdom, love, and audacity.

In moments when the journey seemed arduous, he doubled back to walk beside me, ensuring that each step I took was grounded in the wisdom and experience he had garnered over a lifetime. My eternal gratitude towards him cannot be overstated.

As I continue to unravel the intricate threads of my Ph.D. project, it is with the unerring certainty that the man who has made this all possible, Dr. Harold Charles-Harris, walks with me, within me, and ahead of me, as I forge onward in this entangled web of life. Thank you, Grandfather, for showing me how to dance through the complexities of existence, without ever tripping over the threads that bind us. Your footsteps have lightened my path, and for that, my eternal gratitude knows no bounds.

With love, wisdom, and the deepest reverence,

Thomas Isak Michael Prestø

BEFORE WE WEAVE THE WEB: NOTES ON THE DOCUMENT

In this writing about "Anansi's Web," I have aimed to craft a style that blends an embodied and charismatic tone with an academic sensibility. To achieve this, I have employed a spiraling dramaturgy in the dissemination of the information, creating a web-like structure. Similar to how a spider uses different threads for various purposes, I have woven together different threads of information to build a coherent and comprehensive picture. Each mini-section is summarised by a form giving overview of the central concepts, their definition their usage and some related concepts. This is to help make this a easy reference source and a study tool. In my own research I often use form in my notes because of the “at a glance” quality that is useful to me, because I can so easily go off on a tangent, as all aspects of Africana Dance interest me profoundly. 

I have employed a denotation system to help guide the reader through the information. This system allows the reader to understand the level of significance of each piece of information presented in the text:

• FASTENING THE WEB is used when a thread is not only load bearing, it is what connects to its fastenings, holding the entire structure in the air.

• PULLING THREADS is used to indicate load-bearing concepts that are central to the web. These concepts are essential to the overall understanding of the topic being discussed. By highlighting them, the reader is directed to pay special attention to these concepts and understand their importance in the context of the text.

• SENSING THE WEB is used to describe when something reverberates throughout the web, and allows us to "sense" its vibrations. This concept is used to draw attention to the interconnectedness of different elements within the web, and to emphasize the importance of being able to sense and respond to these connections.

• SPUN IN SILK identifies captured elements or information that is preserved for further reflection. This concept is used to highlight moments in the text where specific pieces of information are particularly noteworthy and warrant further attention and analysis. By capturing and preserving these elements, the reader is encouraged to reflect on their significance and consider their implications.

• GATHERING THE WEB is used to describe when multiple elements come together, either converging on a node concept or when something is exemplified in a case. This concept is used to draw attention to the process of gathering information and building a comprehensive understanding of the topic at hand. By bringing multiple elements together, the reader is provided with a more complete picture of the web and its components.

By utilizing these techniques, I hope to create a rich and engaging reading experience that immerses the reader in the web of information and knowledge that I have created. This is an attempt on countering epistemicide and its continued violence. 

INTRODUCTION TO THE RESEARCH PROJECT: ANANSI'S WEB - ENTANGLEMENTS WITHOUT TRIPPING

In the pursuit of artistic research and the development of artistic practices, I embarked on a journey framed within the context of the Scandinavian or Nordic model of artistic research and artistic development research. Yet, as this expedition unfolded, I found myself veering away from rigid model definitions and preconceived structures. Instead, I found my compass pointing toward something more profound and foundational – the need to anchor this research in a manner that speaks directly to practitioners like myself.

This research project, titled "Anansi's Web - Entanglements Without Tripping," has evolved beyond the confines of regional models or prescribed methodologies. It has grown into an exploration of what can be grounded and rooted for artists and researchers who navigate the complex web of polyrhythmic, polycentricmovement, and polydiasporic practices. In this intricate and multifaceted terrain, definitions and language become vital tools, not just for communication but for claiming space and agency.

One of the central concerns that have emerged during this journey is the imperative to counter epistemicide. Too often, decolonial endeavors are entangled in the act of explaining themselves to colonial powers and existing frameworks of definition. Yet, my focus has shifted toward something more profound – the act of coining, defining, and articulating the intricate nuances that underlie the craft and tools of practitioners like myself. This endeavor seeks to breathe life into a language that spans the physical, dramaturgical, academic, and communal realms.

This language serves a dual purpose. It is a means to foster agency and freedom, enabling practitioners to claim their space in the world of arts and research without the burden of constant defense. Simultaneously, it is a tool for defining, not explaining, for making accessible, not justifying – both within the intimate "community of self" and across the broader expanse of our artistic village.

As we delve deeper into this reflection document, we will uncover the intricate threads that weave through "Anansi's Web." We will explore the dynamic interplay between artistic practice, research, and decoloniality. We will navigate the complexities of polyrhythmic and polycentric expressions, seeking to give voice to experiences that defy easy categorization.

In doing so, we aim not only to articulate our own narrative but also to contribute to a broader dialogue, one that resonates with practitioners and researchers who walk alongside us on this journey of discovery. This reflection document is an invitation – an invitation to explore, to question, and to engage with the complexities and subtleties that shape the world of artistic research and practice in the 21st century. It is an invitation to traverse Anansi's Web, embracing the entanglements without tripping, and to discover the richness that lies within its intricate design.

Initially, my journey into this artistic research was motivated by an exploration of how dance serves as a subversive form of resistance. I sought to unravel the intricate ways in which movement could challenge established norms and defy oppressive systems. However, as I delved deeper into the heart of this research, a profound realization emerged. My practice is not fundamentally about resistance against external forces; instead, it's about the celebration and preservation of the dances that have flourished within black spaces – for us, by us.

The dances that form the core of my research are not created to defy or challenge an external gaze. They are an intrinsic part of our cultural tapestry, an expression of our collective identity, and a means of connecting with our ancestral roots. These dances exist as a testament to the resilience, creativity, and vibrancy of black communities. They are not a reaction; they are a continuation.

Moreover, the language I began to craft as part of this research began to take on a life of its own. It resonated not only with the academic community but with a broader audience. This language, born from the heart of our practices, carried with it a unique resonance and value. It was a language of values, of shared experiences, and of profound emotional depth. It had the power to move people to tears, not just because of its intellectual rigor but because of its emotional authenticity. This language, rooted in our experiences, has been a lifeline within the sometimes daunting corridors of academia.

With this shift in focus, my stance became clear. The true purpose of my doctorate was not merely to explain our practices to an external audience but to create a language, a framework, and a space that was inherently ours. It was about acknowledging the value and significance of our practices within academia and beyond.

In the context of this research project, action became paramount. It was not enough to theorize or intellectualize; it was about putting these concepts into action. It was about bridging theory and practice, arriving at action together as a community.

This project evolved into a dynamic journey of creating opportunities. It was about building a hush harbor, a protective bubble of practice that was by us and for us. Within this brave bubble and “dutty” (soil in patois)space, performers could not only develop their craft but also grow their practice.

AS i have reflected on this project, my focus has shifted multiple times.  A transformation that has occurred within this research journey is that it has shifted from a focus on resistance to a celebration of our cultural legacy. It has given birth to a language that resonates with genuine reflection and emotion. It has propelled us into action, creating opportunities for growth and evolution within our artistic village. This reflection document is an exploration of these multifaceted layers, inviting others to join us on this transformative path.

Although having Caribbean and African American roots, I live work and create within a Scandinavian and Norwegian context. This affects my choice of words, my English and also which discourses I would naturally feel a need to answer. I am all about diversifying blackness and ‘Colonising in Reverse’ . We are doing so in Scandinavia and acknowledge ‘Colonising in Reverse’  as a global effort under multiple tags. ‘Colonising in Reverse’ are processes which reclaim or claim ‘spaces’ which would usually read as ‘white spaces’ for Black activity, survival, creativity, unity, joy and ‘ovahstanding’. In the Caribbean, this is part of a subversive resistance practice. Louise Bennett, "Miss Lou", a famous Jamaican folklorist, actress, poet and icon, popularised this terminology with her poem bearing the same name. ‘Colonising in Reverse' are not acts of violence, genocide, rape, torture and apartheid. ‘Colonising in Reverse' is the resistance of a spiritual people to just such actions. It is claiming space and existence with tools that are opposite of that of Europeanist coloniality. ‘Colonising in Reverse' is done through culture, art, family, reunion, collaboration, community, and by raising the spirit.

‘Colonising in Reverse’ can be further contextualised if we acknowledge that part of this relates to a concept developed by Tia-Monique Uzor that she calls ‘Avoiding Capture’. She developed the conception of Avoiding Capture concerning African and African diasporic artists, to describe artists who,

[…] despite the hostility of the environment that they exist and create within, carve out their own spaces, use their language and dance on their terms, with or without support from institutions. The artist who avoids capture, will not be a token or compromised, but instead asserts themselves through developing practices and producing creative expressions. Expressions which are unashamedly reflective of their experiences (Uzor, 2018a).  

Uzor, T.-M. (2018a) A Liberation of the Soul: I: Object Tabanka Dance Ensemble. [Online] Tia-Monique Uzor. Available from: https://tiamoniqueuzor.wordpress.com/blog/ [Accessed 10/03/19].

Part of my investment is to try to write from the perspective of Africana personhood in a form which Toni Morrison (R.I.P) has described as: “not being consumed nor concerned by the white gaze”. However, both my parents are mixed Africana and White, I grew up in Norway, and I relate to Caribbean dance, which is a space of creolization and cultural diversity. As an artist and a choreographer, I try to create from my centrality and from the centrality of the Africana dancers that have built the company with me. I feel it is only natural to attempt the same centrality while doing choreography for the page. I believe that this affords more clarity and allows me the freedom to write a more embodied text, which also encourages the reader to reflect on their centralities. I try to compose myself and my peers into existence, the same way as I attempt to choreograph and dance us into life. It is what has been passed down to me; it is all I know to do. The way I see it, anything else would be inaction a.k.a Death.  In this I endeavour to carry on the work of Pearl Primus, Katherine Dunham, L’Antoinette Stines, Zab Maboungou, my grandfather Dr. Harold Charles-Harris and the likes of Jean Léon Destiné. 

WRAPPED IN SILK: ANANSI AND THE INVENTION OF DANCE

Before time, before your time, and even before my time, Anansi was weaving her way through the cosmos. She was a mischievous spider, always finding ways to bring joy and laughter to the world. But one day, she decided to take her mischief to a whole new level, and so she set out to create the world's first dance.

Anansi started by tapping her eight legs in rhythm, and as she did so, she began to weave a web of music. The sound was so captivating that even the birds stopped singing to listen. Soon, animals of all shapes and sizes began to gather around Anansi, curious about this new sound.

Anansi, being the show-off that she was, decided to take her performance up a notch. She began to spin her web of music faster and faster, until she was dancing circles around her own creation. The animals were entranced, cheering and hooting with excitement.

As Anansi continued to dance, she started to incorporate other movements. She spun around on her hind legs, did cartwheels, and even added in some acrobatic flips. The animals were in awe, amazed at the sight before them.

But as Anansi danced, she suddenly got an idea. She wanted to share her creation with the world, but she knew that not all creatures were able to dance as she could. So, she began to weave different styles and rhythms into her dance, creating a language that all creatures could understand and move to.

Soon, Anansi's dance began to spread throughout the animal kingdom, and even into the human world. People were entranced by the music and the movements, and soon they too were dancing along with Anansi's creation.

And so, Anansi's dance became a beloved art form that brought joy and happiness to all who witnessed it. It became a way for people and animals to connect and communicate with each other, transcending language and cultural barriers.

Anansi was overjoyed to see her creation take on a life of its own. She continued to dance and weave her web of music, spreading joy and laughter wherever she went. And even now, people all around the world continue to dance to Anansi's rhythm, inspired by the mischievous spider who brought dance to the world.

SENSING THE WEB: SELF REFERENCIALITY

This document will present a series of concepts and terminologies, many of which I have coined myself. Some of these intertwine or overlap each other. They have varying degrees of specificity. I offer them up as they have all been useful to me in describing different aspect or situations of my practice as well as they have been useful at a variety of stages. I offer them up to the broader community for what they can do, for inspiration, for provocation, for discussion and for advancement. They are not meant to box anyone inn or claim to be the only way to describe something. They are what make sense to me, and hopefully will make sense to others and allow them to be SMADDI (Jamaican term for becoming somebody) too. 

As part of this practice, the creation of new terminology is crucial, as it allows for the expression of concepts and ideas that are not fully captured by existing terminology. This self-referential and daring use of language is not an act of arrogance, but rather an act of performance, honouring the practice of Nommo and the ancestors who also engaged in this practice of world-making and creation. 

Much of the language I employ is uniquely tailored to describe the work of practitioners deeply rooted in African and African diaspora approaches to movement and performance, as they embody the African and African diaspora experience and worldview. Such terminology is a conscious effort to ensure the authenticity and integrity of these traditions are preserved. These terms are not just descriptors; they are gateways to understanding the richness and depth of our practices. They serve as a tool for initiates to communicate their work authentically, bypassing the pitfalls of assimilating to a dominant language that might misrepresent or simplify.

In a world increasingly pushing for representation, it becomes paramount to ensure that this representation is genuine. Initiates and practitioners are not just performers; they are custodians of an intricate legacy. By using terminology that accurately depicts their practices and experiences, they contribute to a more informed, respectful dialogue around their art. 

Yet, we must remain vigilant against the allure of exoticization. There's a tangible risk, especially for those unfamiliar with these practices, to perceive them as merely 'exotic' or 'otherworldly'. Such perspectives can dilute the deep context in which these practices have flourished. By ensuring we use appropriate terms, we can guide conversations and perceptions towards a direction that respects and honors these traditions fully.

Furthermore, it's essential to recognize the role of performance spaces in this dialogue. Repurposing performance venues to cater specifically to the Africommunity allows for an environment where the essence of these traditions can be fully appreciated. The ambiance, setting, and the context are all integral to how the performance is perceived and received.

As the diaspora expands and molds with time, so too might the language that encapsulates its art and traditions. However, this evolution must always be rooted in a deep respect for its origins and meaning. By doing so, we not only protect the legacy of our ancestors but also ensure that it's shared, celebrated, and understood in its form.

GATHERING THE WEB: ON TERMENOLOGY CHOICES

In the realm of academic and cultural discourse, the terminology I've crafted draws significantly from fields as diverse as physics, natural sciences, and other specialized disciplines. This eclectic approach emerged from a desire to create a lexicon that harmonizes with academic traditions, while also addressing the linguistic needs of the African Diaspora—a community that frequently engages with colonial and colonized languages.

Utilizing African terms in my work is a choice I rarely make. I've observed that there exists a subtle, yet deep violence when we simplify a multifaceted African terms, condensing its vastness to fit the confines of a colonial language. African terminologies aren't mere words; they are conduits that carry with them deeply entrenched philosophies, worldviews, and epistemologies. Their richness and depth often defy direct translation.

Take, for instance, the term "Ehegbe"—just one of the many Ewe words used to describe rhythm. This word is a testament to the linguistic depth of African languages. A minute tonal variation in its pronunciation can shift its meaning entirely, transforming its depiction of rhythm—from how it's sensed and lives within the body, to its production and reception. This multifaceted term challenges the English language, resisting a fixed translation or singular definition.

Drawing from my exploration of Africana concepts, I've sought to distill the essence of these practices. My objective has been to articulate them in ways that resonate in English, ensuring comprehension even for those who might not share the same cosmological and cultural underpinnings as mine or those of fellow practitioners. This inclusive approach acknowledges that many of the concepts I discuss find resonance in individuals from diverse backgrounds and perspectives, even if their connection to African and African diaspora centrality varies.

It's also crucial to recognize that many traditions across the globe harbor concepts strikingly similar to the ones I've explored. These parallels underscore the universality of human experience, even if nuanced by distinct cultural contexts. My endeavor has been a balancing act—to associate and dissociate these concepts from their spiritual and cultural roots. At times, their essence is grounded in the tangible realm of craftsmanship; at others, they transcend into the spiritual domain and the deeper layers of culture.

In this journey, I aim to bridge gaps, while also honoring the profundity of origins, endeavoring that in the pursuit of dissemination the depth of individual cultural treasures isn't compromised.

FASTENING THE WEB: DECOLONIAL AESTHESIS AND THE ART OF DIASPORIC DANCE IN NORTHERN EUROPE

As a practitioner of Africana and African diaspora dance based in Northern Europe, my artistic journey is intrinsically tied to the endeavor of decolonizing the arts—an endeavor that I approach through the framework of decolonial aesthesis. Coined by scholar Walter Mignolo, decolonial aesthesis serves as a catalyst for dismantling colonial impositions on art, beauty, and representation. It has been a pivotal touchstone in my pioneering work, helping me navigate the complexities of embodying dance traditions with African and Caribbean roots in a European setting. Decolonial aesthesis allows for an epistemological shift, where I am not merely an object of study, but the subject who articulates and embodies knowledge through dance.

Decolonial aesthesis extends beyond a critique of Euro-Western perspectives; it actively seeks to reclaim and affirm indigenous and local aesthetic values that have been marginalized or erased. While postcolonial theories often focus on deconstructing colonial narratives, decolonial aesthesis aims to build alternatives and recenter marginalized voices. This echoes my commitment to spotlighting my own cultural cosmology and artistic practices. By engaging with decolonial aesthesis, I align my work with a broader intellectual and artistic discourse that goes beyond critiquing colonial legacies to fostering a space for epistemic diversity.

Affirming AfriCognoSomatics in Artistic Research

Central to my artistic research is the concept of AfriCognoSomatics—a multidirectional approach that interrogates the relationship between the body's experiences and knowledge within an African context. AfriCognoSomatics recognizes the coalescence of cognitive processes and embodied practices as they intersect with culture, history, and identity. It grants me the framework to delve into my dance practice as an integrated embodiment of cognition, somatic experience, and African diasporic cultural history.

In my Ph.D. reflection, the intention is not to dwell on critiquing or comparing Euro-Western artistic theories, but to immerse myself in the authentic investigation of what my practice signifies from within its own epistemological boundaries. While there may be moments where my findings coincide with Euro-Western perspectives, it is crucial to acknowledge that the pathways leading to these intersections are informed by AfriCognoSomatics. Such an acknowledgment allows for a nuanced understanding of the origins and meanings that my work generates, reaffirming the importance of the cultural, historical, and bodily contexts from which it emerges.

Navigating the space as an African Diaspora artist with Caribbean and African American descent in Northern Europe, I find decolonial aesthesis to be not merely an academic concept but a lived experience and an indispensable tool for my artistic research. It provides me with the language and framework to validate my own artistic and cultural practices, freeing them from the epistemic constraints of a Eurocentric worldview. It enables me to center myself, my body, and my community in a narrative that is self-authored, self-affirming, and deeply rooted in the philosophy of AfriCognoSomatics.

FASTENING THE WEB: QUESTIONS OF AUTHENTICITY

The issue of authenticity is frequently raised in discussions surrounding Black artists, particularly those whose creative expressions have their origins in Africana traditions and heritage. The concept of "authenticity" itself, however, is nebulous, without a universally accepted definition. As a result, it becomes challenging to measure, validate, or even consistently apply this standard. In stark contrast, artists from predominantly white backgrounds, especially those immersed in contemporary Western dance traditions, seldom face the same level of scrutiny or skepticism regarding their authenticity. This disparity not only underscores an underlying bias but also introduces additional obstacles, demands, and stress for Black performers and creators. They often find themselves in a position where they must constantly defend and justify the authenticity of their artistic interpretations, particularly when drawing inspiration from, for instance, African Caribbean cultural aesthetics.

A white contemporary dance artist typically moves through the world with a sense of artistic freedom that often goes unchallenged. When they describe their art form as "British contemporary dance" while touring or presenting, they are readily accepted. This implicit endorsement bestows upon them not only the contemporary label but also the privilege of being unquestioned ambassadors of what is considered "British." It's infrequent for them to encounter probing questions like, "What elements make your dance distinctively British?" or "How does your work truly embody contemporary themes?" The rarity of these questions is so pronounced that merely posing them can feel out of place or jarring.

On the other hand, the journey of a Black British dance artist, especially one with Caribbean lineage, is riddled with complexities. If they dare to fuse their choreography with reggae beats, a barrage of questions awaits them. "Is their dance truly representative of Caribbean culture? Does it hold its ground as British? Can it be genuinely contemporary? How does it navigate the intricate identity of being Black British?" And as if these weren't enough, more layers of scrutiny await regarding its place in British contemporary dance. The moment they step into the spotlight, the standards of normativity dissolve. Suddenly, every movement, every note, and every interpretation is laden with implications, demanding answers. They are thrust into an intricate dance of its own—a dance of justification. Instead of the spotlight being a space of presentation, it becomes an arena where criticality is sharpened, politics come alive, and positionalities are highlighted. It's as though they're in an endless duel, parrying and thrusting against a myriad of voices ranging from producers to arts councils, from colleagues to elders, all poised and ready with their critiques, effectively putting the artist on a constant defense, always on guard. “En Garde”.

Given the intricate tapestry of Black dance—both as a term and as an established field—coupled with considerations around cultural representation, responsibility, artistic criteria, and even basic issues of craftsmanship and professionalism, the heightened scrutiny directed at Black creatives might, at a surface level, seem justified. Indeed, because of the deep and layered history that Black dance embodies, there is an increased need for accuracy, respect, and understanding when representing it. However, what raises eyebrows isn't so much the expectations set for Black artists but the glaring disparity in the levels of accountability when compared to their white counterparts.

If the same stringent standards were universally applied across the board, the arts landscape would look significantly different. The rampant issues of cultural appropriation and arrogation, failure to credit original sources, and theft of intellectual property would become far more challenging undertakings. In fact, they would likely become virtually infeasible for anyone hoping to maintain a shred of professional respect. Such a leveling of the playing field would radically transform the global arts scene.

Interestingly, in this hypothetical scenario where accountability is universal, it might be the Black creatives who would emerge as pioneers. Having already maneuvered through the intricate labyrinths of intersectionality and innovation—often ahead of the curve of formal academic understanding—they are arguably better equipped to lead the charge in such an arts revolution. Their history of navigating multifaceted challenges prepares them to be at the forefront of the necessary adaptations, ensuring authenticity, respect, and innovation coexist harmoniously in the arts.

iven the complexities highlighted earlier, it's imperative for artists, especially those from marginalized or historically misrepresented backgrounds, to arm themselves with a critical framework to navigate the intricacies of their art and practice. Recognizing and understanding the cultural, social, and political landscapes in which we operate is the first step to ensuring that our work truly resonates with its intended essence and isn't just a diluted or appropriated version tailored for mainstream consumption.

To facilitate this, I propose a set of terminologies and viewpoints to guide our understanding. These terms serve as beacons, helping artists chart their course in an often convoluted world of cultural representation. Delving deeper into the concept of the "unpoliced Black body," we can explore how we can liberate ourselves from the chains of societal expectations and assumptions. By staking our claims and defining terms on our own, we can assert our freedom to move and present ourselves in ways that resonate with our truth.

Here, "authenticity" is not a mere buzzword; it's a rich tapestry of attributes encompassing boldness, a genuine representation of our physical selves, direct expression without sidetracking or compromise, courage in the face of potential critique, the willingness to confront and embrace, and an innate elasticity allowing for growth and change. Authenticity is about staying true to one's roots and not feeling compelled to diverge or dilute one's form of expression. For instance, it's unnecessary to intersperse our unique expressions with widely recognized forms, like ballet, just to gain validation or acceptance. Merely echoing Shakespeare doesn't make one an authentic Caribbean poet. Similarly, possessing ballet training doesn't automatically equip one to translate the raw essence of Jamaican patois into dance. It's the underlying logic and criteria specific to patois that validate its representation.

Ultimately, the surrounding context is the bedrock of validation. It's the environment, the audience's background, the historical and cultural weight behind the art, that truly validates or refutes its authenticity. Thus, understanding and adeptly navigating this context becomes paramount. In this light, authenticity emerges not just as a philosophical benchmark but as a concept intrinsically woven into, and influenced by, its surrounding context.

SENSING THE WEB: CULTURAL CONSUMPTION AND LITERACY IN AFRICANA AESTHETICS

Cultural engagement, particularly with Africana dance forms, demands a nuanced approach grounded in understanding and respect. While some, with diligent study, manage to understand and execute the formal characteristics inherent to Africana forms, the complex challenge lies in the fact that a vast majority of these HIGH AESTHETIC and DEEP AESTHETIC Africana practices remain largely inaccessible to Western institutional frameworks. This is both a boon and a bane, given the unique cosmologies, epistemologies, axiologies, and ontologies associated with Africana forms. The deliberate subversions, adaptations, and modifications of Euro-Western influences within these forms underscore their distinctiveness. One poignant example is the way Voudou and Orisha practices incorporate saints, simultaneously preserving their original integrity and evoking new interpretations.

Despite significant advancements in the study of dance, Euro-Western dance theory, and its accompanying analytical tools like anthropology, remain insufficiently equipped to decode Africana rhythms and polycentric movements. Beyond the exigency to dispel erroneous representations, there is an overarching rhythmic and polycentric illiteracy plaguing the discourse. A child in a Euro-Western setting is immersed in an aesthetic consciousness from infancy, an aesthetic that often mistakenly parades as universally valid, overlooking its inherent limitations.

Contrastingly, cultural systems like the Ewe or Yoruba envelope an individual right from birth, instilling in them distinct movements, musicality, tonalities, chants, and aesthetic values. This profound and intricate knowledge, steeped in specific worldviews, epistemes, and cosmologies, challenges the very premise that a Western academic framework could fully encapsulate or adequately understand it. This inherent complexity underscores the folly in perceiving Africana art forms through a purely Euro-Western lens, even when these forms cater to Euro-Western consumption. The underpinning politics, philosophy, and societal commentaries within Africana expressions often elude Western consumption, relegating them to mere expressions of “pleasure” or “sin.”

The disproportionate emphasis on concepts like “authenticity” in the context of Africana dance reflects latent biases. Queries about the "authenticity" of contemporary African dance betray a lack of understanding and a stark contrast to how Euro-Western art is perceived. Such demands highlight the unequal expectations placed upon artists from different cultural backgrounds. The Euro-Western art world, while valuing artistic autonomy, paradoxically expects Africana expressions to conform to its limited parameters. These double standards, fortunately, are increasingly challenged in contemporary critiques, particularly regarding the perspectives and power dynamics at play.

While deep-rooted Africana expressions might open themselves to a global audience, the depth of engagement and understanding varies. Take, for instance, the Carnival – while it welcomes tourists, full immersion remains elusive for many. This disparity often leads to misguided perceptions, where appreciation is misconstrued as a profound understanding or even ownership. Colonialism's legacy persists in how many Euro-Western individuals, regardless of color or nationality, approach Africana forms – with entitlement, misconception, and at times, overt appropriation. A genuine engagement demands a willingness to learn, to be receptive to critique, to recognize and rectify biases, and most importantly, to acknowledge the autonomy and rights of the originating practitioners. This challenge is ongoing, and while there might be no perfect blueprint, the quest for ethical and equitable cultural engagement remains paramount. As articulated by one commentator, recognizing the multidimensionality of rhythms, like juxtaposing 3 against 2, challenges our very foundations, urging a broader and more inclusive appreciation of global art forms.

“We have to grasp the fact that, if from childhood you are brought up to regard beating 3 against 2 as being just as normal as beating in synchrony, then you develop a dimensional attitude to rhythm that those in the West do not share”

Sylvanus Kuwor-2021

THE CHALLENGES OF CULTURAL ENGAGEMENT AND ACCOUNTABILITY

The landscape of engaging with cultural forms, especially within the domain of dance, is fraught with complexities and requires a nuanced understanding of cultural dynamics. This is evident in the behavior of Euro-Western practitioners – and not exclusively those of white descent. Indeed, practitioners across a spectrum of backgrounds, including African Americans interacting with Caribbean and African forms, or Ghanaians engaging with South African dance, frequently adopt approaches that can be termed as culturally inequitable. These patterns of interaction reflect a broader, often problematic, mode of cultural engagement that transcends geographical and racial boundaries.

Confronting these issues necessitates acknowledging the intricate moral territory within which these cultural interactions occur. As someone based in Norway and engaged with the art forms of Trinidad, Senegal, Ewe, Yoruba, and Wolof cultures, I recognize my privileged position. This privilege compels the creation of a rigorous, sometimes onerous and costly, framework of checks and balances to ensure ethical engagement. Yet, despite these efforts, the challenge of achieving completely ethical involvement remains daunting and is, at best, an ongoing endeavor marked by trial and error.

These challenges underline the necessity for continuous, conscious effort. Cultural engagement is not merely about enjoyment or artistic exploration; it involves an ethical commitment that extends beyond mere appreciation. It is about being part of a dialog, open to criticism and learning, willing to acknowledge and rectify mistakes. The journey of cultural engagement is one of bravery and courage, where the onus of responsibility should not be offloaded onto the originating culture. Instead, it calls for personal accountability, understanding one's position, and engaging in a manner that respects and honors the source. This journey, though complex and fraught with potential pitfalls, is critical in preserving the integrity and authenticity of cultural expressions in a globalized world.

By recognizing and actively working against the colonialist legacies and patriarchal structures within cultural engagement, we can begin to foster a more equitable and respectful global artistic community. It is about not just appreciating or loving a culture but understanding and respecting its autonomy, its origins, and the people who live and breathe it. This approach, while demanding and often uncomfortable, is crucial in our interconnected world, allowing us to celebrate diversity in art forms while respecting their unique roots and meanings.

Illustration designed in illustrator by Thomas Talawa Prestø

ChoreoNommo—the power to manifest a new reality through artistic processes.

Core Elements of ChoreoNommo

In examining ChoreoNommo, four pivotal elements emerge: 

ChoreoWanga, PerformancePwen, Committography, and the Talawa Technique™.

• ChoreoWanga: Inspired by the Caribbean concept of Wanga, which denotes personal power and potential to translate desires into realities. In ChoreoNommo, ChoreoWanga captures the architectural essence of a performance, from the venue and lighting to the movement material and framing.

• PerformancePwen: Rooted in the Caribbean spiritual notion of Pwen, a power cultivated through deliberate actions and sacrifices. PerformancePwen symbolizes the kinetic realization of ChoreoWanga, embodying the dynamic reciprocity between effort and reception.

• Committography: This element involves strategic immersion into the larger organizational frameworks governing the art world. By participating in boards and committees, practitioners gain a panoramic view of the artistic landscape and influence broader structures, legislation, and guidelines shaping artistic creation.

• Talawa Technique™: Rooted in Africognosomatic and polycosmic paradigms, the Talawa Technique™ is more than a dance method. It communicates the essence of the art, ensuring technical prowess, ancestral resonance, and contemporary relevance. With polycentric and polyrhythmic aesthetics, it transcends mere physicality, resonating spiritually, artistically, and holistically.

GATHERING THE WEB: CHOREONOMMO AS THE CORE TO ANANSI'S WEB-ENTANGLEMENTS WITHOUT TRIPPING

Introduction to ChoreoNommo

ChoreoNommo represents the power to manifest a new reality through artistic processes. This research project, "Anansi's Web-Entanglements without Tripping," delves into the intricate dynamics of African Diaspora choreographic practices. These movements, rooted in a rich cultural heritage, confront historical erasures and champion a decolonial ethos.

Navigating this complex landscape, ChoreoNommo serves as both a response to these complexities and a nod to the Africommunities my art resonates with. It stands as tangible evidence of my artistic exploration, demonstrating how I organize and share the depth of African Diaspora practices. This framework aims to professionalize performers and offer audiences high-quality, meaningful engagements, striving to create and impart meaning.

The Essence of ChoreoNommo

ChoreoNommo, a term I coined for my choreographic praxis, melds "Choreography" with the African philosophical and spiritual concept of Nommo. In African philosophy, Nommo embodies the inherent potency of The Word and Gesture, where utterances and actions possess the transformative capacity to materialize change. Consequently, ChoreoNommo manifests as an artistic praxis dedicated to effecting substantive change and embodying potent agency. It operates as a choreographic practice, kindling its potential as a catalytic force for social, personal, communal, and societal transformation.

Spiritual Foundations and Symbolism

Within the Dogon spiritual tradition, the Nommos are beings who descended to Earth, imparting life and wisdom through their profound sacrifice. They are believed to have metamorphosed into ethereal bodies of water, symbolizing our profound connection to water as a sustainer of life and memory.

The Nommos metaphorically represent the symbiosis between artists and their communities, suggesting that artists serve as vessels for the urgencies and values within their communal milieu. By immersing themselves in their communities, artists foster environments conducive to learning, healing, and advancement. This perspective acknowledges how the urgencies and knowledge of a community can inhabit and "drive" artists, akin to spiritual possession in African Diaspora knowledge systems.

Language, Rhythm, and Transformation

In the Caribbean and African diaspora, the transformative power of language, tone, and rhythm is evident, reshaping words to create novel understandings and identities. This phenomenon influences European languages, where the adoption of tonal rhythmicity is often regarded as "cool" or culturally relevant.

Within ChoreoNommo, Nommo applied to choreography and movement becomes a dynamic medium for communication and expression, infused with profound meaning. The dancer's movements and gestures breathe life into the spoken word, physically manifesting its essence. The language of the drum, acting as the "Word," constitutes a distinct language capable of conveying phrases, words, and intricate philosophical concepts. ChoreoNommo encourages active participation in co-creating the word, transcending passive listenership, while consecrating space and time. It echoes the essence of Sankofa, an Akan concept urging us to look back to the past to propel forward, and Ubuntu, emphasizing the interconnectedness of all individuals and the intrinsic value of community.

Core Elements of ChoreoNommo

In examining ChoreoNommo, four pivotal elements emerge: ChoreoWanga, PerformancePwen, Committography, and the Talawa Technique™. Each component plays a critical role in the creation, performance, and dissemination of dance works, ensuring a holistic and transformative experience for both practitioners and audiences.

1. ChoreoWanga: Architectural Essence of Performance

Conceptual Foundation: Inspired by the Caribbean concept of Wanga, which denotes personal power and potential to translate desires into realities. In ChoreoNommo, ChoreoWanga captures the architectural essence of a performance, encompassing every aspect from the venue and lighting to the movement material and framing.

Key Components:

• Venue: Selection and design of the performance space to enhance the thematic and emotional impact of the work.
• Lighting: Strategic use of lighting to create mood, focus attention, and support the narrative arc.
• Movement Material: Development of choreography that embodies the desired themes and emotions, incorporating a wide range of movements to convey depth and complexity.
• Framing: Consideration of how the performance is presented, including staging, audience arrangement, and use of multimedia elements.
• Identity of Performers: Recognition of the performers' backgrounds, experiences, and perspectives, enriching the performance's authenticity and depth.
• Identity of the Audience: Understanding and considering the audience's cultural and social backgrounds to foster meaningful engagement.
• Communication Channels: Utilization of various channels (e.g., social media, community forums) to promote and discuss the performance.
• Socio-Political Context: Awareness and integration of the current socio-political climate, ensuring the performance remains relevant and resonant.
• Funding and Infrastructure: Securing financial support and necessary resources to realize the performance's vision.
• Collaborations and Support: Establishing partnerships with other artists, organizations, and community members to enhance the performance's impact.
• Archiving and Media: Documenting the performance for future reference and dissemination through various media platforms.

Implementation: Practitioners engage in detailed planning and creative experimentation to align these components with the overarching vision of the performance, ensuring a cohesive and impactful presentation.

2. PerformancePwen: Kinetic Realization of ChoreoWanga

Conceptual Foundation: Rooted in the Caribbean spiritual notion of Pwen, which refers to a power cultivated through deliberate actions and sacrifices. PerformancePwen symbolizes the kinetic realization of ChoreoWanga, embodying the dynamic reciprocity between effort and reception.

Key Components:

• Deliberate Actions: Focused and intentional movements that carry the emotional and spiritual weight of the performance.
• Sacrifices: The physical and emotional investment of the performers, contributing to the authenticity and intensity of the performance.
• Reciprocity:
• The Interactive and Responsive Relationship: Between the performers and the audience, enhancing the communal and transformative aspects of the performance.
• The Emotional Reception: Audience members' emotional responses, creating a feedback loop that energizes the performance.
• Limbic Resonance: Audience members seeing themselves reflected in the performers, fostering a deep emotional connection.
• Emotional and Historic Resonance: The lasting impact of the performance on the audience, shaping how it is remembered in hindsight.
• Historic Shift: How the performance shifts history or expands the realm of possibility. Does it open doors, break barriers, or represent a historic first?
• Recruitment:
• New Performers: Attracting new talent to the art form.
• New Audience: Drawing in new viewers and fostering audience loyalty.
• Performer Loyalty: Building a dedicated group of performers.
• Increased Brand and Renown: Enhancing the reputation and recognition of the performance and its creators.

Implementation: Performers cultivate a deep connection with their material and their audience, using techniques such as improvisation, audience interaction, and responsive choreography to create a dynamic and engaging experience.

3. Committography: Strategic Immersion into Organizational Frameworks

Conceptual Foundation: Committography involves the strategic immersion of practitioners into the larger organizational frameworks governing the art world. By participating in boards and committees, practitioners gain a panoramic view of the artistic landscape and influence broader structures, legislation, and guidelines shaping artistic creation.

Key Components:

• Board Participation: Involvement in decision-making bodies within arts organizations to advocate for the needs and perspectives of dance practitioners.
• Committee Work: Engagement in specialized committees that focus on policy development, funding allocation, and artistic programming.
• Legislative Influence: Active participation in advocacy efforts to shape policies and legislation that support the arts.

Implementation: Practitioners commit to ongoing professional development and networking, seeking out opportunities to serve on boards and committees and advocating for changes that enhance the visibility and support of dance and performance art.

4. Talawa Technique™: A Holistic Dance Method

Conceptual Foundation: Rooted in Africognosomatic and polycosmic paradigms, the Talawa Technique™ is more than a dance method. It communicates the essence of the art, ensuring technical prowess, ancestral resonance, and contemporary relevance. With polycentric and polyrhythmic aesthetics, it transcends mere physicality, resonating spiritually, artistically, and holistically.

Key Components:

• Technical Prowess: Development of advanced technical skills that enable precise and expressive movement.
• Ancestral Resonance: Incorporation of movements and rhythms that connect performers to their cultural and spiritual heritage.
• Contemporary Relevance: Adaptation of traditional elements to modern contexts, creating works that speak to contemporary audiences.
• Polycentric Aesthetics: Use of multiple centers of movement, emphasizing the fluidity and interconnectedness of the body.
• Polyrhythmic Aesthetics: Integration of complex rhythms and timing, enhancing the dynamic and multi-layered nature of the performance.
• Protecting Dancers’ and Teachers’ Careers through Competence and Knowledge: Building a prestigious technical foundation that qualifies dancers and teachers as competent technicians in bodily practices. It includes comprehensive knowledge in culturally relevant dance and pedagogy, inclusivity, technical prowess, and culturally specific somatic practices. This competence not only enhances their careers but also ensures the longevity and sustainability of their professional endeavors.
• The Intelligence and Power of a Polyconducted Body: Refers to a body that can conduct multiple forms of energy and movement simultaneously, demonstrating a profound understanding and mastery of diverse dance techniques and styles. This also entails the ability to contain or channel more than one spirit, such as deities or ancestors, and dance the urgency of a community.
• The Ability to Selfpolyficate (Polycentric Dance): The capability to initiate and control multiple centers of movement within the body, allowing for complex, layered, and dynamic dance expressions.
• The Focused Presence, Intention, and Actionability of a Ferocious Dancer (Martial Arts): Highlights the disciplined, purposeful, and impactful nature of a dancer who channels the precision and intensity of martial arts into their dance practice.
• The Stamina and Adaptability of a “Feté” and Carnival Reveller: Emphasizes the endurance, resilience, and ability to thrive in high-energy, celebratory environments, maintaining peak performance over extended periods.
• The Kinetic Extemporation Ability of a Griot Calypsonian (Chantwell): Showcases the spontaneous, improvisational skill of a dancer who, like a Griot or Calypsonian, can create and adapt dance narratives on the fly, infusing movement with storytelling.
• The Depth of a Ritual Dancer Blessed by the Ancestors: Signifies a profound spiritual connection and cultural depth in dance, where movements are imbued with ancestral wisdom, reverence, and sacred significance.
• The Pedagogical Skills of an Expert Educator: The ability to effectively teach, mentor, and inspire students, fostering a deep understanding and appreciation of dance.
• The Technical Proficiency of a Teacher and Practitioner Dedicated to Dance Longevity: A commitment to maintaining and advancing dance techniques, ensuring that the bodies practicing these techniques can last long without injury. It includes balanced training to support sustainable dance careers and the evolution of dance practices.
• The Reflection and Dissemination Skills of a Scholar: The capacity for critical thinking, research, and the ability to share knowledge through writing, lectures, and other scholarly activities.
• The Ability to Teach Based on Correct Alignment and Placement and Knowledge About the Body: Expertise in anatomical awareness, ensuring that dance is taught and practiced with an emphasis on proper alignment, placement, and body mechanics to prevent injury and enhance performance.

Implementation: Practitioners undergo rigorous training in the Talawa Technique™, continually refining their skills and exploring new ways to integrate this method into their creative practice.

The ChoreoNommo Model offers a robust and multifaceted approach to dance and performance art, integrating architectural planning, kinetic execution, organizational engagement, and holistic technique. By embracing these elements, practitioners can create powerful and transformative works that resonate deeply with both performers and audiences, contributing to the ongoing evolution of the art form.

Terminology and Conceptual Framework

Integral to this praxis is generating novel terminologies, which serve as conduits for expressing concepts and ideas elusive within existing linguistic frameworks. This self-referential use of language pays homage to the practice of Nommo and the ancestral beings who engaged in world-building and creation.

In my doctoral research and accompanying paper, I embark on a self-referential journey, forging new linguistic pathways to narrate the ChoreoNommo practice and its practitioners.

Anansi Tradition and Language Manipulation

ChoreoNommo intertwines with the Anansi storytelling and trickster tradition, where language manipulation crafts new words and meanings that facilitate embodied existence. This process serves as a sacrificial offering to the community, fearlessly confronting prevailing structures through naming and performing. This commitment challenges racism and other forms of misnaming, positioning practitioners at the vanguard of societal transformation.

Anansi and ChoreoNommo in Practice

The Anansi tradition emphasizes the belief that language wields immense power in shaping reality. Through verbal expression and storytelling, individuals can fashion new meanings and challenge prevailing power structures. ChoreoNommo harnesses the body and movement to embody and enact these emergent meanings. Through naming and performing, individuals confront established power structures and engender fresh possibilities for embodied existence. This process constitutes a form of sacrifice to the community, demanding individuals embrace risks and challenge the status quo.

FASTENING THE WEB: THEORETICAL FOUNDATIONS

Within ChoreoNommo, I've introduced terms like "ChoreoWanga" and "PerformancePwen" to convey my embodied approach to writing and conceptualizing. These terms hold meaning for practitioners rooted in African and African diaspora approaches to movement and performance. They enable authentic communication of artistic endeavors while avoiding assimilation into dominant language paradigms. My aim is to repurpose the concept of performance and performance spaces to better serve the Africommunity.

ChoreoNommo as a Practice

ChoreoNommo is an intricate dance of power, structure, influence, and embodiment, capturing the essence of African and African diaspora movement and performance practices. This paper will explore the four foundational pillars of ChoreoNommo: ChoreoWanga, PerformancePwen, Committography, and the Talawa Technique™. Special emphasis will be placed on introducing new terminologies and concepts to enrich the academic lexicon and serve the Africommunity. Drawing inspiration from Brenda Dixon Gottschild's notion of "Choreography for the page," this paper seeks to transform the written word into a dynamic dance, giving rhythm, motion, and life to our narratives.

ChoreoNommo for the Polyspirit Practitioner

ChoreoNommo isn't merely an artistic or philosophical term; it's a comprehensive framework for the Polyspirit practitioner. This construct serves culturally rooted dancers and artists drawing from diverse dance genres and cosmologies, where the human body is seen as a spiritual vessel capable of channeling and embodying multiple spirits simultaneously. For example, in Voudun cosmology, becoming a 'divine horseman' allows ancestral spirits to temporarily reside within a practitioner. This concept can be applied as an innovative artistic device in dance choreography. The dancer articulates the community's urgencies, acting as a conduit for collective needs and narratives.

The Relationship Between Dancer and Musician

The concept extends to the relationship between the dancer and musician, especially the drummer. In Africana musical traditions, the spirit of the music transcends corporeal limitations to enter the dancer's body and vice versa. This mutuality is a profound merging of souls, forming a deep rapport that transcends superficial collaboration. This ability to channel multiple spirits expands the horizons of Deeply Rooted Performance Theory, offering new paradigms for artistic research. It rethinks individual and collective identity in performance, casting dancers and choreographers as spiritual and communal emissaries. This introduces a revolutionary scope in dance theory, viewing dance as a complex social, spiritual, and community-oriented practice.

ChoreoNommo and Spiritual Syntax

ChoreoNommo offers a lexicon for understanding choreographic thinking, transcending the coordination of limbs. It becomes a ritualistic sharing of life-force and spirit, a transformative vehicle for the dancer, audience, and cosmos.

Dichotomy of Doing and Performing

ChoreoNommo distinguishes between "doing" and "performing," and "becoming" and "pretending," challenging conventional thinking around participation in dance or ritual. This distinction highlights the importance of authenticity, embodiment, and intention in Africana dance forms.

In mainstream artistic practices, the focus might lean toward performance—an externalized display of skill. However, ChoreoNommo demands active engagement with spiritual and physical realms, transforming the dancer, space, and spectator. The practitioner becomes an active participant in the spiritual essence of the tradition.

For example, in chanting, the difference between doing and performing is evident. Performing a chant as a sequence of phrases lacks the "duende," the spirit that fills a room when chanting becomes an act of spiritual channeling. This energetic commitment is a conscious choice to engage deeply with human experience and spirituality.

In this framework dance is not just an aesthetic choice but an act of socio-spiritual participation. Each move, note, and chant is a conscious choice to engage deeply with the tapestry of human experience and spirituality. This transforms both the dancer and audience, creating a shared space of transcendental experience, and adds a potent layer to our understanding of dance, chanting, and living.

CHOREONOMMO: AND RITUALISTIC CHOREOGRAPHY

The term "ChoreoNommo" was born as a translational tool, a semantic bridge to describe to secular European grant officials the praxis of deeply rooted choreographic thinking that draws from the well of Africana practices. This term captures the nuance and complexity of scores, devices, and ideologies involved in creating dance rituals. It is an aesthetic and philosophical framework where each movement, each pause, each intricate pattern is not just a performance but a sacred sequence, an incantation of sorts.

ChoreoNommo is in dialogue with the term "ChoreoPoem," although it was coined before I was aware of this term. The concept of the ChoreoPoem was created by Ntozake Shange, who wrote and directed the groundbreaking work "For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf." A ChoreoPoem blends poetry, dance, music, and song to express the depth of the Black female experience. While ChoreoNommo shares a similar ethos in integrating multiple forms of expression, it is distinct in its focus on Africana choreographic traditions and their ritualistic, spiritual dimensions.

ChoreoNommo finds its roots in the context of ancestral dance and the Africosmic dance lineage. This perspective reclaims and recontextualizes the deep spiritual, cultural, and historical significance of Africana dance practices. It acknowledges the dance as not just an art form but as a conduit for connecting with ancestral spirits, invoking cultural memory, and expressing a cosmic worldview that honors the interconnectedness of all life.

Choreography Through the Lens of the Africana Rooted Practitioner

In this paradigm, choreography evolves from a mere arrangement of physical movements into a meticulously crafted tapestry of sensory experiences—visual, visceral, rhythmic—that aim to evoke specific emotional, metaphysical, and physical responses. If dance is the body's poetic expression of life-force, then choreography, in this sense, is the grammar and syntax of that unspoken language.

Ballet’s Infancy and the Elder Lineages

ChoreoNommo allows us to reassess and reevaluate the lineage of various dance practices, casting a critical eye on the way contemporary Africana and Europeanized dance forms have interacted. For instance, Ballet, often viewed as an important and influential genre, finds itself as a youthful form when juxtaposed against the longer, more complex genealogies of Africana dance. Ballet, along with other European forms, has sometimes sought to frame these ancient practices as "primitive," even while approximating or appropriating their elements. African dance and African diaspora dance by extension and Europeanist ballet should not, however, be put on the same timeline nor lineage and as such should not be compared in this manner. Ballet is not the root of Africana dance technique, and there is no need to study Europeanist ballet to understand or execute Africana dance. On the contrary, it may sometimes prove counterproductive. This being said, there is nothing wrong with being well-versed in multiple traditions and vocabularies as long as one understands that mastery of any form requires diligent work and deep understanding.

The Functions of the Choreographer: The Maker of Time and Space

In the ChoreoNommo perspective, the role of the choreographer transcends the superficialities of physical arrangement. They become ritual makers, architects of a temporal-spiritual space. The functions can be divided into three main domains:

1. Facilitating the "Making of Time": The choreographer crafts a temporal canvas, a rhythmic backdrop against which the human experience of transformation and transportation can manifest. This isn't merely about coordinating steps to beats but about influencing the way we perceive and experience time, allowing us to transcend mundane realities.
2. Making the dimentions liminal- allowing for the bridgeing of the realms.
3. Arranging the Danced Ritual: This role involves directing the outpouring of life-force and spirit-force towards a particular objective. It's about setting up the stage where multiple bodies—both in the physical and metaphysical sense—can align their energies for a common purpose.
4. Re-presenting Emotional and Intellectual Realities: The choreographer becomes a conduit for collective expression, channeling the emotive and intellectual undercurrents into a visible, palpable performance.

The Secular and the Spiritual: A Dance in Duality

In this choreographic tapestry, even secular forms find a home. Take the cypher or circle in hip hop, for example; it adheres to African aesthetic forms and becomes a secular dance ritual that is as meaningful and spiritually resonant as any other.

HANGING THE WEB: ETHNORHYTHMOKINETIC CHOREOGRAPHIC APPROACHES

Building upon the foundational concepts of ChoreoNommo and the ritualistic dimensions of Africana choreography, we delve into the Ethnorhythmokinetic and Poly-ethndorhythmokinetic Choreographic Approaches. These methods further contextualize and expand the tapestry of rhythmic and movement traditions, underscoring the multifaceted influences that inform contemporary dance practices.

Ethnorhythmokinetic Choreographic Approach: A method focusing on the distinctive rhythmic patterns and movement styles of a specific ethnic group, incorporating these elements into dance creation.

Poly-ethnorhythmokinetic Choreographic Approach: A technique blending the rhythmic patterns and movement styles of multiple ethnic groups to create innovative and culturally diverse dance compositions.

As a Poly-ethnorhythmokinetic Choreographer, my work is a testament to the rich tapestry of African diaspora and African heritages. It is an artistic endeavor that affirms the rhythmic and movement identities of various ethnic groups while transcending any singular cultural claim. This approach allows audiences from these diverse backgrounds to see reflections of their own cultures within the choreography, yet the resultant expression remains distinct and cannot be owned exclusively by any one culture. It is an homage to the multifarious influences that shape artistic expressions, especially pertinent to Caribbean peoples whose very essence is a mélange of diverse African ethnicities and other continental influences.

Practicing the Poly-ethnorhythmokinetic Choreographic Approach

In practicing the Polyethnorhythmokinetic Choreographic Approach, I consciously retrace, re-embody, and synthesize the "parent" styles with their "developments," blending them with further influences. This act is a deliberate navigation and control of a process that has organically transpired in the diaspora over centuries. Utilizing the velocity of contemporary culture, I re-investigate and fuse these myriad influences to generate unique and distinguished choreographic outcomes.

The Talawa Technique™ stands as a preeminent exemplar of this approach, codifying a fusion of African and African diaspora movements and rhythms in a profound and unprecedented manner. In my choreography, I draw inspiration from this method, intricately weaving together the sensibilities and vocabularies from Haitian, Senegalese, Jamaican, Yoruba, Berre, Serrer, Bakongo, Lua, Luba, Dominican, Guadeloupean, and Cuban dance traditions. These influences coalesce into a novel dance lexicon that is both organically familiar and innovatively "defamiliarizing" for those acquainted with specific movement traditions.

The Polyethnorhythmokinetic Choreographic Approach is, therefore, not merely an artistic style but a cultural statement. It is a way of crediting and acknowledging the spectrum of influences that inform our art without the confines of exclusive cultural representation. It is a celebration of polydiasporic identities, a choreographic interpretation of their complexity, and a recognition of their inherent polyethnorhythmokinetic nature.

Through this lens, I craft choreographies that resonate with a shared heritage yet are marked by a unique fingerprint. This approach is about more than just juxtaposition; it is about the intricate interplay and integration of movement and rhythm, an artful confluence where new stories are told through the bodies of dancers, creating an ever-evolving narrative of diasporic identity. It is here, within this web of dance, rhythm, and culture, that my work hangs—a vibrant collage of motion that both honors its roots and stretches towards new expression.

Glossary

Ethnorhythmokinetic: A choreographic approach focusing on the distinctive rhythmic patterns and movement styles of a specific ethnic group. (Thomas Talawa Prestø, 2019)

Poly-ethnorhythmokinetic: A choreographic technique that blends the rhythmic patterns and movement styles of multiple ethnic groups to create innovative and culturally diverse dance compositions. (Thomas Talawa Prestø, 2019)

Gesto-Rhythmitization and Corpokinetic Lexical Idioms: Unveiling Dance Semiology in African Diaspora Practices

In my exploration of cultural practices within the African diaspora, I have introduced several terminologies to offer nuanced insights into how rhythm, movement, and gestures within dance communicate complex ideas and emotions. Among these terms, Gesto-Rhythmitization, Gestokinetic Idiomization, Corpokinetic Lexical Idioms, KinoWeaving the Now, Arriving on Action, and Revitalising the Ghost stand out, providing a comprehensive framework for understanding dance semiology. These concepts delve into the intricate relationships between rhythm, movement, and meaning, particularly within African and African diaspora art practices. Here, I will elucidate these terms and their significance, intertwining them with key concepts in dance semiology.

Terms Coined by Thomas Talawa Prestø:

1. Gesto-Rhythmitization
2. Gestokinetic Idiomization
3. Corpokinetic Lexical Idioms
4. KinoWeaving the Now
5. Arriving on Action
6. Revitalising the Ghost

Existing Terms:

1. Dance Semiology
2. Corporeal Orature
3. Embodied Knowledge
4. Tonal Languages
5. Improvisation

Introduction

Dance within the African and African diaspora spaces serves as a robust medium of expression, narrating stories and conveying emotions that are deeply intertwined with cultural and historical contexts. The intricate web of gestures, rhythms, and movements forms a language that transcends spoken words, allowing for a profound form of communication. This paper seeks to explore and expand upon several key concepts that I have introduced to better understand this dynamic form of expression.

Gesto-Rhythmitization

Gesto-Rhythmitization is a term I coined in 2019 to describe the process by which rhythm and movement are imbued with gestural content, creating a new form of embodied communication. This involves the creation of new gestures or the modification of existing ones to imbue them with rhythmic content. The resulting gestural rhythm transcends traditional musical rhythm, extending into the realm of movement and gesture.

In African diaspora art practices, Gesto-Rhythmitization can be seen as the conscious and immediate curation of meaningful gesticulations and rhythmic codes. This curation aims to heighten and diversify layers of communicative action that respond to the present moment, the past, and the future. Central to this is the rhythmic linguistic connection prevalent in tonal languages, which mirrors the unique modes of communication within these communities. By emphasizing that rhythm and gesture convey deep cultural meaning, Gesto-Rhythmitization draws from historically embodied discourses. Through the dancing body, it clarifies ambiguity, negotiates identity, confronts internal and external suppressors, and reveals personal truth. In essence, gestures function as fluid, body-written hieroglyphs, deeply rooted in tradition and looking ahead to future interpretations.

For instance, in many African dances, specific movements and rhythms are directly linked to storytelling and cultural expression. A dancer's raised arm might symbolize triumph or victory, while a bowed head could convey humility or reverence. These gestures, when synchronized with rhythmic patterns, create a powerful form of communication that transcends spoken language. This synchronization can be seen in traditional dances such as the Yoruba dance forms, where the movement of the body is intricately tied to the rhythms of the drums, each beat and gesture carrying specific cultural significance.

Corporeal Orature and Its Relation to Gesto-Rhythmitization

The concept of Gesto-Rhythmitization is in dialogue with Thomas DeFrantz's concept of Corporeal Orature and how it relates to Black social dance. DeFrantz describes Corporeal Orature as the recognition of motion as a technology of communication and expression within Black social dance. According to DeFrantz, particularities of intention and citation occur within these gestures, allowing Black social dance to distinguish itself by its ability to convey feeling as a fact of intentional movement. This capacity to communicate through the body, what DeFrantz terms Corporeal Orature, aligns closely with the principles of Gesto-Rhythmitization.

Black social dance, as described by DeFrantz, becomes a medium through which dancers can recognize their motion as a form of communication. This notion resonates deeply with the principles of Gesto-Rhythmitization, where gestures and rhythmic movements are curated to convey complex layers of meaning. The raised arm in triumph or the bowed head in humility, as mentioned earlier, are not merely movements but are imbued with historical, cultural, and emotional significance. They become a language of their own, capable of expressing the nuances of the human experience.

In Hip Hop, for example, the gestures and movements often draw from African diasporic traditions. The hand gestures seen in B-Boying, often derived from the movements of African deities like Shango, Eleggua, Ogun, and Oya, carry deep cultural meanings. These gestures, through Gesto-Rhythmitization, retain their power and significance, transforming the dance floor into a space of cultural and spiritual expression. This is particularly evident in the cypher, where dancers engage in a call-and-response dynamic, their movements communicating with each other and the audience in a deeply meaningful dialogue.

Embodied Knowledge in Gesto-Rhythmitization

At the heart of Gesto-Rhythmitization is the concept of embodied knowledge. This envisions the body as both a cultural archive and a vessel for expressing emotions and thoughts. Through dance, music, and performance, Gesto-Rhythmitization transmits cultural memories, values, histories, feelings, and narratives. This embodied knowledge is particularly significant in African and African diaspora cultures, where oral traditions and embodied practices are central to the preservation and transmission of cultural heritage.

In African dance, for example, the body serves as a repository for cultural knowledge, expressing complex ideas through movement. Each gesture, each rhythmic beat, carries within it layers of meaning, passed down through generations. This can be seen in traditional dances such as the Djembe dance of the Mandinka people, where the rhythms of the drum and the movements of the dancers tell stories of history, community, and spirituality.

Tonal Languages and Embodied Expression

A fundamental aspect of Gesto-Rhythmitization is its connection to tonal languages. In many African languages, the intonation and rhythm of speech carry as much meaning as the words themselves. This deep connection between rhythm, gesture, voice intonation, emotion, and meaning is mirrored in the movements of the dance. Movements, akin to visual tonality, are complemented by the auditory nuances of speech, and together they convey complex emotional narratives.

In traditional African dances, the connection between rhythm and gesture is evident. The intricate footwork of the Gumboot dance, for example, is synchronized with the rhythmic beats of the boots hitting the ground, each movement and sound carrying specific cultural meanings. This dance, originating from the miners in South Africa, uses rhythm and gesture to communicate messages and tell stories, serving as a powerful form of embodied expression.

Improvisation as Cultural Memory and Anticipation

Improvisation plays a crucial role in Gesto-Rhythmitization, serving as a bridge between the past, present, and future. Performers weave emotions, memories, and hopes into their artistic renditions, creating a dynamic and evolving form of expression. These improvisations are informed by ancestral traditions and, in turn, may shape these traditions for the next generation.

In Africana dance, improvisation is a critical component, often used to call and respond to the audience in the present moment. This interactive and discursive process allows for the dissemination of complex information, deciphered by knowledgeable onlookers or active participants. For example, in the context of a traditional West African dance performance, the dancers might improvise movements that respond to the rhythms of the drums and the reactions of the audience, creating a dynamic and evolving dialogue.

This improvisational process is highly intelligent, highlighting the deep knowledge and understanding embedded in Africana cultural forms. It challenges the stereotypical perceptions of these forms as simplistic or random, revealing the intricate and sophisticated nature of the improvisational practices. Each movement, each gesture, carries within it layers of meaning, informed by the cultural and historical context of the community.

The Semiotics of Gesture in Gesto-Rhythmitization

In Gesto-Rhythmitization, gestures function as symbols, rich with layered meanings similar to written language. These gestures encapsulate complex emotions and ideas, offering a canvas for internal processes to be articulated in physical form. Beyond mere movement, they convey deep cultural meanings, serving as a powerful form of communication.

For example, in the context of African diaspora dance practices, the gestures seen in Hip Hop and B-Boying often carry deep cultural significance. The hand gestures associated with Shango, Eleggua, Ogun, and Oya, for instance, are not merely movements but symbols rich with historical and cultural meanings. These gestures, through Gesto-Rhythmitization, retain their power and significance, transforming the dance floor into a space of cultural and spiritual expression.

Salsa and Gesto-Rhythmitization

Salsa, a dance form with roots deeply embedded in African and Caribbean cultures, is another vibrant example of Gesto-Rhythmitization. Many of the movements in Salsa come from the dances of the Orisha, deities in the Yoruba religion, and Congolese dances, especially those referred to as Congolese rumba. The fluidity, spins, and rhythmic steps in Salsa are not just movements; they are encoded with cultural significance and historical narratives.

In Salsa, the spins and dips can be traced back to the dances of Oya, the Orisha of winds, storms, and transformation. Oya's movements are dynamic and forceful, embodying change and upheaval, which is reflected in the dramatic spins and rapid movements in Salsa. Similarly, hand gestures in Salsa often mirror those used in the dances of other Orisha, such as Shango and Oshun. Shango, the Orisha of thunder and fire, is known for powerful and energetic movements, while Oshun, the Orisha of love and fertility, is associated with fluid and graceful gestures. These gestures in Salsa are not merely aesthetic; they are imbued with the spirit and energy of these deities, creating a deep connection between the dancer and the cultural heritage.

Additionally, Salsa references Congolese dances, especially those referred to as Congolese rumba. These dances have almost the same movement patterns although are not danced as vertically and have more active hips and increased polycentricity in the movement. They feature more pulse and circular movement on the hips. However, these elements do show up in Salsa, especially in the original Caribbean sites.

Revitalising the Ghost: Breathing Life into Recorded Music

The concept of Revitalising the Ghost addresses the challenge of dancing to pre-recorded tracks, a practice that has become increasingly common within the African diaspora due to historical shifts in musical tastes and cultural dynamics. This shift often resulted in a focus on melody, which overshadowed the intricate rhythmic complexities that Africana practitioners cherished.

Within recorded music, segments known as "breaks" showcase drum-based rhythmic breakdowns reminiscent of traditional African percussive patterns. DJ pioneers recognized the potency of these breaks and, through turntablism, extended these rhythmic interludes. This process allowed Africana dance practitioners to engage with the music as they traditionally would, dancing atop these complex rhythms. This act of extending the breaks served as a form of aesthetic resistance and reclamation of rhythmic heritage.

Central to this revitalization process is multimodal rhythmic modulation, which involves the deliberate calibration of musical rhythms to craft a multisensory aesthetic experience. This technique integrates visual (optic), auditory (sonic), and physical (tactile) rhythms, leading to a synesthetic intertwining of sounds, movements, and visual elements.

For example, during a performance, optic rhythm might be used to echo the visual elements in the music, adding fresh accents or layers to the performance. This approach ensures that both performers and audiences experience a renewed dynamism, enriching their engagement with the music.

An intrinsic element in this revitalization process is ethero rhythm, which captures collective memory, aesthetic inclinations, historical imprints, and the intricate relationship between music and dance. By delving deep into this reservoir of embodied experiences, performers forge a profound bond with the music, instilling each performance with added depth and resonance.

The primary objective of Revitalising the Ghost is to cultivate a shared rhythmic journey, converging participants in a communal rhythmic embrace, or a cypher. By resonating with the music and interspersing distinct rhythmic interpretations, performers create an inclusive space where connections are formed with both the music and each other. This mode of performance doesn't just entertain; it deeply moves, rejuvenating both performer and spectator alike, promising to resurrect the lingering spirit of pre-recorded music and bestow upon it a fresh lease of life.

ARRIVING ON ACTION

Definition:

A concept describing the futuristic artistic practice where a dancer and drummer in Africana dance synchronize their intentions, creating a convergence of movement and sound. The dancer anticipates the drummer's future rhythm, and the drummer anticipates the dancer's future movements, achieving simultaneous artistic expression.

Context:
In Africana dance, "arriving on action" is a sophisticated and risky practice where the dancer and drummer do not merely follow each other's current actions. Instead, the dancer dances the intention of the drummer's forthcoming rhythm, and the drummer plays the intention of the dancer's forthcoming movements. This synchronization requires both to "arrive on action" together, creating moments where movement and sound appear to unfold as one. Achieving this seamless convergence is considered a form of aesthetic virtuosity and embodies the essence of Ubuntu, showcasing the poetic power of unity and shared intention in artistic expression.

CORPOKINETIC LEXICAL IDIOMS

The term Corpokinetic Lexical Idioms, which I coined in 2019, refers to the specific movements and gestures that function as lexical items within the kinetic language of a dance form. These idioms are standardized movements that carry specific meanings and cultural significance, functioning as a vocabulary within the dance tradition.

In the context of Bharatanatyam, the classical Indian dance form, the mudras (hand gestures) function as Corpokinetic Lexical Idioms. Each mudra carries specific meanings and cultural significance, serving as a vocabulary within the dance tradition. The use of these gestures allows the dancer to convey complex narratives and emotions, creating a powerful form of embodied expression.

Similarly, in African diaspora dance practices, certain movements and gestures have become standardized, carrying specific meanings and cultural significance. These Corpokinetic Lexical Idioms function as a vocabulary within the dance tradition, allowing dancers to convey complex narratives and emotions. For example, in Hip Hop, the B-Boying gestures often draw from African diasporic traditions, creating a narrative of cultural meanings. The hand gestures seen in B-Boying, derived from the movements of African deities like Shango, Eleggua, Ogun, and Oya, carry deep cultural significance.

Gestokinetic Idiomization

Another critical term, Gestokinetic Idiomization, which I coined in 2019, refers to the process by which specific gestures are integrated into the kinetic language of a dance form, becoming idiomatic expressions within that context. This concept highlights how certain movements and gestures become standardized within a dance tradition, carrying specific meanings and cultural significance.

For example, in the context of Capoeira, the movements and gestures have become standardized over time, each carrying specific cultural and historical meanings. The ginga, a fundamental movement in Capoeira, is not just a step but a gesture that encapsulates the history and struggle of the Afro-Brazilian community. Through Gestokinetic Idiomization, these movements become idiomatic expressions, conveying complex layers of meaning within the dance.

KinoWeaving the Now: The Embodiment of Kinetic Presence in Performance

KinoWeaving the Now is a concept that seamlessly marries kinesthetic, or movement-driven experiences ("Kino-"), with the act of weaving. This term, which I coined, emphasizes the convergence of movement and the present. Performers not only dance but dynamically weave their kinetics into the fabric of the immediate environment and audience pulse.

In the heart of the African Bantabas, where the rhythm of the earth meets the pulse of its people, an intricate dance unfolds. Here, the boundary between the performer and the audience blurs. Money is tossed, chants rise, claps resonate, and every shout or whisper becomes a part of the kinetic tapestry. Such a vibrant setting offers a lucid exemplification of the concept: KinoWeaving the Now.

KinoWeaving the Now is a philosophy that accentuates the convergence of movement and the immediate present within varied performance settings. At its core, it is about the performer's ability to dynamically interlace their movements with the tangible and intangible elements of their surroundings. It's a living dialogue between the artist and the environment, rooted in the moment, deeply reactive, and immersive.

The symbiotic relationship with the audience, central to KinoWeaving, shifts the latter from passive spectators to active participants in the kinetic narrative. As the performer dances, the audience's energy, whether in the form of vocal encouragements, rhythmic claps, or spontaneous contributions like coins, fuses into the performance. This dynamic synchronization creates an evolving, shared kinetic story that is as unpredictable as it is captivating.

Beyond this tactile interaction lies the performer's nuanced relationship with music and sound. In the realm of KinoWeaving, music isn't a mere backdrop; it's a living entity. Every note, every beat becomes embodied, turning the performance into a visceral symphony where melodies are not just heard but felt and expressed. The honk of a car, the distant laughter, or even the rustling of leaves are not interruptions but rather improvisational cues. They are woven into the fabric of the performance, enriching it with layers of spontaneity and authenticity.

This philosophy also gives prominence to the performer's spatial sensibility. Every venue, whether a bustling street corner, an intimate room, or the sacred expanse of Bantabas, holds its own kinetic aura. The performer, acutely attuned, senses and navigates through this aura. Each space's distinct attributes and its kinetic memories become both a canvas and a collaborator, aiding and shaping the performer's movements.

KinoWeaving the Now thrives in its embrace of the unpredictable. Every gesture, every leap, every pause is a genuine reaction to the present elements. The dancer's body becomes a conduit, perceiving the intricacies of the now, absorbing them, and then channeling these perceptions back into the environment in a continuous loop of kinetic dialogue.

Dance as Narration and Deep Communication

Dance, in the African and African diaspora space, is not merely an art form but a powerful medium of narration and deep communication. It is a way of rendering reality upon the kinetic world, where every movement, gesture, and rhythm carries meaning. This is evident in the dances of the Orisha, where each movement is imbued with spiritual and cultural significance.

In Hip Hop, for example, the gestures and movements often draw from African diasporic traditions. The hand gestures seen in B-Boying, often derived from the movements of African deities like Shango, Eleggua, Ogun, and Oya, carry deep cultural meanings. These gestures, through Gesto-Rhythmitization, retain their power and significance, transforming the dance floor into a space of cultural and spiritual expression. This is particularly evident in the cypher, where dancers engage in a call-and-response dynamic, their movements communicating with each other and the audience in a deeply meaningful dialogue.

Similarly, in Salsa, the movements and gestures are deeply connected to the dances of the Orisha. The fluidity, spins, and rhythmic steps in Salsa are not just movements; they are encoded with cultural significance and historical narratives. The spins and dips in Salsa, for instance, can be traced back to the dances of Oya, while the hand gestures often mirror those used in the dances of other Orisha, such as Shango and Oshun.

In the context of Vogue ballroom culture, the gestures and movements carry deep cultural and contemporary references. The spins, dips, and hand gestures seen in Vogue are heavily influenced by the dances of the Orisha. The hand performance and face categories in Vogue, for example, draw from the dances of Oshun, where the hands and face are used to express love, beauty, and storytelling.

The Integration of Cultural References in Black Dance

The integration of deep cultural references in Black dance forms such as Salsa, Hip Hop, and Vogue ballroom culture highlights the rich and complex nature of these practices. These dance forms draw from a tapestry of cultural and historical narratives, creating a dynamic and evolving form of expression.

In Salsa, the movements and gestures are deeply connected to the dances of the Orisha and Congolese rumba, reflecting the cultural heritage of African and Caribbean traditions. The fluidity, spins, and rhythmic steps in Salsa are not just movements; they are encoded with cultural significance and historical narratives. The spins and dips in Salsa, for instance, can be traced back to the dances of Oya, while the hand gestures often mirror those used in the dances of other Orisha, such as Shango and Oshun.

In Hip Hop, the gestures and movements often draw from African diasporic traditions, creating a rich narrative of cultural meanings. The hand gestures seen in B-Boying, often derived from the movements of African deities like Shango, Eleggua, Ogun, and Oya, carry deep cultural significance. These gestures, through Gesto-Rhythmitization, retain their power and meaning, transforming the dance floor into a space of cultural and spiritual expression.

Similarly, in Vogue ballroom culture, the gestures and movements carry deep cultural and contemporary references. The spins, dips, and hand gestures seen in Vogue are heavily influenced by the dances of the Orisha. The hand performance and face categories in Vogue, for example, draw from the dances of Oshun, where the hands and face are used to express love, beauty, and storytelling.

The Role of Dance in Cultural Preservation and Innovation

Dance plays a critical role in cultural preservation and innovation, particularly in the African and African diaspora space. By drawing from deep cultural references and historical narratives, dance forms such as Salsa, Hip Hop, and Vogue ballroom culture serve as powerful mediums for preserving and transmitting cultural heritage. At the same time, these dance forms are dynamic and evolving, reflecting the diverse cultural influences and experiences of the community.

In Salsa, the integration of movements and gestures from the dances of the Orisha highlights the cultural heritage of African and Caribbean traditions. These cultural references serve as a foundation for the dance form, while also allowing for innovation and adaptation. The fluidity, spins, and rhythmic steps in Salsa are not just movements; they are encoded with cultural significance and historical narratives, creating a dynamic and evolving form of expression.

Similarly, in Hip Hop, the gestures and movements often draw from African diasporic traditions, creating a narrative of cultural and historical meanings. The hand gestures seen in B-Boying, for example, carry deep cultural significance, transforming the dance floor into a space of cultural and spiritual expression. This dynamic and evolving nature of Hip Hop allows for the preservation and transmission of cultural heritage, while also reflecting the diverse cultural influences and experiences of the community.

In Vogue ballroom culture, the integration of cultural references in the gestures and movements highlights the complexity of this dance form. The spins, dips, and hand gestures seen in Vogue are influenced by the dances of the Orisha, creating a dynamic form of expression. This cultural preservation and innovation are central to the practice of Gesto-Rhythmitization, where gestures and rhythms convey cultural meanings and serve as powerful mediums for cultural expression.

The Broader Impact of Gesto-Rhythmitization and Related Terminologies

Gesto-Rhythmitization, Gestokinetic Idiomization, Corpokinetic Lexical Idioms, KinoWeaving the Now, Arriving on Action, and Revitalising the Ghost provide a framework for understanding the relationships between rhythm, movement, and meaning in African and African diaspora art practices. By recognizing the body as a cultural archive and emphasizing the connection between rhythm, gesture, and cultural expression, these concepts offer tools for analyzing and appreciating the traditions of African and African diaspora dance practices.

The Dynamic Continuum of Embodied Expression

These concepts highlight the power of the body to manifest emotional and cognitive processes into expressive art forms. This dynamic continuum between the inner self and the external world allows for a multifaceted dialogue that extends beyond traditional dance frameworks. Through the lens of Gesto-Rhythmitization, we can see how the body serves as a bridge between the past, present, and future, transmitting cultural memories and values through rhythmic and gestural expressions.

Cultural Preservation and Innovation

Gesto-Rhythmitization and related terminologies also highlight the importance of cultural preservation and innovation. By emphasizing the transmission of cultural memories and values through dance, these concepts underscore the significance of preserving cultural heritage while also allowing for innovation and adaptation. This is particularly evident in the context of diasporic cultures, where the dance practices are constantly evolving, reflecting the diverse cultural influences and experiences of the community.

For example, in the context of Hip Hop, the movements and gestures often draw from various cultural influences, creating a dynamic and evolving form of expression. This intercultural exchange enhances the depth and complexity of the dance, allowing it to resonate with a broader audience. At the same time, the retention of traditional elements, such as the hand gestures associated with African deities, ensures the preservation of cultural heritage.

The Role of Improvisation in Cultural Transmission

Improvisation plays a crucial role in the transmission of cultural memories and values. Through the improvisational process, dancers weave emotions, memories, and hopes into their artistic renditions, creating a dynamic and evolving form of expression. These improvisations are informed by ancestral traditions and, in turn, may shape these traditions for the next generation.

For example, in the context of Africana dance practices, improvisation is a critical component, often used to call and respond to the audience in the present moment. This interactive and discursive process allows for the dissemination of complex information, deciphered by knowledgeable onlookers or active participants. This highlights the intelligent and sophisticated nature of the improvisational practices within these cultural forms, challenging stereotypical perceptions.

Summary of Interconnected Concepts

My concepts of Gesto-Rhythmitization, Gestokinetic Idiomization, Corpokinetic Lexical Idioms, KinoWeaving the Now, Arriving on Action, and Revitalising the Ghost provide a framework for understanding the intricate relationship between rhythm, gesture, and meaning in dance. By recognizing the body as a cultural archive and emphasizing the connection between rhythm, gesture, and cultural expression, these concepts offer tools for analyzing and appreciating the traditions of African and African diaspora dance practices. They enrich the field of dance semiology and preserve the cultural heritage embedded in these art forms.

Through these terminologies, we can gain a deeper understanding of how dance serves as a powerful medium for cultural expression, communication, and preservation. By emphasizing the importance of embodied knowledge, tonal languages, improvisation, and community building, these concepts highlight the multifaceted nature of dance and its significance within African and African diaspora cultures. Ultimately, Gesto-Rhythmitization and related terminologies provide a lens through which to explore the traditions of dance, revealing the ways in which rhythm and gesture communicate cultural meanings and values.

Glossary

Gesto-Rhythmitization: A term coined by Thomas Talawa Prestø, referring to the process by which rhythm and movement are imbued with gestural content, creating a form of embodied communication that conveys cultural and historical meanings.

Gestokinetic Idiomization: A term coined by Thomas Talawa Prestø, describing the process by which specific gestures are integrated into the kinetic language of a dance form, becoming idiomatic expressions within that context.

Corpokinetic Lexical Idioms: A term coined by Thomas Talawa Prestø, referring to specific movements and gestures that function as lexical items within the kinetic language of a dance form, carrying specific meanings and cultural significance.

KinoWeaving the Now: A term coined by Thomas Talawa Prestø, emphasizing the convergence of movement and the immediate present within varied performance settings, where performers dynamically interlace their kinetics with the environment and audience pulse.

Arriving on Action: A term coined by Thomas Talawa Prestø, highlighting the precision and intention behind each movement in dance, ensuring that each action is deliberate and meaningful.

Revitalising the Ghost: A term coined by Thomas Talawa Prestø, addressing the challenge of dancing to pre-recorded tracks by revitalizing the rhythmic complexities and cultural heritage within the music.

Dance Semiology: The study of signs and symbols in dance, analyzing how movements and gestures convey meaning.

Corporeal Orature: A concept introduced by Thomas DeFrantz, recognizing motion as a technology of communication and expression within Black social dance.

Embodied Knowledge: The understanding that the body serves as both a cultural archive and a vessel for expressing emotions and thoughts.

Tonal Languages: Languages in which intonation and rhythm carry as much meaning as the words themselves, mirroring the deep connection between rhythm, gesture, and meaning in dance.

Improvisation: The spontaneous and dynamic creation of movement and gesture, informed by ancestral traditions and shaping these traditions for future generations.

Fastening the Web: Defining the Term Africana Dance

The term "Africana" refers to the study of the history, cultures, and social issues of people of African descent, both within Africa and across the global diaspora, notably in the Americas and the Caribbean. Africana studies, sometimes known as African and African American studies, is an interdisciplinary field that explores the historical, cultural, and social connections among Africans and their descendants. This field integrates various disciplines, including history, anthropology, political science, and literature, to provide comprehensive insights into the experiences of people of African descent. It also delves into issues of race, colonization, diaspora, and the effects of globalization on African and African-descendant communities.

Derived from the Latin term for "things pertaining to Africa," "Africana" serves as a broad categorization for various cultural, historical, and social studies subjects focusing on people of African descent. The term is sometimes used to describe collections of art, literature, or historical documents related to Africa and the African diaspora.

Reflecting on when I began using the term "Africana Dance" in 2011, I find myself immersed in a realm that transcends mere linguistic constructs. This journey entails a profound exploration of cultural identity, agency, and the intricate interplay between dance and philosophy. "Africana Dance" is not just a label; it is a framework that enhances our understanding of dance practices and places the Africana practitioner at the heart of cultural preservation. Reengaging with the term's inception prompts me to explore the philosophical and cultural foundations that inform its conceptualization. The field of dance studies and terminologies is dynamic, evolving alongside our expanding comprehension of cultural contexts, identities, and the experiences we embody.

Africana Dance Definition by Thomas Talawa Prestø

Africana Dance is a dance form intrinsically rooted in African philosophy, history, and aesthetics, practiced by individuals whose movement is deeply grounded in Africana philosophy. It signifies a profound reclamation, affirmation, and celebration of ancestral heritage through movement, embodying agency and a cultural worldview. Until this foundation is established, the practice remains Africanist Dance, indicating influences and traces rather than the depth of cultural agency inherent in Africana Dance.

Africana Dance: A Multidimensional Lens

The term "Africana Dance" transcends linguistic boundaries, serving as a multidimensional lens through which we perceive the intricate cultural, historical, and philosophical facets of dance practices originating from Africana peoples. This term extends beyond mere physical execution of movements; it encapsulates the essence of African thought, philosophy, and culture, intricately woven into every gesture and rhythm. Africana Dance acknowledges that dance is not just about kinetic motion; it represents identity, heritage, and an embodiment of Africana peoples' collective experiences.

In the vibrant spaces of Africana dance, where the pulse of history meets the present, an intricate performance unfolds. The boundary between dancer and audience blurs, creating a kinetic web of shared cultural expression. Here, Africana Dance comes alive, illustrating the dynamic interplay of movement, identity, and cultural narrative.

Africana Dance and Africanist Dance

At the core of distinguishing between Africana Dance and Africanist Dance lies the concept of agency and cultural foundation. Africana Dance, as coined by me, embodies the spirit of an African descendant who not only performs movements but also claims, affirms, and reclaims a cultural essence shaping their worldview. This dance is an assertion of identity, rootedness, and heritage.

Brenda Dixon Gottschild's concept of "Africanist dance" diverges from my conceptualization of Africana Dance. While "Africanist dance" includes appropriated or influenced dance forms not necessarily originating from Africana peoples but bearing traces of related genres, Africana Dance delves deeper into both functional and foundational aspects. Africana Dance extends beyond aesthetics, embodying cultural roots, trajectories, and agency.

For instance, the work of George Balanchine, jazz choreography, or hip hop choreography are considered Africanist when they incorporate African influences or elements but are created and performed without the foundational engagement with Africana philosophical concepts. To transition from Africanist to Africana, these forms must be created and performed by individuals who move from Africana philosophical concepts, embodying the depth of cultural agency inherent in Africana Dance. Therefore, Africana Dance is fundamentally tied to serving and emanating from Africana peoples. Africanist Dance spans a spectrum of detachment from Africana origins, whereas Africana Dance is exclusively employed when referencing dance iterations intricately tied to Africana peoples' corporeal narratives and lived experiences.

Pulling Threads: Africana Dance Praxis

Africana Dance Praxis can be defined as a comprehensive approach integrating rituals, processes, and techniques grounded in Africana epistemologies and theoretical frameworks related to movement, music, and dance. This approach emphasizes the cultural, historical, and philosophical underpinnings of Africana modes of expression, influencing how dancers and dance makers engage with, interpret, and execute dance, music, and movement. It represents a synthesis of physical embodiment and intellectual inquiry, deeply connected to the traditions, narratives, and values of Africana communities.

Africana Dance Praxis thrives in its embrace of the unpredictable. Every gesture, every leap, every pause is a genuine reaction to the present elements. The dancer's body becomes a conduit, perceiving the intricacies of the now, absorbing them, and then channeling these perceptions back into the environment in a continuous loop of kinetic dialogue. This praxis not only preserves cultural heritage but also fosters innovation, allowing Africana dance forms to evolve while staying true to their roots.

In essence, Africana Dance is not just a term but a living dialogue between the dancer and their cultural heritage. It is a framework that places Africana practitioners at the heart of cultural preservation, ensuring that every movement, every rhythm, is a testament to the rich tapestry of Africana identities and experiences. Through Africana Dance, we engage with the past, present, and future, weaving together a dynamic narrative that celebrates and reclaims our collective heritage.

Glossary

Africana Dance: A dance form intrinsically rooted in African philosophy, history, and aesthetics, practiced by individuals whose movement is deeply grounded in Africana philosophy. It signifies a reclamation and celebration of ancestral heritage through movement.

Africanist Dance: A term describing dance forms influenced by African traditions but not necessarily originating from Africana peoples. It includes appropriated or influenced dance styles that bear traces of related genres.

Africana Dance Praxis: A comprehensive approach integrating rituals, processes, and techniques grounded in Africana epistemologies and theoretical frameworks related to movement, music, and dance. This praxis emphasizes cultural, historical, and philosophical underpinnings of Africana modes of expression.

Agency: The capacity of individuals to act independently and make their own free choices, in this context, referring to the ability of Africana dancers to reclaim and affirm their cultural heritage through dance.

Epistemologies: The study of knowledge and justified belief, especially in relation to its methods, validity, and scope. In Africana Dance Praxis, it refers to the theoretical frameworks derived from Africana traditions and philosophies.

Kinetic Tapestry: The dynamic and intricate interplay of movement, rhythm, and cultural expression that characterizes Africana Dance. It represents the woven fabric of dance and cultural narratives.

Cultural Foundation: The underlying cultural, historical, and philosophical elements that form the basis of Africana Dance, distinguishing it from other dance forms.

Interdisciplinary: Involving two or more academic, scholarly, or professional disciplines. Africana studies incorporate insights from history, anthropology, political science, and literature.

Embodied Knowledge: Understanding and knowledge that are rooted in the body's movements and experiences. In the context of Africana Dance, it refers to the deep cultural knowledge expressed through dance.

Corporeal Narratives: Stories and histories expressed through the body and its movements, particularly in dance. These narratives convey the lived experiences and cultural heritage of Africana peoples.

Decolonial: An approach or perspective that seeks to deconstruct and challenge the legacies of colonialism, promoting the recovery and affirmation of indigenous and marginalized cultures and knowledge systems.

Gathering the Web: Introduction to Africana Dance

Africana Dance is a comprehensive term that includes a variety of dance styles originating from Africa and its diaspora. These dances are rooted in diverse cultures and are filled with storytelling, communal gatherings, and spiritual practices. Central to these dances are elements like polycentric movement, spherical dance, grounding, and poly-quality, among others. Africana Dance embodies both the aesthetic and the philosophies that drive the movement, providing a deeper understanding of cultural and expressive significance.

Community and Africana Dance

Interactive Performance: In Africana Dance, the boundary between performers and audience often dissolves, leading to an energetic exchange. This interaction creates a shared experience where the reactions of the audience influence the dancers' movements, and vice versa, resulting in a lively, dynamic performance.

Collective Storytelling: The dance acts as a communal narrative, preserving stories and traditions across generations. Each dance narrates a piece of the community's ongoing story, with movements and rhythms depicting historical events, myths, and daily life.

Spiritual Connection: Many Africana dances are closely tied to spirituality, often performed as offerings, rites, or prayers. These dances bridge the physical and spiritual worlds, invoking ancestors and deities, and expressing communal hopes and emotions.

Polycentric Movement

A key characteristic of Africana Dance is polycentric movement, which recognizes multiple 'centers' or focal points in the body from which movement can originate. This concept allows for complex choreography, with each 'center' able to operate independently or in harmony with others.

Defining Polycentric Movement

Polycentric movement acknowledges that movement can originate from various parts of the body simultaneously. This enables intricate and expressive choreography, as each center can convey different aspects of a story or emotion.

Polycentric movement is the ability to multiply yourself without ever canceling yourself out - Thomas Prestø

The Importance in Africana Dance

Diverse Expression: Using multiple centers allows for a wide range of expressive possibilities, as each center can convey different parts of a story or emotion.

Complex Choreography: The use of various centers supports more intricate narrative structures within the dance.

Examples of Polycentric Movement

In West African dance styles, dancers often showcase:

• Rapid footwork originating from the ankles
• Dynamic hip movements from the pelvic region
• Expressive arm and hand movements with wrists and shoulders as centers

Centers in Polycentric Movement

Common centers powering polycentric movement include:

• Neck
• Shoulders
• Wrists
• Spine
• Hips
• Ankles

Mastering Polycentric Movement

Understanding polycentric movement involves:

1. Body Awareness: Knowing how to isolate and move from different centers.
2. Rhythm and Timing: Developing a sense of the different rhythms each center can produce.
3. Fluidity: Learning to transition smoothly between different centers.

Exploring the World of Spherical Dance

Understanding Spherical Dance

Spherical Dance embraces the multidimensional nature of space. Instead of limiting movements to a flat plane, it utilizes the entire available space, incorporating curves, spirals, and circles.

Theoretical Insights into Spherical Dance

This concept reflects the philosophy that life is cyclical rather than linear. Movement patterns in spherical dance often symbolize life cycles, celestial bodies, and historical events.

In Afro-Brazilian dances like Samba, dancers move through space in non-linear patterns, executing circles, semi-circles, and spirals, adding a holistic experience to the dance.

Symbolism in Spherical Dance

Spheres, circles, and cycles hold specific symbolic meanings in various Africana cultures. For instance, circles can signify unity, while spirals may represent spiritual ascent.

Cultivating Spherical Dance

1. Isolation and Integration: Learning to move each body part in isolation first, then combining these movements into spherical forms.
2. Spatial Awareness: Becoming aware of the space around oneself to fully utilize it.
3. Pacing and Tempo: Mastering the art of varying speeds for different spherical elements.

Grounding: The Earth Connection

Grounding as Philosophy and Technique

Grounding involves maintaining a strong, deliberate connection with the Earth during dance. It is both a physical technique and a spiritual state, emphasizing the dancer's relationship with the ground.

Physical Aspects of Grounding

1. Bent Knees: Slightly bending the knees enhances stability and rootedness.
2. Lowered Center of Gravity: Keeping the hips and core low aids in staying balanced and grounded.

Cultural Dimension

In Africana Dance, grounding often carries symbolic meanings. It can signify ancestral connections, unity with the Earth, or readiness for spiritual interaction.

Examples of Grounding

In dances like the Haitian Yanvalou, dancers move in ways that make them appear as if they are melting into the earth, enhancing the experience of being grounded both literally and metaphorically.

The Multifaceted World of Parallax Movement

Defining Parallax Movement

Parallax Movement involves creating movement that alters the perception of distance, angles, lines, curves, and speed depending on the viewer's perspective, generating an illusion of multidimensionality.

Importance in Africana Dance

Parallax Movement is significant because it reflects the Africana emphasis on community and collectivity, providing a richer experience for both the dancer and the observer by offering multiple facets of the same narrative.

Achieving Parallax Movement

This form of movement is achieved through:

• Formation Changes: Shifting dancers' positions to reveal different angles.
• Layering: Using different planes (low, medium, high) to add depth.
• Mirroring and Canon: Repeating the same movements at staggered times or in different directions.
• Curving the Lines of the Body: Moving the body in curves and dimensions rather than geometrical lines.
• Polycentricity: Activating multiple centers of the body simultaneously.
• Polyfrontal Orientation: Performing with multiple fronts simultaneously, avoiding a single frontal orientation.

Examples and Practice of Parallax Movement

In many traditional African dances, a circle formation allows each dancer to be both observer and performer, providing multiple perspectives on the same dance sequence.

Tips for Practicing Parallax Movement

1. Polyfocal Awareness: Developing multiple focal directions while dancing to understand how this alters movement.
2. Orienting from the Body: Reworking choreography to orient around the body rather than the space, altering the dance.
3. Group Work: Practicing in groups to grasp formation and layering intricacies.

Africana Dance Sub-genres

Africana Dance includes but is not limited to:

• West African Dance
• Afri-Caribbean Dance
• Afri-Brazilian Dance
• African American Vernacular Dance
• Foundations of Hip Hop
• Foundations of House Dance
• Foundations of Vogue

These dances share roots, routes, and retentions from Africa and the African diaspora. What defines a dance as Africana is the performer and their praxis and philosophies. Africana Dance is not just about the form; it encompasses the philosophies that drive the movement. When appropriated, these dances become Africanist, losing the deep cultural agency inherent in Africana Dance.

Africana Dance includes various forms and philosophies, offering valuable insights into movement and cultural expression. This overview provides a foundation for understanding the elements of Africana Dance, each of which could be expanded into a comprehensive study. From polycentric movement to spherical dance, grounding, and parallax movement, Africana Dance includes a dynamic, evolving art form deeply rooted in cultural heritage and spiritual practice. Through its complex and multifaceted nature, Africana Dance not only preserves cultural traditions but also fosters innovation and communal connection, making it an essential part of the global dance landscape.

HANGING THE WEB POLYCENTRIC MOVEMENT IN AFRICANA DANCE: AN EXPLORATION OF KINETIC SELFPOLYFICATION AND COLLECTIVE EXPRESSION

Introduction to Polycentric Movement

In the realm of Africana dance, polycentric movement emerges as a profound concept that redefines the traditional understanding of bodily movement. Rooted in the rich tapestry of African dance traditions, it positions the body as an intricate landscape of interrelated active centers. Each center, operating both independently and in harmony, contributes to a complex and layered kinetic expression, distinguishing polycentric movement from unilinear physical expressions. This chapter delves into the depths of polycentric movement, exploring its foundations, implications, and manifestations in Africana dance.

The Foundations of Polycentric Movement

• Defining the Concept: Polycentric movement is characterized by the simultaneous activation of multiple centers within the body, each contributing to a multifaceted kinetic narrative. This approach bestows upon the dance a depth of complexity and richness.

• Kinetic Selfpolyfication: At the heart of polycentric movement is the principle of Kinetic Selfpolyfication. It emphasizes the harmonious coexistence of multiple kinetic centers within the body, mirroring societal concepts of polycentricity where multiple centers of power coexist within a single entity.

Centers of Power: The Pillars of Polycentric Movement

Polycentric movement revolves around several key areas in the body, known as centers of power. Each center plays a critical role in the dance:

1. Ankles:
2. Hips:
3. Scapulae/Chest:
4. Neck:
5. Wrists:

Poly-Movement vs. Poly-Centricity

• Poly-Movement: Celebrates the freedom of movements originating from any part of the body, often with multiple body parts moving independently or concurrently to separate rhythms.
• Poly-Centricity: Focuses on the layered interplay of movements originating from various body centers, providing a wide range of expressive possibilities.

The Talawa Technique™: A New Dimension in Polycentric Movement

The Talawa Technique™ innovatively interprets polycentric movement by distinguishing between the 'Centre', a reservoir of energy, and the 'Centre of Movement', the active participant in motion. This technique emphasizes the complex interplay between various body parts, creating a rich, fluid dance narrative.

Polycentricity Beyond Dance

Polycentricity is also reflected in societal structures, such as in political systems with multiple centers of power, which exert influence in different areas.

African Dance Fundamentals: Grounding Polycentric Movement

A core principle of African dance is internal rhythm preceding external expression, emphasizing the importance of movements resonating within before being expressed outwardly. This grounding principle is crucial for the fluid appearance characteristic of African dance and is a cornerstone of polycentric movement.

Circumduct Movement in Polycentric African Dance

Circumduct movement, involving a combination of flexion, extension, abduction, and adduction, is integral to the unique style of African dance. Understanding its relationship with the body's natural bends and planes of motion is essential for mastering this dance form.

Biomechanical Considerations in Polycentric Movement

Grounding movements in the body's lower centers, such as the ankles and hips, aligns with biomechanical principles, ensuring safety and harmony in movement.

The Essence of Polycentric Movement

Polycentric movement in Africana dance is not just an expression of artistic skill; it embodies a philosophy of collective expression, groundedness, and interconnectedness. It invites dancers to explore the limitless possibilities of their bodies, allowing for a vibrant tapestry of movement that is deeply personal yet resonantly communal. Through this approach, Africana dance showcases technical prowess and embodies a philosophy of unity and interconnectedness within the dancer's body and the broader communal dance practices.

FASTENING THE WEB: AN INTRODUCTION TO COLONIALITY, DECOLONIALITY AND EPISTEMICIDE

DEFINING COLONIALISM AND DECOLONISM 

Decolonialise is a new concept as it is being introduced to the mainstream.  It is increasingly being discussed and the quality of discussion in academic spaces is not necessarily that much higher than the discussion that are being had in social media.  This leads to a confusing field where it is hard to form an opinion as many people are discussing without first establishing a common platform.  Often, we see calls for the decolonisation of curriculum or institutions, only to have the demands that follow be demands of anti-racism and or inclusion.  As stated before, these actions could be part of a larger decolonial strategy but are by themselves not decolonial actions.  Decolonising is a more radical and a more throughout process than inclusion or anti-racism.  However, as stated before decoloniality would not be possible if not built on a platform that has already gone through anti-racist revision and anti-misogyny and many other criticalities. 

Simplified, Decolonisation was originally a term used to describe the removal of colonial forces, from the geographical spaces and institutions that belong, or should belong to the indigenous, anterior or original peoples.  Singer Siyabonga Mthembu of South Africa states the following in the opening of his show Afropoets - the brother moves on[1]: 

“The argument about land is confusing because owning land is a European idea- a white concept. We don´t own the land, we are responsible to it”. 

 *https://commons.wikimedia.org/wiki/File:African-civilizations-map-imperial.png#/media/File:African-civilizations-map-imperial.png

The above map illustrates some of the major African imperial systems or empires, many of which overlap geographically. This can be attributed to a variety of factors, including nomadic culture, where governance is tied to people and identity rather than to a fixed geographic location. This system of governance has persisted in many African states even after the continent was forcibly divided by European powers at the Geneva Conference, resulting in the splitting up of families, nations, and communities.

Despite the disruption caused by colonialism, many African states are what are known as "meta-national states", where various ethnic and cultural groups continue to exist within a larger national framework. For example, in Nigeria, the Yorubas, Igbos, Hausa, and many other groups maintain their distinct cultural identities and forms of governance within the larger national framework.

This polycentric form of governance involves multiple centers of power, with various chiefs and leaders exerting influence over their respective communities. It is a radically different form of governance from the European concept of imperialism, and one that emphasizes the importance of cultural identity and self-determination.

The geographical overlay of these various African empires and nations also speaks to the intercultural nature of African nomadic and organizational life. This is evident in the art, rhythms, and polycentric dancing that is characteristic of many African cultures, where multiple centers of power can coexist and exert influence simultaneously.

One example of this are dances where both chest and hip may be “king” simultaneously.

Lately, decolonising has become a term which is also used to refer to the removal of the intellectual colonial material, and the forceful indoctrinations that were originally designed to establish systems of inferiority and superiority.  Referencing Bob Marley famous lyrics: 

“emancipate yourself from mental slavery, none but our selves can free our mind”

Coloniality is not just about the occupation of land or the domination of people, it is also about the hegemonic monopolising of truth, knowledge, art and action. Often people are getting certain terminology mixed up. This is of no fault of their own usually, as the terminology can be confusing and because the American alternative right and other movements are doing their best to confuse the issue.  I will therefore provide some simple yet clarifying definitions. 

Colonialism:

• Refers to the historical experience of domination that coincided with the colonial enterprise, typically traced to the period of 18th to 20th century.  Meaning the actual act of colonising by taking land, invading and subjugating peoples. 

Coloniality:

• An epistemic concept that finds its origins in the 15th century discovery of the ‘New World’ which dominates and controls subsequent modes of knowledge production through codifying differences between the civilised west and the underdeveloped rest.

• Simplified, it is the monopolisation and construction of what is considered knowledge and what is truth and or fact.  

GATHERING THE WEB CULTURAL THEFT: THE CONSEQUENCES OF MISAPPROPRIATION

In relationship to both art and academia it is hard to deal with or talk about decoloniality without also dealing with the complex issue of appropriation.  I will lightly brush on this topic to provide a common platform for future discussion and to provide you with a foundation for discussion.  I start by providing some terminology and understanding of the most common terms used.

Cultural Appropriation

To take or borrow a cultural element or artifact from a culture which is not your own. 

Cultural Misappropriation

To misrepresent a cultural element or artifact from a culture which is not your own.  Often in a way that makes it difficult for the originating culture to continue to use the cultural element in its original intent or purpose. 

Cultural Expropriation

To take a cultural element or artifact from a culture in such a way as to make it accessible to others for which it was not intended.  Often for commercial use.  This also done in such a way that the originating space is not the main benefactor. 

Cultural Arrogation (coined Thomas Talawa Prestø 2019)

To take, copy, or misrepresent a cultural element or artifact without justification.  Misrepresented to such a degree that it would not be acknowledged by the criteria of the originating culture.

I have coined the term cultural arrogation as I am not at ease with the unspecific way cultural appropriation is used as a term.  Arrogation is to make claim or to take without justification.  I feel this happens more often than appropriation.  Appropriation requires a level of skill because you are copying an original.  Most often the “appropriating” culture does not have the skillset to do this hence the rather imperfect rendition of movements, song styles, or others.  They arrogate terminology such as, let’s say, jazz or tap and give it to their own practices which are imperfect copies.  Insisting that it is the same allows them to take and override the standards and criteria of the original.  Hence, the process to me is that of arrogation, not appropriation.  Seldom have I seen or heard appropriation if we are to be strict with the criteria of this term.

"Africulturalization" is a term used to describe the process by which a society, culture, or individual adopts and incorporates elements of African culture, history, and tradition into their own cultural practices and identity. This process involves a recognition of the cultural contributions and significance of Africa and the African diaspora, and a deliberate effort to incorporate and celebrate these cultural elements in everyday life.

Africulturalization can occur in a variety of contexts, including in music, dance, visual arts, literature, language, cuisine, fashion, and more. It involves recognizing and incorporating the diverse cultural practices, beliefs, and values of the African continent and its diaspora into one's own cultural identity, while also acknowledging the ongoing legacy of colonization, slavery, and racism that has shaped the history of African peoples.

Africulturalization is often seen as a positive step towards greater cultural understanding and appreciation, as it allows for the celebration of diverse cultural practices and perspectives. It can also help to build greater connections and solidarity among people of African descent, as well as promote a more inclusive and equitable society that values and celebrates diversity.

PULLING THREADS: THE CONSEQUENCE OF MISAPPROPRIATION

As our signifiers are emptied our expressions of identity no longer have the same value to us. They are no longer coordinates to our own core. To those who know they still unlock the library of cultural knowledge, but to the upcoming generation it will be increasingly hard to separate "false new" and real sources from fabricated ones. Dance and dance moves can be a roadmap of Black corporeality. It is an archive, and when we engage with it we engage in this archive. In the deeply rooted sphere this is even more profound. Dances of Memory become dances of Stolen Memory. When the memories are overwritten the library is burned. This is a violent action. Many of our real libraries have been burned. The African Diaspora person have not been allowed to document their stories, nor leave monuments behind. Therefore, we are the monuments. Our monuments and our libraries are stored, produces, engraved and sounded from our bodies. We must protect these archives and forward an understanding that for us, engaging in tradition and ancestral practice is a highly contemporary action. We, now are the first generation in over 450 years with enough freedom to do so openly. Not without attack or resistance, but without annihilation. I posit firmly, that there is no action more contemporary than an African Diasporan openly making use of their ancestral practices in the production of contemporary art. What is produced could only be produced now. 

I have mentioned before how rhythm is both code, archive, and language. Rhythms, especially on the drum can even be codified to body parts. It is therefore possible, through rhythm to know how our grandfathers generation moved. It is there in their rhythms. When I engage in Caribbean drummed Dance I feel which sounds are linked to specific steps. I can sense through my body how their body moved. I can negotiate this movement through my own personality. Embracing and rejecting propositions and suggestions. As such dancing "traditional dance" becomes dancing Dances of Memory where we enter a multigenerational dialogue, played out on or own bodies as the body becomes what deciphers the generational archive, which is rhythm.

Dances of Memory are not static forms, simply passed down by the ancestors. Dances of Memory are traditional practices and methods that have been passed down and developed over time. Each generation learns it from the previous ones, but apply it with the sensibilities of their own existence. As such Dances of Memory are not regurgitation of steps but rather discourse, navigation, influence and subjectivity. The passed down practices would, through each generations unique corporeality, culture, bodily politics and influences, produce expressions which are quite different than the previous generations contribution. As such Dances of Tradition would always be current and contemporary, as the result could not have been produced by the previous generation. This is an element often misconstrued as Westernized approaches often see tradition as a static quality and an enemy of progress. Africana approaches however sees tradition as the very vehicle of the future. 

You have to interpret the Dance with your personality- Bart Niava master African Dance and Theatre lecturer and the founder of CaK.no

Cultural misappropriation disrupts the archive. When movement and rhythm are both understood. The gestures (as language) and the rhythm (as language) are both understood. As such oral traditions, rhythmic tradition, and Gestic traditions all become aspects which would give additional meaning when read together. They both transcribe, dictate and read each other. When our expressions are appropriated it becomes much like when someone just sprinkles certain foreign words into their language to sound cool, or to seem smart. The problem in this case is that once the connection between one of the three elements, gesture, rhythm, language becomes severed so dies the archive. Appropriating Dance could then be equaled to burning a library. Many of the steps found in Hip Hop for example have a direct line to the preparations for war, agricultural and resistance dances that were kept alive through the antebellum period, and which travelled across the Atlantic with our enslaved ancestors. They were kept alive in Hush Harbors, Bush Harbors and even in churches. A Hush Harbor or Bush Harbor were spaces created where Africans in the Diaspora kept their ritual and sacred practices alive. Especially those linked to song, Dance and rhythm. Hush Harbors were often in buildings. Walls were covered with wet blankets and metal kettles were placed in the center of the room. The blankets muffle sound and the kettles absorb them. It always fascinates me to which degree our ancestors understand vibration and even used these understandings to mask their activities. Yes, I wrote understand. It is not a misspelling. Through rhythm, Dance and song, through us our ancestors are still alive. We are their living archives. Rhythm and gesture help us decipher these archives.

SENSING THE WEB: YESTERDAY MUST ARRIVE TODAY TO BRING TOMORROW- Dr.Harold Charles-Harris

The principle of Sankofa is rooted in the philosophy of the Akan people of Ghana, and it is represented by the Adinkra symbol of a bird with its head turned backwards, holding an egg in its mouth. The word "Sankofa" translates to "to retrieve" or "to go back and fetch," and it is often associated with the proverb "Se wo were fi na wosankofa a yenkyi," which translates to "It is not wrong to go back for that which you have forgotten."

For me, Sankofa represents the importance of looking back to our past to understand and move forward in the present and future. It is a reminder that we must not forget our history and the wisdom of our ancestors to truly progress. The idea of returning to our past to retrieve something that has been forgotten is a powerful concept that I find myself continually drawn to in my own research and artistic practices.

In my own research, I have found that the concept of Sankofa is central to my understanding of Afritectonic Artistic Research. This approach to research emphasizes the importance of looking backwards and learning from the past to create a dynamic and exciting future. It is a way of understanding and approaching the past in a new way, not as a finished product, but as a living, breathing entity that is constantly evolving.

I am humble to that which has come before me, and I believe that to truly advance something, one must first have mastery of it. I do not believe that I am evolving or innovating Africana practices, but rather working on mastering, embodying, and repurposing them for my community. This is a different process, one in which I am not claiming to be a god, but rather acknowledging the power and wisdom that exists within our ancestral and cultural practices. I embrace the present future that can be found in the past, as my grandfather Dr. Harold Charles-Harris used to say, "Yesterday must arrive today to bring tomorrow."

In my research, I also focus on the concept of ChoreoNommo, which is the result of my study of the relationship between movement, culture, and identity. The Creole Gardens and Dancehalls, also known as Hush Harbors and Bush Harbors, were not only physical spaces, but also cultural and social spaces where the enslaved could express themselves, create new forms of music and dance, and connect with each other. These spaces were crucial for the preservation and continuation of Afrikana practices, and they continue to be a source of inspiration for my work.

Expanding on Africanist Cultural Precepts and Their Artistic Implications

Understanding Africanist cultural precepts is crucial for artists, scholars, and observers who draw upon or engage with African and African diasporic sources. These precepts are not just abstract concepts but practical guides that influence the perception, creation, and interpretation of art and reality. Their elucidation and application require an interdisciplinary approach, incorporating insights from fields like anthropology and social anthropology.

Framework for Interpreting Africanist Cultural Precepts:

1. Perceptual Lens: The cultural precepts function as a unique lens that shapes how reality is perceived, experienced, and expressed. This lens filters and organizes sensory input, foregrounding aspects of experience that resonate with Africanist values and worldviews. This filtration and emphasis are not mere acts of selection but are active, creative processes that shape mental and behavioral responses.

2. Core Values: Values such as a profound respect for life, emphasis on cooperation, celebration of interconnectedness amidst diversity, and a focus on collective responsibility are foundational to Africanist perspectives. These values transcend mere ethical ideals, infiltrating the very fabric of daily life, community interaction, and artistic expression.

3. Artistic Reflection: Art stemming from these cultural roots inherently carries these values. It's expected to reflect and reinforce notions of community, unity, and shared human experience. Africanist art typically resists narratives centered around isolation and individualism, instead favoring those that highlight collectivity and communal experiences.

The Artistic Implication of Africanist Cultural Precepts:

1. Community Centric Creation: Art in the Africanist tradition is often a communal endeavor rather than a solitary act. The creation process itself, as well as the consumption of art, is viewed as a collective activity that fosters community bonding and shared understanding.

2. Synthesis and Integration: Africanist art often seeks to synthesize diverse elements – be it styles, media, or thematic content – mirroring the cultural value of interconnectedness and holistic worldviews. It resists fragmentation, favoring artworks that integrate various aspects of life and experience.

3. Narratives of Connectivity: Storytelling and narratives in Africanist art often focus on themes of connectivity, whether familial, communal, or with nature. These narratives are crucial in conveying and reinforcing the social and moral ethos of Africanist cultures.

4. Expressive Aesthetics: The aesthetic dimension in Africanist art is vibrant, with a strong emphasis on expressive, symbolic, and often non-linear representations. This aesthetic sensibility reflects a worldview that values emotion, intuition, and spiritual connectivity over strict realism.

The effective application of Africanist cultural precepts in artistic endeavors demands more than superficial adherence to stylistic elements. It requires a deep, empathetic immersion into the worldview, values, and social constructs of African and African diasporic cultures. Only through such comprehensive engagement can the art produced resonate authentically with the essence of these rich and diverse cultural traditions. The diagram mentioned, serving as a checklist and cognitive map, helps in navigating and honoring these intricate cultural landscapes, ensuring that the artistic output is not only inspired by but also true to the spirit of Africanist cultures.

 *image by Thomas Talawa Prestø

HANGING THE WEB: A CALL FOR A REVISIT

The discourse on the African diaspora dance embodies a complex historical trajectory, often misconstrued in the mainstream narrative. The commonly held belief posits that these dances are inherently social in origin; however, a closer examination reveals that they frequently take root in the sacred. It is of paramount importance to recognize the implications of this mislabeling. Categorizing these dances as merely social facilitates a form of cultural appropriation, for the social dance domain is less guarded against such practices, unlike the distinct artistic, cultural, and sacred realms. This distinction is not merely semantic but serves as a protective boundary for the integrity and authenticity of these cultural expressions.

The journey of dances such as Rumba and Salsa exemplifies this phenomenon. Far from being spontaneous social creations, they are, in fact, the progeny of spiritual dances dedicated to the Orishas—a pantheon of deities integral to African spirituality, practices that were sustained and evolved within the diaspora, particularly in regions like Cuba. Here, the Palo spiritual tradition, with its Congolese roots, also contributed to the gestation of these dance forms. In the transcultural milieu of Cuba, the sacred movements consecrated for deities infiltrated the social sphere, undergoing a metamorphosis into popular dance. Yet, this transition is not without loss; as these dances traverse into the appropriative space, they are often stripped of their rich symbolism and cultural nuances. The original referents that imbue the steps with meaning are frequently not transmitted alongside the physical movements, leading to a dilution of the dance's intrinsic value and intent.

This selective cultural appropriation enables Euro-Western contemporary dance paradigms to posture themselves as the bastions of abstraction, semiotics, and conceptuality. This is achieved through a dichotomy that presents African diaspora dances as the antithesis—rhythmic and physically engaging yet supposedly lacking in the intellectual rigor attributed to their Euro-Western counterparts. Such a narrative is not just reductive; it is laced with racial prejudices, failing to acknowledge the profound abstraction, conceptualization, and critical engagement that is intrinsic to the diaspora's dance forms. These dances are replete with layered meanings and an advanced consciousness that often eludes those not versed in their rich cultural lexicon.

Addressing this educational void becomes increasingly critical as African diaspora dances garner more recognition and integration into academic curricula. To truly appreciate the artistic and conceptual sophistication of these dances, there must be a cultivation of a new "Gaze," an informed perspective that can discern and appreciate the multiple layers of meaning these dances convey. As the discourse on what constitutes art and conceptuality evolves, so too must the pedagogy and scholarship surrounding African diaspora dances. The call is for a reinvigoration of curricular content and a recalibration of our interpretive frameworks to recognize and respect the complexity and depth of these cultural expressions. It is an academic imperative to revisit and interrogate our understanding with renewed vigor and sensitivity as we endeavor to elevate the discourse around African diaspora dance and its rightful place within the sphere of conceptual art.

MY ABREVIATED UNDERSTANDING OF ARTISTIC RESEARCH, RESEARCH AS ARTISTIC PRACTICE AND PRACTICE AS ARTISTIC RESEARCH

Artistic research, research as artistic practice, and practice as artistic research are closely related terms, but they refer to slightly different aspects of the integration of art and research. These nuances can be important depending on the context in which the work is conducted or discussed. Here are some differences:

Artistic Research

Artistic Research is a broad term that encompasses the use of research methods within an artistic process. The goal is often to better understand artistic methods, mediums, or the creative process itself, and to contribute new knowledge to both the field of art and potentially other disciplines as well. In this framework, an artist might incorporate methods from other fields, like ethnography or data analysis, into their artistic practice in a way that both influences the art they create and adds to a broader scholarly conversation.

Research as Artistic Practice

In this paradigm, the act of research itself is considered a form of artistic practice. Rather than creating a painting, sculpture, or performance as the end result, the research activities (which could include gathering data, conducting interviews, or other scholarly methods) are presented as the artistic work itself. This reframes traditional research activities as creative acts, opening up a space for critique and reflection on the methods and assumptions behind scholarly research.

Practice as Artistic Research

In this scenario, the artistic practice is not just informed by research or considered a form of research; instead, the act of creating art is a research method in itself. Here, artists might create works not as final products but as "experiments" designed to test certain hypotheses or answer questions. The focus might be on the process of creation, or on how viewers interact with the work, rather than on the work as a finished piece. The artist might then analyze these processes or interactions in a systematic way, contributing to academic discussions or leading to new forms of practice.

Summary:

• Artistic Research: Broadly encompasses the incorporation of research methods into artistic practice, often contributing to both art and other disciplines.
• Research as Artistic Practice: The act of conducting research is seen as an artistic endeavor, transforming or critiquing traditional scholarly activities.
• Practice as Artistic Research: The process of creating art serves as a method of research, focusing on the questions that the process of making can answer, rather than on creating a finished piece as an end in itself.

These categories can overlap and are not mutually exclusive, but they offer different lenses through which to consider the relationship between art and research.

GATHERING THE WEB: NAVIGATING THE NEXUS: AFRICAN DIASPORA DANCE AS ARTISTIC RESEARCH, PRACTICE, AND RITUAL

From the moment I engaged with African diaspora dance and what I term Africana Dance, it was clear that my artistic journey would not be just a series of movements strung together to the rhythm of drums. I found myself plunged into an immersive universe where artistic practice, research, and cultural identity melded into an indivisible whole. This article aims to untangle the intricate interplay of artistic research, research as artistic practice, and practice as artistic research as they manifest in my work in African diaspora dance, particularly in a Norwegian context.

The Imperative of Research in Marginalized Art Forms

African diaspora dance isn't simply a 'style' of dance; it's an archive, a library of legacies, stories, rituals, and resistances. When these dance forms have been marginalized or misrepresented due to colonial histories, the necessity for research escalates from academic endeavor to ethical obligation. Here, the research becomes an act of cultural preservation and reclamation. In this entangled skein of history and movement, each dance step narrates an often-overlooked chapter of Africana history.

Research Across Borders: The Digital Diaspora

Being based in Norway, the ability to reach across geographical divides to engage with the rich tapestry of African diaspora dance is crucial. Thanks to digital tools like WhatsApp and Zoom, I've built a network of cross-border collaborations. These technologies have facilitated a sort of digital diaspora—communities united not by locality but by shared purpose. It's an act of resistance against the spatial limitations that could easily confine my practice and research.

The Synergy of Multiple Research Perspectives

In my own dance practice, the lines between artistic research, research as artistic practice, and practice as artistic research blur into a rich tapestry of inquiry and expression. Artistic research guides my understanding of history and spirituality. Research as artistic practice reveals itself in my acts of community-building and knowledge-sharing. Practice as artistic research emerges when I translate, adapt, and evolve these ancient dance forms into new settings, constantly questioning how they shift and what these transformations signify.

The Ethical Underpinning: Battling Exoticism and Appropriation

Art devoid of its roots risks becoming an object of exoticism and appropriation. In my practice, research serves as both shield and sword against such misinterpretations. By diving deep into the histories, rituals, and significances of these dances, I aim to protect their cultural integrity. It's a form of scholarship that exists not just in theory but is embodied in each rhythmic footfall and swaying hip.

Institutional Challenges and Education through Practice

Operating within the Norwegian institutional framework, where African diaspora dance is not readily offered in schools or well-understood, adds an educational dimension to my work. Each dance sequence, workshop, and performance turns into an enlightening space—not just for me, as I continually learn from elders and fellow artists, but also for my audience, who are often encountering these rich traditions for the first time.

The triad of artistic research, research as artistic practice, and practice as artistic research offers a comprehensive framework to understand the complexities of African diaspora dance. But it is more than an academic exploration; it's an embodied journey through time, space, and identity. It's a dance of resistance against erasure, of celebration of heritage, and of constant, rigorous inquiry into the intertwining legacies of Africana communities. And so, as I wine through this intricate landscape, I find myself not just an artist or a researcher, but a storyteller, a historian, a student, and—perhaps most importantly—a guardian of the rich tapestry of African diaspora dance.

FASTENING THE WEB: DEFINING MY RESEARCH METHODOLOGY – in search of decolonized concepts, or post-colonial potential.

As a researcher engaging in artistic research from a decolonial, embodied, practitioner-focused, community-based, spiritually inclusive, and Africana worldview-based perspective, I have found that there are few established research methods that resonate with my approach. The traditional Europeanist approach to art research, which is the dominant perspective in academia, does not adequately capture the nuances of my research and often requires me to do triple the work of other researchers simply to adapt established methodologies.

However, this does not mean that I reject academia or established methodologies and terminologies outright. Instead, I choose to perform a form of subversive rebellion by subjugating established terminology and concepts and replacing them with my own. I engage in ChoreoNommo and Nommo naming practices, which allow me to define, describe, name, and conceptualize my research from the bottom up, based on its own logics and to analyze it for what it is or can be in that context. This approach requires both practical work, imagination work, and critical theory, and it allows me to see if a fresh perspective and approach can realize the potential of my research.

Artistic research is still in the process of being defined, and therefore, I believe it is important to make allowances for innovation, which other academic forms might not. I invite readers to embrace these terminologies and methods, and to test their application in their own writing, investigations, and musings about their research, practice, and findings. By doing so, we can work towards creating a more inclusive and nuanced understanding of artistic research, and to bring new perspectives and approaches to the field.

ENDOGENIC AND EXOGENIC ARTISTIC RESEARCH

Endogenic and Exogenic Artistic Research: Decolonial Perspectives on Art Production

Introduction: Endogenic Artistic Research and Exogenic Artistic Research are two distinct approaches that challenge the dominant paradigms in art production. These approaches offer a critical thinking praxis, rooted in decolonial perspectives, that encourages researchers to situate themselves in relation to the practices they study. By understanding the definitions of these terms and their implications, we can foster a more inclusive, equitable, and self-reflective approach to artistic research.

Definitions:

• Endogenic Artistic Research: An insider view on art production, where the researcher must be an erudite practitioner and an insider of the praxis and practice being studied. This approach acknowledges the importance of personal connection, cultural background, and embodied experience.

• Exogenic Artistic Research: A perspective in which the researcher is not an erudite initiate of the practices under study. It involves the examination of art production from an external or majority culture's point of view, which may perpetuate colonial and Eurocentric approaches to indigenous and Africana material.

Elaboration: Endogenic Artistic Research centers on the researcher's insider perspective and requires deep familiarity and immersion in the cultural praxis being studied. It recognizes the erudition and experiential knowledge necessary to comprehend and authentically engage with the subject matter. This approach seeks to counter the hegemony of EuroWestern academic universality, which often disregards decolonial and equitable perspectives concerning culture, race, ethnicity, perspective, and histories.

Conversely, Exogenic Artistic Research acknowledges that some practitioners may not possess an insider's perspective or direct experience of the practices they investigate. Researchers adopting an exogenic approach must critically engage with the subject matter from an external standpoint. However, it is crucial to be aware of the potential pitfalls of this approach, such as adopting a colonial or Eurocentric lens when examining indigenous and Africana material. This highlights the necessity of employing a decolonial lens and critical thinking in exogenic research endeavors.

The concepts of Endogenic Artistic Research and Exogenic Artistic Research go beyond a hierarchical framework. They urge researchers to situate themselves and acknowledge their own positionality in relation to the material being studied. These approaches challenge the illusion of objectivity or neutrality, emphasizing the privilege of assuming one's own centrality over the erroneous assumption of universality. They advocate for a critical engagement with cultural, social, and historical contexts, promoting a more equitable and decolonized understanding of art production.

Endogenic and Exogenic Artistic Research share common ground with Ethnotectonic Artistic Research and Afritectonic Artistic Research, as all these concepts draw inspiration from geology as a metaphorical source. Just as geology provides a lens to examine the earth's structures and processes, these research approaches invite us to explore the relationship and positioning of the researcher in relation to the artistic material. They encourage a deep exploration of cultural specificities, the politics of representation, and the dismantling of Eurocentric perspectives in artistic research.

GATHERING THE WEB: ETHNO-TECTONIC ARTISTIC REASARCH (ETAR)

Ethno-tectonic artistic Research is:

• a research practice which is based on the study of deep culture and how this ethnic deep culture shape and influence the creation and presentation of art within that culture. 

In envisioning an artistic research methodology that delves deep and navigates multiple centrisities simultaneously, I found particular value in the following terminology. It allowed me to grapple with the complexities of existing within overlapping frameworks, where differing centrisities could coexist, yet remain rooted in one while being conscious of their context in the other. One metaphor that resonated strongly with this dynamic was that of tectonic plates, constantly in motion, occasionally converging for extended periods, and explaining the existence of plants and fauna across multiple plates. Too often in anthropological and artistic research when one finds an aesthetic element in an expression one seeks to “give it” or categorize it as belonging to one culture or the other, often looking for difference. Viewing this as tectonic plates one can acknowledge the existence of multiple cultural expressions and or aesthetics on across tectonic plates without necessarily fastening it on one or the other, one can also by tracing “collisions” say something about opportunities of “cross pollination” like in Brenda Dixon Gotschilds concept of Africanist Aesthetic influence on Europeanist dance expression, or look at the formation of more permanent hills structures and islands such as in various theories of creolization etc. It allows for a certain freedom of taxonomy yet keeping up to a certain level of necessary specificity.

Similar to the beforementioned geological phenomena, the collision of centrisities can give rise to new elements and conditions, shaping the artistic landscape. Mountains and valleys may emerge, symbolic of the challenges and opportunities that arise when different cultural perspectives meet. Vulcanic activities may manifest as the passionate exchanges and clashes of ideas, enriching the artistic discourse. It is within this context that islands of creativity and innovation can emerge, where new possibilities come to life.

Despite their collision and the transformative effects they bring forth, the individual tectonic plates continue to exist in their own right, distinct yet interconnected. Similarly, my aspiration was to belong to a philosophical tectonic plate while actively engaging and creating within another. This called for a philosophical framework that could accommodate the need to be more than one thing, to exist in multiple contexts simultaneously.

From this philosophical reflection and the desire to navigate multiple centrisities while remaining rooted in an Africentrist praxis within predominantly Europeanist frameworks, the perspective of ethno-tectonic artistic research emerged. It encompasses the understanding that artistic research can be conducted through the lens of cultural, ethnic, and geographical contexts, acknowledging the influences and dialogues that arise from these intersections. By embracing this perspective, I sought to go beyond a singular worldview and engage in a broader dialogue of diverse artistic practices.

Within the scope of ethno-tectonic artistic research, a specific focus emerged, deepening into Afri-Tectonic Artistic Research. This specialization allowed for a concentrated exploration of the Africentrist perspective within the broader ethno-tectonic framework. It aimed to unearth the complexities and nuances of African artistic traditions, their intersections with Europeanist influences, and the unique creative expressions that emerge from this interplay.

Ethno-tectonic artistic research (ETAR)  a concept I coined in 2019 to create a terminology to describe the type of artistic research that I engage in. Tectonics refers to the structure of the surface of the earth and the way it is formed, changed and moved by forces inside it. 

The beforementioned “tectonics” definition I fused with a concept of studying deep ethnic culture and expression, and how these expressions of the cultures are formed, changed, and moved by forces, predominantly from the inside. This imagery also allows for thinking of various centricities as tectonic plates that collide and influence each other, sometimes creating dramatic effects on the surface. 

I mention the surface because it is important to understand that although tectonic plates colliding can create mountains and valleys, what is beneath the surface, remains in its essence, the same. African and European culture can as such collide and create mountainous expressions which are appropriated on both tectonic plates, yet each of the plates, under the surface, remain predominantly the same. 

Ethno-tectonic artistic Research is:

• a research practice which is based on the study of deep culture and how this ethnic deep culture shape and influence the creation and presentation of art within that culture. 

Ethno-tectonic artistic research is a broad umbrella term that encompasses the study of art practices within a specific cultural context, with a focus on the cultural, historical, and cosmological factors that shape these practices. It allows for the analysis of the complex relationships between art, culture, and worldview within a specific community or cultural group. 

Inside view- endogenic view

From the perspective of an insider-practitioner, ethno-tectonic artistic research allows for the study of how their art practices are shaped by the cultural values, beliefs, and traditions of a specific community or group and tectonic plate to which they belong. This can involve the analysis of the ways in which these practices are passed down through generations and evolve over time, as well as the role that they play in shaping the cultural identity of the practice community and the practitioner themselves.  As an insider, the practitioner or researcher does not need to adopt a sceptical or arms-length distance approach when studying and writing about these practices, but rather can approach the research centred in their own tectonic plate, cosmology and beliefs without assimilating into western hegemonic perspectives to then pretend to analyse their practices objectively.  

Outside view- exogenic view

From the perspective of an outsider, this research framework allows for the examination of how the topography of a specific art practice is shaped by external factors, such as the interaction with other cultures or the impact of colonialism and globalization. This can involve the analysis of the ways in which these external forces shape the art practices of a specific community or group, and the ways in which these practices change and adapt in response to these forces. 

SENSING THE WEB: COSMOCENTRIC AND POLYCOSMOCENTRIC ART PRACTICE

Ethno-tectonic artistic  Research provides a framework through which we can understand Cosmocentric Art Practice and Polycosmocentric Art Practices, for example. These are concepts which are in and of themselves quite complex and large. It was therefore important for me to formulate concepts which allowed a visual, and conceptual dynamic adeptness in adapting a micro and macro perspective simultaneously, and allowing for ever spiralling and complexing perspectives. 

• Cosmocentric Art Practice (CAP) refers to art practices that are centered on a specific cosmological view or worldview. This could involve the use of specific symbols, rituals, or traditions that are rooted in the cultural beliefs and values of a particular community.

• Polycosmocentric Art Practice (PCAP) refers to art practices that are based on multiple cosmologies, such as syncretic practices that combine elements from different cultural traditions. This can be seen in the fusion of different cultural practices, such as African diaspora religions that incorporate elements from multiple African ethnic groups.

The imagery of tectonic plates allows for a semi-geographical organization of philosophies and worldviews, as well as the recognition that within one tectonic plate there may be a wide range of differing worldviews. It also allows for the analysis of the collision of tectonic plates, such as the mixing of Abrahamic religions with artistic practices rooted in pre-existing cosmologies that were present before Arabic and Europeanist colonialisms. 

Much drum and dance practice are performed by Christian or Muslim performers, but where the rhythm, movement, approach to the body etc. are based on a different cosmology. The tectonic plates have collided, changing the topography, yet the deeper elements might remain. Similarly ,this could be put as an imagery to explain African American Gospel and the ceremonies distinctly African aesthetic form which is quite different than the more subdued Europeanist worship aesthetics.  

Overall, ethno-tectonic artistic research provides a framework for studying the complex relationships between art, culture, and worldview within specific communities and cultural groups, and allows for the analysis of the ways in which these relationships change and evolve over time.

SENSING THE WEB: AFRITECTONIC ARTISTIC RESEARCH IN AFRICANA DANCE

My research journey has consistently straddled the line between the corporeal and the cosmic, the historic and the deeply personal. Located at this interstice is Afritectonic Artistic Research—a specialized framework I have devised that investigates Africana dance's significance, both as an artistic and as a sociocultural expression.

Defining Afritectonic Artistic Research

• Afritectonic Artistic Research: This is a specialized branch of artistic research that delves deeply into the complex matrix of influences, from materials and techniques to symbols and themes, that are unique to Africana cultures and communities. It broadens the lens through which we see art, extending it to encompass not only the art form but also the cultural, social, and political structures that shape Africana experiences.

Afritectonic Artistic Research aims to fulfill several objectives:

1. Cultural Preservation: To examine how ancestral Africana knowledge and cosmologies can be integrated into modern artistic expressions for the dual purpose of cultural preservation and rejuvenation.
2. Sociopolitical Contextualization: To scrutinize how broader systems of colonization, oppression, identity, and cultural heritage have shaped and continue to shape Africana communities, and subsequently inform their artistic undertakings.
3. Artistic Innovation: To probe how these unique Africana elements can be employed in creating art that resonates both within specific communities and on a more universal scale.

Intersecting Afritectonic Artistic Research with Embodiment

Within the frame of Afritectonic Artistic Research, embodiment isn't just an abstract concept; it becomes a tangible method of inquiry and expression. I rely heavily on the multidirectional approach of AfriCognoSomatics, which interlaces cognition with somatic experiences in an African context, to articulate the nuanced ways the body becomes a repository of collective memory, lived experience, and cultural wisdom.

Practical and Theoretical Potentials of Afritectonic Artistic Research

1. Cultural Plurality: Afritectonic Artistic Research allows us to diversify the cultural perspectives that inform artistic practice and critique. It is a pathway to shatter the homogeneity of Eurocentric viewpoints.

2. Interdisciplinary Collaboration: This research approach necessitates a varied academic toolkit, incorporating anthropology, cultural studies, and even political science, offering a ground ripe for interdisciplinary dialogue and collaboration.

3. Social Relevance: The methodology is inherently political, addressing issues like identity, power, and representation—underlining the inherently political act of making Africana art visible on the global stage.

4. Embodied Knowledge: The focus on Africana materials and techniques brings attention to the deeply ingrained embodied knowledge that exists within these communities. This takes our understanding beyond just the performative aspects to a more profound, lived-in reality.

HANGING THE WEB

VODOU AS A NEXUS OF ARTISTIC RESEARCH AND ARCHIVE: TRACING DIASPORIC HERITAGE AND SPIRITUAL INNOVATIONS

Vodou, beyond being just a spiritual practice, intertwines history, memory, and art to build a living tapestry that tracks the African diaspora's cultural trajectory. This interwoven paradigm both challenges and enriches conventional narratives on diasporic identity and the broader artistic research landscape.

The Multiplicity of Ethnic and Divine Lineage in Vodou

1.1. Ethnographic Origins and Spiritual Archives

Vodou doesn't merely represent a melding of African spiritualities; it actively archives them. The classification of rhythms, chants, and dances is an intricate system of documentation. Each element can be traced back to specific ethnic roots, from the Yoruba to the Fon. This meticulous categorization offers an immersive experience, where participation in a ritual or performance is akin to a journey across the diverse cultures of Africa.

Vodou’s deep afriretentive nature underscores its capacity to archive African spiritualities. The detailed categorization of rhythms, chants, and dances reflects the various Afrocentric lineages, from Yoruba nuances to the vibrant Fon ethos. This meticulous organization provides a multi-layered experience that transforms Vodou rituals into a polydiasporic journey through the multifaceted tapestry of African culture.

These categorized elements have not stagnated; they've evolved over time, adapting to the contexts in which they're practiced. They serve as dynamic records, bearing testament to cultural interplay, resilience, and innovation. Every rhythm, chant, or dance in Vodou carries with it stories of migration, adaptation, and survival, making Vodou rituals vibrant history lessons.

Lastly, the detailed classification isn't just an intellectual exercise. It's a deeply spiritual one. It signifies respect and reverence for the origins, ensuring that each tradition retains its unique essence even as it blends with others. Through this, Vodou ensures that the individual identities of the various African cultures it encompasses are preserved and celebrated.

1.2. Bloodline, Altars, and Genetic Memory

Family altars in Vodou are much more than ritualistic platforms; they are genealogical records that connect the spiritual with the biological. These altars, replete with symbols and deities associated with particular lineages, trace back familial roots across the Atlantic, embodying ancestral memories and connections.

Vodou’s family altars, rooted in an africontinued paradigm, are portals that bridge spiritual practices with genealogical roots. With the advent of genetic testing, the altars' africontinued essence has been validated, as many families find their altars resonating deeply with their genetic heritage. These revelations challenge the notion that the diasporic African communities have lost touch with their roots. Instead, Vodou’s africontinued practices suggest that memory, both spiritual and genetic, remains intact and celebrated.

Recent advancements in genetic testing have brought forth fascinating revelations. Many families practicing Vodou have found that their altars resonate deeply with their genetic lineages. This remarkable alignment between spiritual practice and genetic heritage reiterates that Vodou isn't just about belief; it's also about remembrance. The altars serve as conduits to the past, confirming that memory, encoded in both spiritual rituals and DNA, is enduring.

Furthermore, this spiritual-genetic alignment challenges the narrative that African descendants in the Americas have been entirely cut off from their origins. Vodou, through its family altars and practices, negates this erasure, showcasing that ancestral memories and connections have been maintained, revered, and passed down through generations.

2. Diasporic Fluidity: Transatlantic and Territoriogenic Elements in Vodou

2.1. Adapting and Evolving within the Americas

While Vodou is deeply rooted in African spiritual traditions, it isn't insular. As it traveled across the Atlantic, it absorbed elements from the new lands, integrating them into its framework. This absorption wasn't just passive; Vodou actively recognized and celebrated new deities and narratives that emerged from the diasporic experience. These adaptations reveal Vodou's intrinsic flexibility and its ability to resonate with diverse experiences.

This evolutionary characteristic doesn't dilute Vodou's essence. Instead, it amplifies it, making the spiritual practice a living, breathing entity that evolves with time and context. The ability to integrate new narratives while maintaining its core essence makes Vodou an exceptional model of cultural preservation and innovation.

Moreover, these diasporic innovations in Vodou aren't just supplementary; they're central. They reveal histories of interactions, conflicts, resolutions, and amalgamations in the diaspora. 

Vodou’s journey across the Atlantic and its subsequent terretoriogenic evolution embodies its afritectonic adaptability. While deeply rooted in African traditions, Vodou has embraced and integrated elements from its new environments, showcasing its resilience and adaptive capacity. This afritectonic nature ensures that Vodou remains relevant and resonates with the evolving diasporic experiences.

Vodou’s adaptability reflects its historical and sociological facets, bearing witness to the intricate stories of interactions, evolutions, and the shared memories of the African diaspora in the New World.

2.2. Distinct yet Connected Spiritual Realms

The spiritual landscape of Vodou is vast and varied, acknowledging both transatlantic divinities and those that have their roots in the diaspora. This delineation offers a nuanced understanding of divine origins and spheres of influence. It emphasizes that while some spiritual entities have deep roots in Africa, others emerged from the specific experiences and contexts of the diaspora.

Vodou’s polyspirit praxis celebrates both its transatlantic and terretoriogenic spiritual realms. The mutual respect and harmony between these two realms in Vodou showcases its ability to celebrate diverse origins without creating hierarchical distinctions. This egalitarian approach deepens Vodou’s narrative, making it a rich example of polydiasporic harmony.

This understanding moves beyond mere recognition. It provides a platform for diasporic communities to create, innovate, and add to the rich tapestry of Vodou without feeling restricted by its African origins. This freedom fosters a sense of belonging and agency among practitioners in the Americas, allowing them to see themselves as active contributors to Vodou’s ever-evolving narrative.

Yet, while Vodou celebrates these multiple origins, it doesn't create hierarchies among them. Transatlantic and territoriogenic entities coexist harmoniously, each acknowledged and revered for its unique essence and contributions. This egalitarian approach enriches the Vodou narrative, adding layers of complexity and depth.

3. Art as Embodied Archive: The Afritectonic and Ethnotectonic Dimensions of Vodou

3.1. Preserving Memory through Movement and Melody

Vodou’s artistry, steeped in endogenic artistic research, embodies afritectonic memory. Every dance, rhythm, or song within Vodou acts as a conduit to ancestral realms, ensuring the past is dynamically relived. These artistic elements, while grounded in the past, also provide space for new narratives to emerge, emphasizing Vodou’s commitment to evolution.

Art in Vodou isn't a mere representation; it's a vibrant embodiment. The sung rituals, the danced ceremonies, and the performed rites are dynamic repositories of history, memory, and lineage. Each element, be it a rhythm, a dance step, or a chant, echoes ancestral voices, ensuring that the past is not just remembered but also relived.

The artistic expressions within Vodou also serve as tools of communication. Through them, narratives of migration, resilience, adaptation, and survival are conveyed, making each performance a potent storytelling session. These stories, passed down through generations, not only educate but also instill a sense of identity and purpose among Vodou practitioners.

Furthermore, Vodou's art doesn't just look back; it also gazes forward. While it preserves ancient narratives, it also provides space for new stories to emerge. In this way, art in Vodou is both retrospective and prospective, making it a dynamic archive that's ever-growing and ever-evolving.

3.2. Living Archives in Community Practices

Community practices in Vodou aren't just ritualistic gatherings; they're pulsating hubs of cultural transmission. These communities ensure that Vodou isn't just about individual spirituality but about collective memory and identity. By coming together, practitioners create a shared space where learning, expression, and preservation happen concurrently.

Within these communities, elders play a pivotal role. They are the living bridges between the past and the present, ensuring that ancient practices, stories, and wisdom are transmitted to younger generations. Through oral traditions, performances, and mentorship, they keep the Vodou flame burning brightly, ensuring its continuity.

But these community practices aren't just about preservation. They also foster innovation. As practitioners from diverse backgrounds and experiences come together, they share, adapt, and create new narratives, rituals, and artistic expressions. These community spaces, therefore, are crucibles of both preservation and innovation, making Vodou a continually evolving and enriching tradition.

4. The Syncretic Academic Paradigm: Vodou as a Living Curriculum

4.1. Integrating Art, Culture, and Spirituality

Vodou, through its afritectonic artistic research, propounds a holistic model that synergizes visual arts, dance, music, and rituals. This integrated framework redefines academic boundaries, suggesting a multidisciplinary approach to understanding polydiasporic traditions.

Vodou offers a holistic approach to understanding African diasporic traditions. It seamlessly integrates visual arts, music, dance, and rituals, creating a multi-dimensional experience for practitioners and observers. Each artistic expression, be it a painted Vodou flag or a drum rhythm, provides insights into the intricate interplay between art, culture, and spirituality.

Moreover, these artistic practices aren't isolated; they're interconnected. A Vodou song might inspire a dance, which in turn might inspire a painting. This interconnectedness reveals the intricate web of influences and inspirations within Vodou, making it a rich and complex field of study.

Furthermore, the integration of art, culture, and spirituality in Vodou challenges conventional academic silos. It prompts scholars to adopt interdisciplinary approaches, recognizing that art isn't just about aesthetics; it's also about spirituality, history, sociology, and much more. Vodou, in this sense, pushes the boundaries of academic inquiry, encouraging a holistic and interconnected exploration.

4.2. Challenging Western-centric Research Norms

Vodou's deep roots in African consciousness provide an alternative to Western-centric research methodologies. It emphasizes embodied knowledge, urging researchers to immerse themselves in practices, rituals, and communities to gain insights. This immersive approach contrasts with detached, observational methodologies prevalent in many Western academic settings.

Furthermore, Vodou's emphasis on oral traditions, community practices, and experiential learning challenges conventional notions of what constitutes valid knowledge and evidence. In Vodou, a song passed down through generations or a dance taught by an elder carries as much weight as a written document. This approach broadens the research spectrum, valuing diverse forms of knowledge transmission.

Lastly, by prioritizing lived experiences and community wisdom, Vodou centers voices that are often marginalized in conventional academic settings. It values the knowledge of elders, practitioners, and community leaders, ensuring that research is inclusive, democratic, and representative.

5. Vodou's Resonance in Contemporary Artistic Endeavors

5.1. Inspiring Modern Expressions

Modern artists, captivated by Vodou's rich tapestry, have reimagined its elements in contemporary contexts. From visual arts to music, Vodou's influences can be seen in a myriad of modern artistic expressions. These reinterpretations, while rooted in tradition, resonate with global audiences, showcasing the universality of Vodou's themes and motifs.

However, this modern reinterpretation isn't just about aesthetics. It's also about dialogue. Through their work, contemporary artists initiate conversations about identity, diaspora, memory, and spirituality. They challenge audiences to reflect, question, and engage with Vodou's themes, ensuring that its essence is both preserved and propagated.

This careful categorization symbolizes deep reverence for Vodou’s diverse origins, ensuring that each tradition sustains its uniqueness while forming part of the larger polydiasporic narrative.

Moreover, these modern expressions serve as bridges between the past and the present. While they draw from ancient Vodou practices, they also incorporate contemporary themes, making Vodou relevant and relatable to today's audiences. Through this fusion of the old and the new, artists ensure that Vodou remains a dynamic and evolving tradition.

5.2. Ethical Engagements with Tradition

While Vodou serves as a wellspring of inspiration, it also demands respect. Artists, scholars, and enthusiasts are encouraged to approach it with reverence, recognizing the weight of the traditions they're engaging with. This ethical engagement ensures that Vodou isn't commodified or misrepresented.

Furthermore, ethical engagement with Vodou emphasizes collaboration. Artists are encouraged to work with Vodou practitioners, ensuring that their interpretations are informed, authentic, and respectful. This collaborative approach not only enriches artistic expressions but also fosters mutual respect and understanding.

Lastly, by emphasizing ethics, Vodou ensures that its rich legacy is not just tapped into for inspiration but is also protected, preserved, and propagated with integrity. It sets a standard for how ancient traditions can be engaged with in contemporary contexts, ensuring that they're celebrated and not appropriated.

WRAPPED IN SILK: SIMPLIFIED LECTURE NOTES:VOUDOU: AN EMBODIMENT OF ARTISTIC RESEARCH AND AFRICAN CONTINUITY

Voudou or Vodun, as a cultural and spiritual practice, has long transcended its African origins, weaving a distinct tapestry of memories, traditions, and resistances across the Diaspora. Esteemed scholar Thomas Farris-Thompson encapsulates its essence as 'Africa Re-blended.' This characterization, however, is not a mere recognition of cultural amalgamation but an acknowledgment of Voudou's intentional and reverential act of preserving African traditions while forging new identities.

From an academic vantage point, Voudou stands as an exemplar of meticulous archival practices. Within its rhythms, dance patterns, deities, and myths, one can discern a deliberate archiving process that attributes each element to its respective African lineage. It is a practice that meticulously catalogues over two dozen African ethnicities, revealing a depth and precision that often eludes Western explorations of Africana legacies in the Circum-Caribbean and the Americas. Thus, Voudou emerges not merely as a spiritual conduit but also as an unparalleled reservoir of cultural knowledge.

The Caribbean, as a vibrant intersection of histories and traditions, presents itself as both a challenge and an opportunity. For scholars and practitioners venturing into the realm of cultural integration, a fundamental question arises: How does one merge diverse traditions without diluting or overshadowing individual nuances? Voudou, with its intricate processes and philosophies, offers a blueprint. It presents a framework that promotes harmonious integration, ensuring the sanctity and distinctiveness of each contributing culture are preserved and celebrated.

Yet, the significance of Voudou extends beyond its capacity as an archivist or a guide for cultural integration. Born in the crucible of colonialism, Voudou evolved as an act of defiance against the hegemonic undertones of colonial Christianity. It championed identity, resilience, and resistance. This is poignantly evident in the Haitian revolution, wherein Voudou wasn't merely a spiritual balm but an instrument of political and ideological resistance. Leaders, fueled by its philosophies, spearheaded movements that eventually led to Haiti becoming the first republic to liberate itself from colonial shackles.

Given this intricate weave of archival brilliance and resistance, Voudou's potential as a foundational template for artistic research becomes evident. For diasporic artists, Voudou serves as a bridge, enabling a return to continental roots while simultaneously acknowledging the diaspora's multifaceted journeys and philosophies. It is more than a mere reference point; it is a dialogue between origin and transformation, past and present. In essence, Voudou equips artists with a robust foundation, catalyzing the creation of art that resonates deeply with the multifaceted tapestry of Africana heritage.

HANGING THE WEB VOUDOU A PARADIGM OF CULTURAL INOSCULATION IN AFRICAN SPIRITUAL PRACTICES

The common perception of Vodun, as observed within the African diaspora, often gravitates towards notions of syncretism or creolization. However, a deeper examination reveals a different reality. Vodun exemplifies what can be termed as 'cultural inosculation', particularly among various African spiritual traditions, contrary to the widespread view of it being a syncretic or creolized religion.

Cultural Inosculation: A New Perspective

Cultural inosculation, drawing its metaphor from botany where two trees naturally grow into each other, offers a unique lens to view Vodun. This concept speaks to an organic and intertwined growth of distinct cultural entities. Distinct from syncretism and creolization, cultural inosculation emphasizes the gradual, mutual integration of separate cultural identities. In the context of Vodun, this means the coalescence of different African spiritual practices that maintain their distinct identities while interweaving to form a complex, multifaceted tradition.

Vodun's African Roots: Beyond Syncretism and Creolization

The narrative of Vodun has often been oversimplified as a fusion of African religious practices with non-African elements in the New World. However, this view overlooks the intrinsic polydiasporic nature of African spirituality. Vodun, as practiced in the diaspora, is primarily an inosculation of diverse African spiritual traditions. These practices, although uprooted from their original geographical contexts, did not lose their distinctiveness; instead, they found common ground, intertwining in a manner that preserved their unique characteristics while forming a robust spiritual framework.

The Significance of African Spiritual Diversity in Vodun

Vodun's identity as a product of cultural inosculation underlines the diversity and complexity within African spiritual systems. It reflects how these systems, although separated by geographic and ethnic lines, can intertwine in diasporic contexts to create a spiritual practice that is reflective of a shared African heritage. This process acknowledges the varied and rich spiritual landscapes of Africa, countering the notion that African spirituality is a monolithic entity.

PULLING THREADS: THE PERSONAL AND COSMIC INTERCONNECTEDNESS

In my role as a dance practitioner located in Northern Europe, and as someone deeply rooted in the African Diaspora with Caribbean and African American descent, Afritectonic Artistic Research provides more than an academic framework; it becomes a life map. It allows me to excavate the hidden dimensions of collective memory that live in the soul of every dance move, to decipher the wisdom hidden in the sinews of each muscle and to understand the vibrational conversation that takes place between my practice and the ancestral energies that surround it.

Afritectonic Artistic Research is not just an intellectual endeavor but a lived experience, a dynamic interplay of history, culture, and individual existence. It serves as both a guiding framework and an exploratory tool for understanding the tapestry of influences that shape Africana dance forms and their sociopolitical context. With it, I am not just contributing to the academic discourse; I am actively participating in a cosmic conversation rooted in the cultural and historical tapestries that define me. I am enriching my own practice, fostering greater understanding within the communities I engage with, and contributing to a more inclusive field of artistic research.

GATHERING THE WEB:AFRICOSMOTIC ART AND THE PROCESS OF AFRICOSMOSIS

As an artist and researcher, I have coined the term "Africosmosis" to describe the process of returning to or incorporating African or African Diaspora based philosophies, practices and logics into one's art or cultural practices. This concept is rooted in the idea of "cosmosis," which refers to the process of returning to or becoming one with the cosmos. In the context of my Ph.D project, Anansis Web, I have applied this concept to the study of Africana artistic practices and traditions, and how they shape and influence the creation of art.

Africosmosis is a process that happens in African and diaspora syncretic practices, as well as in the repurposing of art practices to serve Africana cosmology-centered practice, even when the element does not necessarily spring from there. 

Africosmosis differs from creolization and hybridity as concepts because it clearly denotes the cultural and cosmocentric core on which the practice is rooted philosophically regardless of which cultural source it might have originated from. It is a teleological denominator where process and function is the organizing factor. 

Examples can include the centering of the hip-hop cipher as a sacred circle, the repurposing of stage light and smoke as magical realism in a cosmoscentric dance ritual, or the use of art as a tool for exploring and expressing Africana cosmologies and spiritual beliefs. In this way, Africosmotic art refers to art that is created through the process of Africosmosis, which involves the incorporation of African and African diaspora cosmologies and ancestral or rooted practices into contemporary artistic practice.

Furthermore, I have also coined the term "Africosmoticity" to describe the measure of the extent or quality of which something is influenced or shaped by Africana cultures, philosophies, and cosmologies. The concept of Africosmoticity is a way of quantifying the degree of how much a practice, art, or culture has been influenced by Africana elements, it can be a way of gauging the authenticity of the Africana element present in a practice, or a way to understand the depth of the Africana element present.

In summary, Africosmosis and Africosmoticity are concepts that I have developed to better understand and explore the ways in which Africana artistic practices and traditions shape and influence the creation of art.

WRAPPED IN SILK: SUMMARISED DEFINITIONS: Africosmosis, AFricosmotic Art, Africosmoticity

• Africosmosis refers to the process of returning to or incorporating African or African Diaspora based philosophies, practices and logics into one's art or cultural practices. It is a term coined by Thomas Talawa Prestø for the Anansis Web Ph.D project, and it highlights the importance of understanding the connection between art and culture, and the role that art plays in fostering connection, understanding, and growth for all involved.

• Africosmotic art is art that is created through the process of Afrocosmosis, which involves the incorporation of African and African diaspora cosmologies and ancestral or rooted practices into what would be deemed contemporary artistic practice. It may also include the incorporation of spiritual or metaphysical concepts or themes into art or the use of art as a tool for exploring Africana cosmologies and spiritual beliefs.

• Africosmoticity is a measure of the extent or the quality of which something is influenced or shaped by Africana cultures, philosophies, and cosmologies. This term, also coined by Thomas Talawa Prestø, allows for an assessment of the degree to which a particular piece of art or cultural practice is rooted in Africana cosmologies and can be used as a tool for understanding the complexity and nuances of artistic expression.

• Africosmotic Art Practice refers to the creative process of incorporating African and African diaspora cosmologies, philosophies, and ancestral or rooted practices into contemporary artistic expression. This process is known as africosmosis, and it is characterized by the intentional and purposeful use of Africana cultural elements, themes, and symbols in the creation of art.

• Examples of Africosmotic Art Practice include:
  • The use of traditional African drumming and rhythm in contemporary music production, with the intention of connecting with and honoring the ancestral roots of the music.
  • The incorporation of Afrocentric themes and symbols in visual art, such as the use of Adinkra symbols in painting or sculpture, with the purpose of expressing and exploring Africana cosmologies and spiritual beliefs.

THE NEED FOR SPECIFICITY: AVOIDING FLATTENING EXPANDING ON THE CONCPETS OF AFRICONTINUED AND AFRI-RETENTIVE

 PRACTICES

The act of creating precise and specific terminology, akin to a form of "taxonomy," serves as a deliberate effort to enhance the depth and clarity of discourse surrounding dances of the African Diaspora. This endeavor is driven by the recognition that vague or overarching terms can lead to a flattening of our understanding and practice of the diverse dance forms within this rich cultural tapestry. This approach endeavors to bring about a nuanced comprehension of the intricate variations within these dances, aligning both with an embodied understanding and an academic exploration.

One compelling reason for the development of this terminology lies in the avoidance of imprecise and all-encompassing labels. Such generic terms tend to oversimplify the complexity and distinctiveness of different dance practices. This flattening effect can hinder our ability to appreciate the intricate nuances, cultural origins, and historical trajectories that each dance form encapsulates. By employing a taxonomy that delves into specifics, we transcend this limitation and foster a more profound grasp of the dances' essence.

GATHERING THE WEB: AFRITECTONIC ARTISTIC RESEARCH AND THE CONTINUED AND RETENTIVE MATRIX

In the vast, complex panorama of Africana cultures and their diasporic trajectories, my exploration has always been anchored in deciphering the delicate balance between ancestral roots and modern artistic endeavors. Within this exploration, the conception of Africosmosis has emerged — a multifaceted process exemplifying the amalgamation of Africana cosmologies within the evolving tapestry of artistic expressions.

Central to this exploration, are two foundational frameworks: "Africontinued" and "Afri-retentive" practices. Each offers a different perspective on how African and diaspora cultures interact with, reshape, and are reshaped by, their ever-changing environments:

1. Africontinued: This term refers to cultural practices that have endured in the African diaspora while maintaining their origins on the African continent. It signifies a decolonial stance through the preservation of traditional practices, actively resisting the erasure of African heritage. By continuing these practices, a tangible link to ancestral history is maintained, serving as a testament to cultural resilience. Coined Thomas Talawa Prestø 2019

2. Afri-retentive practices: These practices emerge from the diaspora experience, grounded in the aesthetics, philosophies, and practices inherited from the African continent. Unlike Africontinued practices, Afri-retentive practices have evolved due to the specific circumstances and contexts of the diaspora, embodying both ancestral retentions and adaptations that address new realities. Coined Thomas Talawa Prestø 2016.  Under Afri-retentive practices there are various approaches to how it has gone from continued practice to retentive practices or to discern what type of retentive practice it is. In order to categorise and summarise for myself I developed the denotations “Diasporic Artistic Displacement” and Diasporic Artistic Repurposing

1. Diasporic Artistic Displacement: A manifestation of shifts in traditional African artistic expressions as a consequence of changing cultural terrains Diasporic Artistic Displacementrefers to practices or dances that are often called the same or claim to be the same as the original, but are altered or changed due to a change of context. These changes can result from a number of factors, such as acculturation, the influence of dominant cultures, and the erosion of cultural memory. Despite these changes, the practices or dances are still referred to by the same name as their original form, creating confusion and a sense of disconnection from their roots.

1. Diasporic Artistic Repurposing: This represents the conscious, intentional recalibration of African cultural traditions to more accurately echo the lived experiences of diasporic communities. It is not just an adaptation but a reclaiming and reimagining of traditions to reflect the community's contemporary realities. The African-Caribbean Voudun practice, with its nuanced blend of ancestral and emergent deities, epitomizes this form of artistic evolution. 

The intentional reshaping of cultural practices in order to better reflect the situation and experiences of diaspora communities. In this process, the community is often aware of the altered context, and the changes made are made in order to serve thae needs and experiences of the community. For example, the African-Caribbean practice of Voudun is clear about which deities were taken across the Atlantic and which are deities that emerged from the African Caribbean experience. This intentional reshaping allows the community to claim ownership over the practice, making it a more meaningful and relevant part of their cultural heritage.

Harnessing the heuristic potential of Afritectonic Artistic Research, I strive to discern the nuanced distinctions that intricately weave these practices:

• Historico-cultural Semiotics: Africontinued expressions imbibe a profound resonance with the vestiges of our ancestry, while Afri-retentive forms manifest as a harmonious blend of primordial rhythms and diasporic melodies.

• Corporeal Epistemologies: Africontinued practices exude a palpable embodiment of the African landscape. Afri-retentive forms, in contrast, display a symbiotic fusion of ancestral corporeal wisdom with diasporic innovations.

• Artistic Syntax: While Africontinued practices valorize preservation, often retaining a sacral sanctity, Afri-retentive practices, whether displaced or repurposed, assimilate new influences, yielding a dynamic and multifaceted artistic lexicon.

WRAPPED IN SILK: AESTHETIC ARTISTIC ATAVISM: UNEARTHING THE ANCESTRAL ECHOES IN ARTISTIC PRACTICES

Atavism, in its general sense, refers to the reappearance of a characteristic or trait from an ancestral form that might have been absent in more recent generations. Borrowed from biology, the term describes a phenomenon where ancient features resurface after remaining dormant over many generations. In the realm of arts, Aesthetic Artistic Atavism extends this concept to the re-emergence of artistic and aesthetic practices once prevalent but had become overshadowed or dormant due to various socio-cultural shifts.

This term provides a pivotal framework to understand the fluid dialogue between ancestral origins and modern-day artistic manifestations. Through this dialogue, the diasporic forms naturally re-infuse elements from their ancestral origin, serving as both a testament to cultural continuity and as a conduit for innovative expression.

Rhythmic Revival: Ancestral Resonance in Contemporary Music

Taking music as an exemplar, the resurgence of polyrhythmic cross rhythms, once vibrant in African and African diaspora traditions, has been perceptible in contemporary genres like hip hop. Longer song durations, along with the free play of metre, echo a deeper connection with rhythmic ancestry, harking back to times before the constraints of LPs and CDs.

However, distinguishing the origin or impetus behind such a resurgence can be intricate. Is it a natural Aesthetic Artistic Atavism? A strengthening of a retained element? Or perhaps a re-introduction of an ancestral component, like the integration of African and Caribbean drums into African American culture? This integration rekindled suppressed rhythms, allowing them to be sonically embodied rather than merely residing in body movements or body percussions.

Similarly, the newfound legitimacy and mainstream traction of practices like Ifa, Orisha, and Voudun can catalyze the re-emergence of associated artistic expressions. Yet, their resurfacing could be due to Aesthetic Artistic Atavism, or it might be the byproduct of Africontinued practices garnering wider acceptance.

Afritectonic Artistic Research: Delving Deep, Seeking Connections

To navigate this maze of possibilities, Afritectonic Artistic Research offers a compass. This methodological approach delves into the lineage of artistic practices, unearthing their roots, trajectories, and interconnections. The challenge, though, isn't about slotting the resurgence into neat categories. Instead, it's about recognizing the intertwined tapestry of influences and triggers.

Afritectonic Artistic Research is not overly preoccupied with pinpointing the exact pathway of resurgence. Instead, it seeks to unravel the layers of lineage and connections. This investigation into roots isn’t merely an academic exercise. Knowing the genesis of an artistic element can illuminate ways to harness, expand, or integrate it. It can introduce new movement vocabularies, provide a palette of complementary aesthetics, and overall, enrich the artistic material.

In essence, the process or trajectory through which an artistic element or practice has re-emerged — often a confluence of multiple factors — becomes central to Afritectonic Artistic Research. Its aim? To provide artists with a richer, deeper understanding and an erudite access to a vast reservoir of ancestral knowledge, fostering both reverence for the past and innovations for the future.

*iimage created in photoshop, midjourney, and unreal engine by Talawa

HANGING THE WEB: THE DANCE OF SPIRITUALITY: NAVIGATING MODERNITY THROUGH ANCESTRAL WISDOM

Coined by Thomas Talawa Prestø Ken-Spirit and Kin-Spirit

To begin, it is crucial to clarify key terms that delineate how individuals relate to spirituality within dance. In this context, we introduce the concepts of "Ken-Spirit" and "Kin-Spirit." The former refers to individuals who hold a semi-secular belief in the spiritual elements—those who 'know' of spirit but may not be initiated into any formal practice. The latter term refers to those who are deeply committed and initiated into spiritual practices—these individuals are 'married' to the spirit, so to speak

The Plurality of Spiritual Pathways

Understanding that spiritual traditions such as Voudun and Ifa are not monolithic but instead are complex tapestries of beliefs and practices, broadens the interpretive scope. Similarly, in the context of a dance ensemble like Tabanka, where members come from diverse African heritages but are unified by ancestral practices, we must consider multiplicity. Acknowledging the role of ancestors as a unifying force provides an entry point for various belief systems, be it Christian, Muslim, or African ken-and kin-spirit, to engage in a shared dance language.

The Philosophical Foundations: Africana Worldview

The discourse around the spiritual elements in dance techniques must operate from an authentic cultural locus. The foundation should be Africana philosophy, not a Europeanist viewpoint. This approach allows the possibility of both secular and non-secular explorations without the taint of cultural appropriation. Whether it's a church or a high-tech center, the foundational philosophy remains rooted in Africana worldviews.

Embodied Spirituality: Seselelame and Dance

The Ewe culture's concept of "seselelame," emphasizing that the spirit lives in the body, serves as a point of philosophical congruence across many African cultures. Dance becomes a vessel for communication, not just with the living but also with the ancestors, nature, and other realms. In this conceptualization, dance is akin to a technology—a multiprocessor for decrypting the codes embedded in rhythm, body language, and generational gestures.

Dance as a 'Multiprocessor': Zab Maboungou and Beyond

Expanding upon Zab Maboungou's idea of rhythm as a "mobile institution," dance can be posited as a multiprocessor capable of interpreting and "unzipping" the coded packages that are delivered through rhythmic sequences. Through dance, one can not only decrypt messages from the past but also send experiences to the future, effectively becoming a transmitter of both tangible and intangible heritage. Moreover, through a non-secular lens, dance can serve as a gateway for transcending the physical realm and engaging with the metaphysical, acting as the body's antenna, screen, and decoder all in one.

In navigating the spiritual elements in modern dance techniques, a multi-faceted approach is required—one that acknowledges the plurality of spiritual traditions, centers Africana philosophy, and recognizes the role of dance as a 'technological' medium for spiritual communication. Such an approach offers a framework that is inclusive, authentic, and deeply resonant, not just with the performers but also with the broader community. By doing so, we honor the rich tapestry of ancestral wisdom, even as we chart new frontiers in the evolving landscapes of spirituality and dance.

GATHERING THE WEB: INTRODUCTION TO COGNOSOMATIC FOUNDATIONS

Cognosomatics expands the spectrum of embodied experience to include a two-directional interchange between our interior somatic experiences and our external actions and interactions. This term serves as a conceptual bridge between phenomenology and sociology, connecting the deeply personal with the undeniably communal. It underlines the symbiosis of experience and identity, pointing out that one cannot be understood or even realized without the other. 

The Bidirectional Cycle of Experience and Identity

The unique aspect of Cognosomatics is its focus on the cyclic, ever-renewing nature of this relationship. Each action you take is both an expression of your identity and a catalyst for future experiences. This dynamic reciprocity perpetuates a cycle that is continuously evolving, not just forming our identity but also reforming it based on new experiences and perceptions. Whether you are conscious of it or not, you are always in a dance with the world—taking cues, giving signals, embodying memories, and anticipating futures.

A Layered Understanding: AfriCognoSomatics

When one introduces the Africana context, this bidirectional exchange becomes layered with additional dimensions—those of history, collective memory, cultural patterns, and systemic interactions. In this scenario, every movement, every utterance, and every thought is not just a bodily experience but an articulation steeped in a lineage that stretches back through generations and spans continents. The actions, movements, and even thoughts of Africana individuals are often shaped by a shared history and collective consciousness, which in turn influence how their actions are received by society. How these perceptions are internalized will continue to shape their individual identity and by extension, their bodily experiences.

For example, the mere act of an Africana person dancing could be a reclamation of heritage, a celebration of community, or an act of spiritual connectivity. But how that dance is perceived and received—either as an affirmation or a stereotype—feeds back into the dancer’s embodied experience, affecting future movements, future dances, and ultimately, their sense of self.

AfriDiasporaCognosomatics: A Confluence of Identities

In a diasporic setting, this intricate weave becomes even more textured. The body is the living canvas upon which multiple heritages and histories are drawn. It becomes a site where different worlds converge, adding further complexity to the Cognosomatic cycle. In this context, the Africana body isn’t just a passive recipient but an active negotiator of multiple identities, continuously navigating the seas of cultural understanding and misunderstanding, acceptance and exclusion.

Cognosomatics as a Discipline

As a field of study, Cognosomatics interrogates the layers and nuances of this cycle. It asks questions about how identity shapes bodily actions and vice versa, understanding this not as a linear process but as a spiral. Each experience feeds back into our cognitive realm, altering our next action, influencing our future experiences. In doing so, Cognosomatics offers both a lens and a language for examining the profound ways in which we are, quite literally, embodiments of our histories, architects of our futures, and narrators of our own evolving stories.

So, Cognosomatics is not merely academic inquiry; it is life in study, a reflective pool where philosophy meets practice, and where history, culture, and personal experience blend into a fluid dance of existence. It's a methodology and an ethos, offering us tools to better understand our complex, multifaceted selves within the rich tapestry of collective human experience.

Introduction to CognoSomatics in Dance Praxis

CognoSomatics is not merely an academic concept but a holistic approach to understanding how we interact with the world. It serves as a bridge between the physical and metaphysical realms, establishing a bi-directional loop between cognition, embodiment, and action. In the context of dance, this approach probes beyond the steps and choreography to interrogate how cognitive processes, bodily experiences, and external stimuli intersect to shape both the dancer and the dance itself.

AfriCognoSomatic Dance Praxis: The Embodied Mind in an Africana Context

Definition:

AfriCognoSomatic Dance Praxis is a unique blend of cognitive and somatic experiences that occur within an African heritage context. It reflects a cyclical relationship between thought, movement, and interpretation, all deeply rooted in Africana philosophies and practices.

Imagine a dance that transcends the physicality of the body to become a conscious act of storytelling. Within the framework of AfriCognoSomatic Dance Praxis, each motion pours itself into the next, guided not just by rehearsed steps but by an intricate dialogue between thought and feeling. The dance then becomes a language in itself—a language through which one interprets racialized experiences, collective memory, and individual agency. The movement is simultaneously a manifestation of one's corporeal and cognitive self, as well as a window into how the dancer navigates societal expectations and prejudices.

AfriDiasporaCognoSomatic Dance Praxis: The Multilayered Dance of Identity

Definition: AfriDiasporaCognoSomatic Dance Praxis explores the dance experience within the diasporic African context, integrating multiple cultural narratives and lived experiences through a lens of cognitive and bodily interaction.

Here, the dance floor becomes a space where various cultural rivers converge, each contributing its unique current to a larger, more complex stream of identity. The AfriDiasporaCognoSomatic dancer is a navigator of sorts, charting a course through the intricate confluence of ancestral legacies and contemporary experiences, both personal and collective. This approach to dance is a physical enactment of complex, intersecting identities, molded and remolded by a continually evolving dialogue between body, mind, and environment.

AfricanaCognoSomatic Praxis: An Integrative Approach

Definition: AfricanaCognoSomatic Dance Praxis amalgamates both AfriCognoSomatic and AfriDiasporaCognoSomatic perspectives. It serves as a comprehensive lens to explore how racialized learning, body politics, and African heritage collectively shape the dancer's cognitive and bodily realms.

Envision a dancer poised at the intersection of time, space, and identity. Each movement is a nuanced dialogue with history, each pause an opportunity to assimilate, evaluate, and respond to external stimuli, be they an audience's gaze, the rhythm of the music, or the collective emotional pulse of a community. This dancer does not merely 'dance'; they embody a multidimensional philosophy that spans across racial, cultural, and even temporal boundaries. The dancer becomes a vessel through which diverse threads of thought, emotion, and history are woven into a singular yet multilayered tapestry of expression.

Implications for AfricanaCognoSomatic Practitioners

For practitioners committed to a deeper understanding of embodiment, identity, and performance, the AfricanaCognoSomatic approach offers an invaluable roadmap. The methodology not only elucidates how each dance move or pause can be an authentic manifestation of layered identities but also how these physical expressions serve as both a product and a producer of cognitive processes. It therefore creates an opportunity for dancers to engage in a cyclical, ever-evolving dialogue between their internal and external worlds.

CognoSomatic approaches in dance praxis offer a more nuanced understanding of the continuum that exists between the cognitive, corporeal, and contextual aspects of human experience. It extends an invitation to explore dance not just as a series of choreographed moves, but as a complex, interactive language that communicates the full spectrum of our humanity—from our deepest thoughts and feelings to our most immediate, physical realities. This dance becomes a canvas upon which our cognitive and somatic experiences blend, influencing and being influenced, in an eternal dance of becoming.

COGNOSOMATIC DEFINITIONS

Cognosomatics

Cognosomatics is an interdisciplinary approach that explores the bidirectional relationship between cognitive processes and somatic (bodily) experiences. It seeks to understand how our thoughts, emotions, and identities shape our bodily actions and vice versa.

Cognosomatic Dance Praxis

This refers to a dance practice that is rooted in Cognosomatic principles. It considers how cognitive processes influence dance movements and how these movements, in turn, feedback into one's cognitive understanding and identity.

AfriCognoSomatics

AfriCognoSomatics is a specialized branch of Cognosomatics that examines this cognitive-somatic relationship within the context of African heritage. It incorporates elements such as history, collective memory, cultural patterns, and systemic interactions that are specific to the Africana experience.

AfriCognoSomatic Dance Praxis

An AfriCognoSomatic Dance Praxis is a dance practice that specifically incorporates elements of African heritage, history, and philosophy. It focuses on how these elements interact with bodily movements and cognitive processes in a cyclical manner.

AfricanaCognoSomatics

AfricanaCognoSomatics is an expansive framework that combines both AfriCognoSomatics and AfriDiasporaCognoSomatics. It takes into account the experiences of people of African descent both within the continent and across the diaspora, exploring how racialized learning and body politics influence the cognitive-somatic relationship.

AfricanaCognoSomatic Dance Praxis

This is a dance practice that integrates both AfriCognoSomatic and AfriDiasporaCognoSomatic elements. It aims to explore the bidirectional relationship between the mind and body within the context of the broad Africana experience, including racialized learning and body politics.

AfriDiasporaCognoSomatics

AfriDiasporaCognoSomatics is another specialized branch, but it focuses on the experiences of the Africana diaspora. It deals with the complex layering of identities and experiences that occur when African heritage interacts with the cultures and histories of other lands.

AfriDiasporaCognoSomatic Dance Praxis

This dance praxis focuses on the Africana diasporic experience. It aims to understand how the convergence of multiple heritages and histories affects the body and cognitive processes, emphasizing the complex interactions and negotiations that occur within this space.

Each of these praxes and frameworks offer nuanced approaches to understanding the profound interconnection between mind, body, and cultural context. They serve as both academic paradigms and practical methodologies for exploring the intricate layers of identity, experience, and embodiment.

HANGING THE WEB: THE DANCE OF SPIRITUALITY: NAVIGATING MODERNITY THROUGH ANCESTRAL WISDOM

Coined by Thomas Talawa Prestø Ken-Spirit and Kin-Spirit

To begin, it is crucial to clarify key terms that delineate how individuals relate to spirituality within dance. In this context, we introduce the concepts of "Ken-Spirit" and "Kin-Spirit." The former refers to individuals who hold a semi-secular belief in the spiritual elements—those who 'know' of spirit but may not be initiated into any formal practice. The latter term refers to those who are deeply committed and initiated into spiritual practices—these individuals are 'married' to the spirit, so to speak

The Plurality of Spiritual Pathways

Understanding that spiritual traditions such as Voudun and Ifa are not monolithic but instead are complex tapestries of beliefs and practices, broadens the interpretive scope. Similarly, in the context of a dance ensemble like Tabanka, where members come from diverse African heritages but are unified by ancestral practices, we must consider multiplicity. Acknowledging the role of ancestors as a unifying force provides an entry point for various belief systems, be it Christian, Muslim, or African ken-and kin-spirit, to engage in a shared dance language.

The Philosophical Foundations: Africana Worldview

The discourse around the spiritual elements in dance techniques must operate from an authentic cultural locus. The foundation should be Africana philosophy, not a Europeanist viewpoint. This approach allows the possibility of both secular and non-secular explorations without the taint of cultural appropriation. Whether it's a church or a high-tech center, the foundational philosophy remains rooted in Africana worldviews.

Embodied Spirituality: Seselelame and Dance

The Ewe culture's concept of "seselelame," emphasizing that the spirit lives in the body, serves as a point of philosophical congruence across many African cultures. Dance becomes a vessel for communication, not just with the living but also with the ancestors, nature, and other realms. In this conceptualization, dance is akin to a technology—a multiprocessor for decrypting the codes embedded in rhythm, body language, and generational gestures.

Dance as a 'Multiprocessor': Zab Maboungou and Beyond

Expanding upon Zab Maboungou's idea of rhythm as a "mobile institution," dance can be posited as a multiprocessor capable of interpreting and "unzipping" the coded packages that are delivered through rhythmic sequences. Through dance, one can not only decrypt messages from the past but also send experiences to the future, effectively becoming a transmitter of both tangible and intangible heritage. Moreover, through a non-secular lens, dance can serve as a gateway for transcending the physical realm and engaging with the metaphysical, acting as the body's antenna, screen, and decoder all in one.

In navigating the spiritual elements in modern dance techniques, a multi-faceted approach is required—one that acknowledges the plurality of spiritual traditions, centers Africana philosophy, and recognizes the role of dance as a 'technological' medium for spiritual communication. Such an approach offers a framework that is inclusive, authentic, and deeply resonant, not just with the performers but also with the broader community. By doing so, we honor the rich tapestry of ancestral wisdom, even as we chart new frontiers in the evolving landscapes of spirituality and dance.

GATHERING THE WEB: INTRODUCTION TO COGNOSOMATIC FOUNDATIONS

Cognosomatics expands the spectrum of embodied experience to include a two-directional interchange between our interior somatic experiences and our external actions and interactions. This term serves as a conceptual bridge between phenomenology and sociology, connecting the deeply personal with the undeniably communal. It underlines the symbiosis of experience and identity, pointing out that one cannot be understood or even realized without the other. 

The Bidirectional Cycle of Experience and Identity

The unique aspect of Cognosomatics is its focus on the cyclic, ever-renewing nature of this relationship. Each action you take is both an expression of your identity and a catalyst for future experiences. This dynamic reciprocity perpetuates a cycle that is continuously evolving, not just forming our identity but also reforming it based on new experiences and perceptions. Whether you are conscious of it or not, you are always in a dance with the world—taking cues, giving signals, embodying memories, and anticipating futures.

A Layered Understanding: AfriCognoSomatics

When one introduces the Africana context, this bidirectional exchange becomes layered with additional dimensions—those of history, collective memory, cultural patterns, and systemic interactions. In this scenario, every movement, every utterance, and every thought is not just a bodily experience but an articulation steeped in a lineage that stretches back through generations and spans continents. The actions, movements, and even thoughts of Africana individuals are often shaped by a shared history and collective consciousness, which in turn influence how their actions are received by society. How these perceptions are internalized will continue to shape their individual identity and by extension, their bodily experiences.

For example, the mere act of an Africana person dancing could be a reclamation of heritage, a celebration of community, or an act of spiritual connectivity. But how that dance is perceived and received—either as an affirmation or a stereotype—feeds back into the dancer’s embodied experience, affecting future movements, future dances, and ultimately, their sense of self.

AfriDiasporaCognosomatics: A Confluence of Identities

In a diasporic setting, this intricate weave becomes even more textured. The body is the living canvas upon which multiple heritages and histories are drawn. It becomes a site where different worlds converge, adding further complexity to the Cognosomatic cycle. In this context, the Africana body isn’t just a passive recipient but an active negotiator of multiple identities, continuously navigating the seas of cultural understanding and misunderstanding, acceptance and exclusion.

Cognosomatics as a Discipline

As a field of study, Cognosomatics interrogates the layers and nuances of this cycle. It asks questions about how identity shapes bodily actions and vice versa, understanding this not as a linear process but as a spiral. Each experience feeds back into our cognitive realm, altering our next action, influencing our future experiences. In doing so, Cognosomatics offers both a lens and a language for examining the profound ways in which we are, quite literally, embodiments of our histories, architects of our futures, and narrators of our own evolving stories.

So, Cognosomatics is not merely academic inquiry; it is life in study, a reflective pool where philosophy meets practice, and where history, culture, and personal experience blend into a fluid dance of existence. It's a methodology and an ethos, offering us tools to better understand our complex, multifaceted selves within the rich tapestry of collective human experience.

Introduction to CognoSomatics in Dance Praxis

CognoSomatics is not merely an academic concept but a holistic approach to understanding how we interact with the world. It serves as a bridge between the physical and metaphysical realms, establishing a bi-directional loop between cognition, embodiment, and action. In the context of dance, this approach probes beyond the steps and choreography to interrogate how cognitive processes, bodily experiences, and external stimuli intersect to shape both the dancer and the dance itself.

AfriCognoSomatic Dance Praxis: The Embodied Mind in an Africana Context

Definition:

AfriCognoSomatic Dance Praxis is a unique blend of cognitive and somatic experiences that occur within an African heritage context. It reflects a cyclical relationship between thought, movement, and interpretation, all deeply rooted in Africana philosophies and practices.

Imagine a dance that transcends the physicality of the body to become a conscious act of storytelling. Within the framework of AfriCognoSomatic Dance Praxis, each motion pours itself into the next, guided not just by rehearsed steps but by an intricate dialogue between thought and feeling. The dance then becomes a language in itself—a language through which one interprets racialized experiences, collective memory, and individual agency. The movement is simultaneously a manifestation of one's corporeal and cognitive self, as well as a window into how the dancer navigates societal expectations and prejudices.

AfriDiasporaCognoSomatic Dance Praxis: The Multilayered Dance of Identity

Definition: AfriDiasporaCognoSomatic Dance Praxis explores the dance experience within the diasporic African context, integrating multiple cultural narratives and lived experiences through a lens of cognitive and bodily interaction.

Here, the dance floor becomes a space where various cultural rivers converge, each contributing its unique current to a larger, more complex stream of identity. The AfriDiasporaCognoSomatic dancer is a navigator of sorts, charting a course through the intricate confluence of ancestral legacies and contemporary experiences, both personal and collective. This approach to dance is a physical enactment of complex, intersecting identities, molded and remolded by a continually evolving dialogue between body, mind, and environment.

AfricanaCognoSomatic Praxis: An Integrative Approach

Definition: AfricanaCognoSomatic Dance Praxis amalgamates both AfriCognoSomatic and AfriDiasporaCognoSomatic perspectives. It serves as a comprehensive lens to explore how racialized learning, body politics, and African heritage collectively shape the dancer's cognitive and bodily realms.

Envision a dancer poised at the intersection of time, space, and identity. Each movement is a nuanced dialogue with history, each pause an opportunity to assimilate, evaluate, and respond to external stimuli, be they an audience's gaze, the rhythm of the music, or the collective emotional pulse of a community. This dancer does not merely 'dance'; they embody a multidimensional philosophy that spans across racial, cultural, and even temporal boundaries. The dancer becomes a vessel through which diverse threads of thought, emotion, and history are woven into a singular yet multilayered tapestry of expression.

Implications for AfricanaCognoSomatic Practitioners

For practitioners committed to a deeper understanding of embodiment, identity, and performance, the AfricanaCognoSomatic approach offers an invaluable roadmap. The methodology not only elucidates how each dance move or pause can be an authentic manifestation of layered identities but also how these physical expressions serve as both a product and a producer of cognitive processes. It therefore creates an opportunity for dancers to engage in a cyclical, ever-evolving dialogue between their internal and external worlds.

CognoSomatic approaches in dance praxis offer a more nuanced understanding of the continuum that exists between the cognitive, corporeal, and contextual aspects of human experience. It extends an invitation to explore dance not just as a series of choreographed moves, but as a complex, interactive language that communicates the full spectrum of our humanity—from our deepest thoughts and feelings to our most immediate, physical realities. This dance becomes a canvas upon which our cognitive and somatic experiences blend, influencing and being influenced, in an eternal dance of becoming.

COGNOSOMATIC DEFINITIONS

Cognosomatics

Cognosomatics is an interdisciplinary approach that explores the bidirectional relationship between cognitive processes and somatic (bodily) experiences. It seeks to understand how our thoughts, emotions, and identities shape our bodily actions and vice versa.

Cognosomatic Dance Praxis

This refers to a dance practice that is rooted in Cognosomatic principles. It considers how cognitive processes influence dance movements and how these movements, in turn, feedback into one's cognitive understanding and identity.

AfriCognoSomatics

AfriCognoSomatics is a specialized branch of Cognosomatics that examines this cognitive-somatic relationship within the context of African heritage. It incorporates elements such as history, collective memory, cultural patterns, and systemic interactions that are specific to the Africana experience.

AfriCognoSomatic Dance Praxis

An AfriCognoSomatic Dance Praxis is a dance practice that specifically incorporates elements of African heritage, history, and philosophy. It focuses on how these elements interact with bodily movements and cognitive processes in a cyclical manner.

AfricanaCognoSomatics

AfricanaCognoSomatics is an expansive framework that combines both AfriCognoSomatics and AfriDiasporaCognoSomatics. It takes into account the experiences of people of African descent both within the continent and across the diaspora, exploring how racialized learning and body politics influence the cognitive-somatic relationship.

AfricanaCognoSomatic Dance Praxis

This is a dance practice that integrates both AfriCognoSomatic and AfriDiasporaCognoSomatic elements. It aims to explore the bidirectional relationship between the mind and body within the context of the broad Africana experience, including racialized learning and body politics.

AfriDiasporaCognoSomatics

AfriDiasporaCognoSomatics is another specialized branch, but it focuses on the experiences of the Africana diaspora. It deals with the complex layering of identities and experiences that occur when African heritage interacts with the cultures and histories of other lands.

AfriDiasporaCognoSomatic Dance Praxis

This dance praxis focuses on the Africana diasporic experience. It aims to understand how the convergence of multiple heritages and histories affects the body and cognitive processes, emphasizing the complex interactions and negotiations that occur within this space.

Each of these praxes and frameworks offer nuanced approaches to understanding the profound interconnection between mind, body, and cultural context. They serve as both academic paradigms and practical methodologies for exploring the intricate layers of identity, experience, and embodiment.

SENSING THE WEB EMBODIED ACADEMIA:  CULTUROKINETICS AND THE AFRICOGNOSOMATIC SPECTRUM

Culturokinetics: An Academic and Embodied Lexicon

Coined by me, Culturokinetics is a term that invites us into a labyrinth of embodied wisdom. It is an interdisciplinary realm that meticulously studies movement mechanics within cultural contexts, integrating both cultural knowledge and embodied experiences. Imagine a dancer whose body becomes a library, archiving cultural philosophies and historical narratives within each sinewy movement, each graceful leap. Culturokinetics serves as the key to this library, allowing us to read these bodily texts.

AfriCognoSomatic-CulturoKinetics: A Harmonic Convergence

When we marry AfriCognoSomatics with Culturokinetics, what emerges is a rich tapestry of interconnected understanding—AfriCognoSomatic-CulturoKinetics. This approach takes the profound principles of Africognosomatics—understanding the bidirectional interchange between cognitive realms and somatic experiences—and weds them with the practical inquiries of Culturokinetics. It scrutinizes how cultural practices and embodied wisdom not only shape but are also shaped by movement mechanics. Think of a dancer, moving in space yet grounded in ancestral soil; each motion is a ritual, an incantation, echoing both ancient wisdom and contemporary experience.

The Polyspirited and Polyconducted Body

Within an AfriDiasporaCognoSomatic perspective, Culturokinetics takes on an even deeper dimensionality. Here, the body is not just a vessel, but a polyspirited and polyconducted orchestra, a multi-layered tapestry of meaning and action. This perspective incorporates deep insights from ritual dance biomechanics and the expression of spirit through movement. It challenges conventional Western understandings that prioritize the mind as the main processing unit, illuminating the body as an active, intricate processor.

The Intelligence of Rhythmic Embodiment

Moreover, AfriDiasporaCognoSomatic Culturokinetics illuminates the body's extraordinary ability to respond instantaneously to complex polyrhythmic structures. It’s akin to a dance, where the body becomes both the dancer and the dance, caught in a rhythm that transcends the analytical capacities of the brain. Insights gained from physically demanding practices like carnival—a living, breathing testament to polycentric movement—inform us about movement efficiency and energy storage. It reveals the body's capacity to tap into deep reservoirs of energy reserves, far surpassing mere immediate fuel.

Practical Grounding and Theoretical Skyline

So, when we speak of AfriCognoSomatic-CulturoKinetics, we are essentially speaking of a practice rooted in the earthly matter of bodily experience and elevated by the ethereal intricacies of cognitive and cultural landscapes. It’s a marriage of the tangible with the theoretical, the corporeal with the cultural. It brings into sharp focus the tangible implications of these interconnections, particularly in contexts where movement is not just art but also archive, not just expression but also experience.

Through its lenses, dance becomes not just a performance but a praxis, not just a sequence of movements but a symphony of interconnected identities, memories, and meanings. Whether you are a dancer, a scholar, or a curious observer, AfriCognoSomatic-CulturoKinetics offers both a compass and a map, guiding us through the rich terrains of embodied knowledge and cultural memory, showing us that every step we take is a dialogue with the world around us.

GATHERING THE WEB BREAKING THE VISCERAL WALL

Breaking the Visceral Wall in Africana art practice represents a profound interaction between performance and spectator, where the art actively penetrates and resonates within the body of the observer. This interaction transcends conventional boundaries of passive viewing, engaging the audience in a deeply sensory and emotive experience.

One method of achieving this is through the practice of "arriving on action." This technique places the audience in a state of heightened alertness and deep listening, as they attempt to synchronize their anticipation and reactions with the unfolding performance. Whether it's predicting the next beat of the drum, the dancer's movement, or how these elements will converge with the audience's imagination, this method engages spectators not just visually but viscerally. They become attuned to the performance, feeling it within their own bodies, especially if they possess a personal understanding or proficiency in singing, playing an instrument, or dancing. Such familiarity brings their sensations closer to those experienced by the performers.

Another avenue of breaking the visceral wall is the tactility of rhythm. This is where the sound and steps of the performance physically touch the observer, affecting them at a nerve level. The audience doesn't just see the movement or hear the sound; they feel it coursing through their body. This tactile connection blurs the lines between observer and performer, creating a shared experience that is both intensely personal and collectively unifying.

Breaking the Visceral Wall is also deeply rooted in affect and effect. It calls the audience to action simply by experiencing the art. This might manifest as a spontaneous physical reaction, like the congregation member who is moved to spiritual ecstasy by a gospel choir, or the individual who finds themselves rhythmically swaying to the beat of a drum. The observer may find themselves physically leaning in, holding their breath in sync with the dancer, or experiencing a flood of emotions triggered by the performance. In these moments, the boundaries between the self and the art begin to dissolve, and the spectator lives the experience within their own body.

This artistic form is far from catering passively to the audience; rather, it demands their active participation, turning them into a component of the living artwork. It is intrinsically social, aiming to connect, affect, and engage with the community. In such a dance performance, the audience lives the performance in their own bodies, experiencing it in tandem with and deeply connected to those on stage.

The breaking of the visceral wall involves the activation of memory, empathy, limbic resonance, participation, imagination, anticipation, and engagement. It's a complex, multi-layered interaction that transforms the act of observing into a shared journey of emotional and sensory exploration.

SENSING THE WEB: RECIPROCAL EMBODIMENT IN THE AFRICANA AESTHETIC: UNVEILING THE VISCERATIVITY OF GROOVE, RHYTHM, AND EMOTION IN PERFORMANCE

In the Africana aesthetic, the axiom "to give is to have" serves as the keystone of a performative philosophy that challenges established norms. The concept posits that groove, as an exemplar, is not an isolated possession but a shared experience that permeates the observer's physical being. I attempt here to elucidate the intricate dance between performer and audience, dissecting how groove, rhythm, and emotion act as conduits for a reciprocal exchange that breaks the "visceral wall."

The Reciprocity of Groove:

The embodiment of groove in the Africana aesthetic is not confined to the stage but permeates the collective sensory experience. When we attest that someone "has groove," we are confessing to a felt experience, an intimate connection where the observer's body becomes an extension of the performer's movements. In short we are exclaimeing that the performer is making us feel groove, in our own bodies. This transcends mere visual appreciation, culminating in a visceral encounter that challenges the traditional boundaries of spectatorship.

Rhythmic Bestowal:

In a departure from conventional possession, rhythm in the Africana aesthetic is not held but given. To have rhythm is to be a conduit, a bestower of beats that reverberate within the audience's perceptual realm. The dynamic interplay where rhythm becomes a shared currency, exchanged between performer and audience, dismantling the notion of rhythm as a possession and positioning it as a reciprocal offering.

Emotional Resonance:

In the realm of emotion, the performer's landscape is not a private affair but a canvas upon which the audience paints their sentiments. To have emotion in a performance is to engage in a symbiotic relationship where the audience, as co-creators, feel the emotional cadence within their own bodies. The reciprocal exchange that defines emotional resonance, challenging traditional concepts of emotional possession in performance.

The Africana aesthetic, with its emphasis on reciprocity, redefines performance as a shared journey rather than a unilateral display. Groove, rhythm, and emotion cease to be possessions; instead, they emerge as gifts freely given and received. 

SHIFTING THE AIR: THE TRANSMUTATION OF EXPERIENCE THROUGH ART

This concept captures a transformative process central to African and African diaspora art forms, particularly in gospel, soul, kaiso, and lawey. Bernice Johnson Reagon, a key figure in this tradition, articulates this phenomenon through her practice of "songtalking." Her work demonstrates how music and performance serve as conduits for communal storytelling, healing, and empowerment. During moments like the Civil Rights Movement, Reagon's approach revealed the power of collective singing to alter the emotional atmosphere, creating pathways toward spiritual renewal and resistance.

"Shifting the Air" unfolds through a series of ritualistic stages, converting raw and often intense emotions into a state of collective consciousness marked by joy and resilience. This structure appears across various African and African diasporic practices, from gospel to ring shouts, kaiso to lawey, revivals to African Diaspora Rhythmic Cosmograms (cyphers). Though variations exist, a common progression ties them together:

1. Vibrate: The performance ignites, charging the atmosphere with raw emotion and intent. Here, Reagon's concept of songtalking becomes crucial; singing sets the space alight, initiating a collective energy shift.
2. Gather: The audience is drawn into the performance’s emotional and thematic orbit, aligning their energy with that of the performers. Reagon’s songtalking creates a soundscape that binds participants through their shared experiences and emotions.
3. Focus: Emotional energy intensifies, sharpening thematic clarity and visceral impact. In Reagon’s practice, this stage centers on stories of struggle and resilience, channeling the community’s collective focus.
4. Raise: The intensity of both emotion and expression builds, deepening communal engagement. Reagon’s powerful voice and storytelling amplify this intensity, raising the emotional atmosphere.
5. Shift: This pivotal moment introduces contrasts and tensions. Reagon’s songtalking often reflects the dualities of pain and joy, struggle and triumph, which enhances the transformative power of the experience.
6. Heat: Emotional layers build, generating friction. Reagon’s use of harmony and rhythm deepens this friction, challenging the audience to engage with conflicting emotions.
7. Burn: Emotions reach a peak, providing a cathartic release. Reagon describes this as the song breaking through, stripping away facades and exposing raw communal truths.
8. Transmute: The emotional focus begins to shift toward balance. In Reagon's songtalking, this stage embodies the transformation from sorrow to resilience, from fear to hope.
9. Refocus: A new narrative takes hold, solidifying the transformation. This phase echoes Reagon’s view of singing as a means to reshape communal strength and direction.
10. Expend: The performance channels its remaining energy in a final outpouring. Reagon's performances often conclude with this forceful release, encapsulating the depth of shared emotional commitment.
11. Give: Performers tap into their deepest reserves, offering an intense, almost sacrificial outpouring. Reagon refers to this as "singing from the bone," where the depth of emotion profoundly impacts both performers and audience.
12. Refill: The journey concludes with the affirmation of a new state of collective being. This final stage embodies Reagon's belief in song as a source of spiritual renewal, leaving the community transformed.

Bernice Johnson Reagon’s songtalking illustrates how sound acts as a tactile force, engaging the body's sensory and emotional systems. The vibrations connect performers and audience, evoking deep, visceral responses. In gospel music, kaiso, and other forms, Reagon’s approach allows conflicting emotions to coexist; voices express pain and anguish while simultaneously channeling joy and strength. This interplay generates an alchemical process that transforms negative energy into an uplifting, communal force.

"Shifting the Air," as demonstrated by Reagon during the Civil Rights Movement, serves as an act of communal healing that turns fear, pain, and anger into unity, resilience, and a shared sense of humanity. Her work emphasizes the active role of the audience in this process, contrasting sharply with the passive spectatorship typical of many Euro-Western traditions. In these art forms, the audience actively participates in the emotional and spiritual journey, experiencing it both individually and collectively.

This ritualistic framework highlights the unique ability of African and African diasporic art forms—gospel, soul, lawey, kaiso—to reshape communal energy. Through songtalking, Reagon shows how art becomes a dynamic, participatory force, transforming individual experience while building and sustaining community in the face of adversity.

HANGING THE WEB AESTHETIC FORMS

As professionals, practitioners, and especially teachers of these forms, we have a responsibility to the form and its creators, especially when discussing Diaspora forms which have been highly specialized for consumption. This can lead to the high aesthetic and deep aesthetic forms being rewritten in the collective, and it is important to acknowledge and address this in our discussions and practice of Africana dance.

In this paper, I propose the use of four different terms to describe and analyze different levels of aesthetic forms within Africana dance practices: High Aesthetic, Deep Aesthetic, Fenque Aesthetic, and Apex Aesthetic. These terms are intended to provide a nuanced understanding of how aesthetic forms within Africana dance practices can be understood and evaluated, and to bring new perspectives and approaches to the field of artistic research.

High Aesthetic form refers to dance practices that are executed at a virtuoso level, with great craftsmanship and an above-average level of execution. This can include professional dance ensembles that stylize and refine traditional forms for performance, as well as individual dancers who possess a high level of technical proficiency. However, it is important to note that High Aesthetic form does not necessarily indicate a deep connection to cultural practice or cosmology, and may be more closely linked to performance and entertainment.

Deep Aesthetic form, on the other hand, refers to dance practices that are deeply rooted in cultural practice, cosmology, and central aesthetics. These practices may be participatory and accessible to practitioners of all skill levels, and are often closely linked to the cultural identity and worldview of the community in which they originate. An example of this would be Trinidad Carnival, where costumes and dance practices carry deep cultural meaning and are closely linked to the community's history and identity.

Fenque Aesthetic form, in contrast, refers to superficial or rudimentary aesthetics that are used to reference a certain cultural practice, but do not accurately represent or embody the form. This can include commercialized or popularized versions of traditional forms that have been simplified or altered to appeal to a wider audience, as well as cultural appropriation that lacks a deep understanding or connection to the form. An example of this would be Zumba classes that use elements of Samba or Salsa, but do not accurately represent or embody the form.

Apex Aesthetic form, finally, refers to the highest quality or level of aesthetic expression, embodying the canons, philosophies, signifiers, skills, discipline, storytelling, and world-making technologies of a specific form. This includes both High and Deep Aesthetic forms, and is characterized by a deep understanding and connection to the form, as well as a high level of technical proficiency. This can include repurposing or reframing traditional forms for new contexts, rather than "hybridizing" them with Euro-Western practices.

In conclusion, the use of these four terms, High Aesthetic, Deep Aesthetic, Fenque Aesthetic, and Apex Aesthetic, provides a nuanced approach. It is important to note that these terms are not mutually exclusive and one form can encompass multiple levels of aesthetics. For example, a Trinidad Carnival costume may have deep cultural meaning and be executed at a high level of craftsmanship, therefore embodying both Deep and High Aesthetics. Additionally, it is important to recognize that these terms are not a measure of value or superiority, but rather a tool for understanding and analyzing the complexities of artistic practices.

The use of the terms High Aesthetic, Deep Aesthetic, Fenque Aesthetic, and Apex Aesthetic provides a nuanced understanding of the complexities of Africana dance forms. However, there are also moral challenges that arise when engaging with these forms. The question of authenticity is often brought up, as many Africana dance forms have been heavily influenced by Euro-Western culture, and the lines between what is authentic and inauthentic can become blurred. Additionally, cultural appropriation is a real concern when it comes to Africana dance forms, as they can be co-opted and commercialized for the benefit of non-Africana peoples, without proper acknowledgement or understanding of their cultural significance.

To fully engage with these forms in a respectful and meaningful way, it is important to recognize and acknowledge the cultural context in which they originate. This includes understanding the cosmologies, axiologies, epistemologies, and ontologies that inform these forms. It also requires a deep understanding of the rhythms, movement, and aesthetic values that are specific to these forms. This level of understanding cannot be fully achieved through Euro-Western standardizing institutions, as they are rooted in a different canon and context.

Furthermore, we must also acknowledge the fact that many Africana expressions are subversive in nature, and they may not necessarily seek to be understood, explained, or translated from a Euro-Western perspective. They are often a hidden comment on that perspective and should be considered more of a critical practice than a catering practice. It is important to be mindful of the political, societal, and philosophical elements that may be present in these forms, and not to reduce them to simple expressions of pleasure or sin.

As practitioners, researchers, and teachers of Africana dance forms, it is our responsibility to engage with these forms in a respectful and meaningful way. This includes acknowledging the cultural context in which they originate, understanding the rhythms, movement, and aesthetic values that are specific to these forms, and recognizing the moral challenges that arise when engaging with them. Ultimately, it is through this level of engagement that we can truly honour and respect these forms and bring new perspectives and understanding to the field of artistic research.

SENSING THE WEB  UNFIXED VS EPHEMERAL

The exploration of the concept of ephemerality in dance, particularly within the context of the Africana diaspora and Africana dance practices, offers a rich terrain for philosophical and cultural discourse. The term "ephemeral," often used to describe the fleeting, momentary nature of dance, warrants a deeper interrogation when viewed through the lens of an Africana cosmological framework, where the linearity of time is disrupted and reimagined.

The notion that our ancestors remain active, influential members of our lives suggests that their presence, actions, and spirits transcend the traditional boundaries of past, present, and future. This worldview impacts how we perceive temporality in artistic expressions. When I speak of "Artistic Time," I am referring to the lifespan of an artistic work's impact and relevance, which extends far beyond the moment of its initial creation or performance. This concept challenges the conventional view of art and performance as temporally constrained entities.

Consider, for example, Alvin Ailey's "Revelations." Every restaging of this iconic work not only resurrects the physical choreography but also invokes the spiritual, emotional, and cultural essences of its first performance. The "Artistic Time" of such a piece is continually renewed, rendering it temporally unfixed. This unfixed nature can also apply to a singular, yet powerful performance or artistic act, such as Martin Luther King Jr.'s "I Have a Dream" speech. Its ongoing impact and resonance exemplify its enduring "Artistic Time."

Drawing parallels with ritual, this understanding allows for a perception of dance that surpasses mere ephemerality. I propose the term "Temporally Unfixed" to describe how the influence and essence of a dance or performance are not anchored to a specific moment in time. Just as the spirit operates beyond the temporal confines, so too can dance anchor itself across various times when recalled or reenacted. Thus, each restaging or reference becomes a ritual in itself, reactivating and rejoining the original spiritual and temporal energies.

Thomas DeFrantz’s notion of “imagining forward and back together” resonates deeply in this context. It encapsulates the dynamic interplay of memory, experience, temporality, and rhythm, transcending linear chronology and nurturing a space where past, present, and future coexist and are continuously redefined. This confluence of temporalities is a generative process, each giving birth to and being birthed by the other, revealing the interconnectedness of all moments.

In this "UNFIXED" space, Black Dance thrives, exerting influence and resonating beyond the temporal boundaries of its performance. Dances like the Electric Slide, The Bogle, Butterfly, Sabar, and Shove along, amongst others, defy being termed as ephemeral. Their impacts, their echoes in bodies and communities, continue to weave narratives and experiences across time and space.

The concept of groove in this discourse becomes particularly salient. Groove, inherently linked to memory, transcends time and connects people across generations. It’s not confined to a specific era or moment; it's an enduring, shared experience. An elder moving to a familiar tune can exhibit a groove embodying deep emotional and historical connections, often more profound than the fleeting trends of youth. Groove, thus, is more than rhythm; it's a communal memory, a collective movement experience that defies temporal limitations.

SENSING THE WEB QUEERNESS AND VOUDUN: QUESTIONING THE RELEVANCE OF WESTERN QUEERNESS THEORY IN AFRICENTERED AND AFRIDIASPORACENTERED DANCE PRACTICES

Voudun's Dance of Identities: A Symbiotic Rhythm of Spirituality and Fluidity

In the spiritual universe of Voudun, a polyrhythmic tapestry of beliefs, rituals, and divine fluidity comes to life. This mystical landscape serves as a setting for a dance where deities transform, coupling without the imposition of human-constructed gender boundaries. It's a metaphysical space vibrating with energies that defy Western categorizations, an evolving narrative where every deity, every ritual, and every coupling is a dialogue with the boundless.

Imagine a ceremonial space where the air pulsates with chants, drumming, and an electrifying sense of unity. Here, each divinity and practitioner embodies a rhythm, a frequency, that reverberates through the collective consciousness. This realm is lush with stimuli, not just auditory or visual cues but spiritual ones—emanations of divine beings who transcend conventional gender roles.

As a practitioner navigates this fluid realm, a deep-seated mechanism of spiritual 'call and response,' grounded in African and African Diaspora ontologies, instigates an instantaneous connection. Here, the practitioner and the deity are locked in a dance that doesn't seek to deconstruct but to affirm—a natural embodiment of what Westerners might label as 'queer.'

The Eurocentric Melody: Queerness Theory's Nuanced Interplay with Africentered Dance

Queerness theory, originating as a counterpoint to the monotonous Western refrain of binary gender roles and heteronormativity, strives to dismantle this rigid structure. It's an intellectual dance, reactive and continuously evolving, that pulsates with the push and pull of academia and activism. However, this dance is choreographed to a distinctly Western melody, conducted against the backdrop of Abrahamic beliefs and Eurocentric frameworks.

When we introduce this theory to the Africentered and Afridiasporacentered practitioners of dance, a discordant note strikes. For these practitioners, existing within traditions like Voudun, the 'queer' label is not a liberation but a lens—an imposed perspective that refracts their native practices through a Western prism.

A Fluid Continuum: The Limitations of Imposing Western Musicality on Africentered Rhythms

For the Africentered practitioner, the act of dancing, inspired by the fluidity intrinsic to Voudun, transcends the need for Western labels or theories. It becomes a state of spiritual and cultural harmony, an intuitive connection with ancestral rhythms and truths. Unlike the thrust and parry of queerness theory, which inherently seeks to challenge a dominant narrative, the Africentered dance does not fight against but flows with.

In Voudun's paradigms, there's no binary to shatter, no dominant narrative to rebel against. Its spiritual fluidity, its natural oscillation between forms and identities, defies the Western urge to categorize. For the Africentered practitioner, this is not a theoretical frontier but a lived reality.

Reimagining the Dance: An Invitation to Cultural and Epistemic Integrity

While the impulse to embrace queerness theory may come from a well-intentioned place, its imposition runs the risk of becoming a form of epistemic colonization—an erasure of knowledge systems that have long thrived in harmony with complex identities. To honor the deep-rooted practices of African and African Diaspora traditions, it's essential to allow them to dance to their rhythms, not to adapt to the beat of Western drummers.

In doing so, we open up a space for mutual learning and respect, acknowledging the limitations of universalizing Western frameworks. This engenders a more authentic and enriching intercultural dialogue—a dance, if you will, where each participant enriches the choreography, contributing their unique steps and rhythms to a harmonious, respectful, and continuously evolving performance.

GATHERING THE WEB; QUESTIONS OF AESTHETIC AUTHENTICITY

Black dance embodies unapologetic self-expression and is inherently abundant, always brimming with potential. This essence is encapsulated in the concept of polyrhythm and the aesthetics of cool. In the art of tap dancing, the rhythm persists even when one leg stops, showcasing the notion of being more than what meets the eye. Similarly, drummers can lift one hand, yet the rhythm remains alive. This demonstrates that we are already substantial, but we have the capacity to go beyond. It signifies our fertility, our boundless potential. It is essential to remember this, particularly when observing Black youth who embody the epitome of possibility in its most fertile form.

Additionally, the aesthetics of African art celebrate the beauty found in the middle ground—a beauty that can only be revealed by circling around it. Singers like Aretha Franklin deviate from singing pure notes, exploring the space around them. In dance, we defy the confines of form by breaking, twisting, and moving off-balance. We constantly showcase alternative perspectives, moving between strenuous physical activity and a cool groove, oscillating between extremes. This duality mirrors the concept of “as above, so below.” Perhaps God was the first Black dance critic, subtly influencing our artistic expressions. The concept of “pwen” from Vodun, which refers to cultivated power, is crucial. It represents our ability to effect change in the world. Bernice Johnson Reagon, the creator of Sweet Honey in the Rock, exemplifies this power through her involvement in the civil rights movement, using her voice and art to shift the air and transform dangerous and violent situations into peaceful demonstrations.

The question of authenticity is often posed to Black artists, especially when their artistry stems from Africana (African and African Diasporan) coordinates. However, authenticity is not a clearly defined concept, making it difficult to measure or validate. In contrast, majority white artists, practicing contemporary white Western dance, rarely face the same scrutiny. This discrepancy creates extra barriers, labor, and stressors for Black performers and creatives who are often tasked with justifying the authenticity of their approach to dance rooted, for example, in African Caribbean cultural aesthetics.

A white contemporary dance artist is not usually questioned about their authenticity. They can define themselves as practicing "British contemporary dance" as they travel, thereby authenticating themselves not only as contemporary but also as representatives of what is British, without much pushback. Few would face questions about what makes their dance "British," what qualifies it as "contemporary," or even more so, how it represents an authentic representation of white British contemporary dance. It's so accepted that even posing such a question feels awkward.

However, a Black British dance artist with Caribbean grandparents might be hard-pressed to validate their dance practice set to reggae tunes as being authentically Caribbean, authentically British, authentically contemporary, authentically Black British, authentically British Contemporary—the list goes on. When we, as Black creatives, enter the scene, normativity departs, and considerations of criticality, politics, and positionality emerge. It's as if we're thrust into a fencing match, contending with terminology, context, producers, communication officers, lighting designers, makeup artists, Arts Councils, colleagues, and elders. It feels as though everyone is singling us out, shouting, "En Garde." Given the intricate history of not only "Black dance" as terminology, genre, and field but also in terms of cultural representation, accountability, criteria of form, technique, aesthetics, and even basic questions of craft and professionalism, the demands on the Black creative might not be as unjustified as they initially seem.

The real concern isn't the demands placed on the Black creative but that the same level of scrutiny isn't applied to the white majority artists. If such demands were universally applied, issues like cultural misappropriation, cultural arrogation, failure to credit sources, theft of intellectual property, and the like would become much more challenging and riskier. In fact, they'd be nearly impossible to execute without a loss of professional credibility. Such a shift could revolutionize the international arts field, positioning the Black creative, already adept at navigating intersectionality and innovation, at the vanguard.

During "Let’s Dance International Frontiers 2023" (LDIF23), where I gave a lecture based on a paper's about authenticity and Africana aesthetics, and demonstrated the Talawa Technique™ , an audience member asked if I was concerned about white choreographers appropriating the technique and work. I responded with confidence that I wasn't. I recognize the immense effort that has gone into developing this technique to a level of mastery that allows for Africana movement; not only polyrhythmically but also polycentrically: maximizing choice while honing acumen—the ability to make apt decisions swiftly. By the time someone invests the necessary time and skill, it transcends mere misappropriation. The appropriator is inherently indolent, seeking superficial theft rather than genuine aesthetic and cultural immersion. Consequently, any drop in quality would be glaringly evident.

The appropriator's best ally is the surface-level approach often taken to Black dance, the "anyone can do it" mentality. This is often displayed as a welcoming or festive dance designed for inclusivity, rather than a profound aesthetic representation. It's coupled with colonial attitudes that treat African or Black culture as public domain or "unowned." The pervasive notion is that Black culture is up for grabs, meant to be consumed voraciously. This unchecked consumption of Black bodies and culture persists, echoing the transatlantic and segregated eras.

One could even argue that the consumption of Black culture is executed less sustainably today than in the past, as its primary aim is to garner attention and consumption from the masses. Black culture is prepped for easy consumption, set up for mass production and imbued with an artificial allure. Yet, some of us remain rooted, knowing where to find the genuine molasses and continuing to cultivate our own sugarcane. Indeed, nothing can match the nourishment derived from the organically grown.

AUTHENTICITY AND COUNTERING EPISTEMICIDE

"Episteme" refers to the mechanisms through which knowledge is produced, encompassing the methods, techniques, and systems employed to generate new insights and understandings. This can span from scientific research to academic inquiry and other realms of knowledge production.

"Epistemicide" stands in stark contrast, signifying the obliteration of existing knowledge systems. This term finds its roots in discussions around colonization, where colonizing forces exacted violence not only on the indigenous peoples but also upon their native knowledge systems concerning the natural world. Such onslaughts resulted in the erasure of ancestral wisdom, multigenerational teachings, and the essential keys required to comprehend and translate this rich knowledge base.

Epistemicide embodies the intentional stifling, oppression, and annihilation of pre-existing knowledge paradigms, frequently wielded as a tool to dominate indigenous populations. Within the colonization narrative, European colonizers, feeling threatened by the profound knowledge indigenous communities held, endeavored to erase it, painting these communities as subordinate in the process. In a further blow, colonizers often co-opted indigenous knowledge, presenting it as European or Western innovation, thus concealing the original contributions and heritage of the indigenous groups.

Similarly, during the exploitative transatlantic African enslavement enterprise, the vast knowledge enslaved Africans possessed in agriculture, medicine, healing, construction, and other domains was exploited without acknowledgment. A fabricated narrative portrayed Africans as savages, a portrayal that both justified their enslavement and further suppressed their intellectual heritage. The forced indoctrination into Christianity was designed to estrange Africans from their cosmological perspectives, which often formed the foundation of their knowledge, science, and philosophies. This strategy was part of a comprehensive effort by colonizers to dominate the populations they subjugated and to shape perceptions of the indigenous and enslaved communities.

In both scenarios, the eradication of prevailing knowledge systems constituted a form of violence against the people who held that knowledge. Through the obliteration and suppression of these systems, colonizers aimed to control the communities they were colonizing, imposing their own paradigms of knowledge creation and interpretation. This has left an enduring imprint on the cultural and intellectual legacy of these societies, fueling continuous struggles for decolonization and the acknowledgment of indigenous and African contributions to global intellectual and cultural heritage.

THE AFRICANA BODY AS A SUPERCOMPUTER

Rooted in the richness of our language and the innate intelligence of our spoken words, there's no room for improvisation. It isn't a random exploration but a purposefully curated ensemble of gestures steeped in intergenerational significance. Executed swiftly in harmony with polyrhythms, these gestures prompt immediate assessment and feedback from an engaged audience, facilitating real-time adaptation. The Black body, metaphorically equated to a supercomputer, employs its full essence in this intricate dance. I term this process "GestoRhythmitization."

While some might ascribe such prowess to inherent talent, it isn't merely about innate ability. It emerges from AfriCognoSomatic practices, rooted in African comprehension of the body and soma. Authentic Black dance demands a grasp of the Black body as a unique technology, one that doesn't elevate the mind over the body. When accompanied by live music, which is immediate and fleeting, there isn't a moment to hear, process, select, initiate, and then move in sync with the beat. The Black body, much like a supercomputer, reacts instantaneously. This quintessential aspect, pivotal to the aesthetics of Black dance, can be described as "rhythmic acumen."

HANGING THE WEB

THE AFRICAN DIASPORA BODY: THE GATEWAY TO ANCESTRAL WISDOM

At the heart of deciphering ancestral wisdom lies the body, especially when engaging in polyrhythmic practices. In the African cultural ethos, rhythm isn't just a beat—it's a lexicon, brimming with proverbs and profound philosophy. Rhythm, within this context, encapsulates cosmological and epistemic knowledge. It's in participating in rhythm that one produces, disseminates, and deciphers this knowledge. Thus, rhythm acts as the language, the scripture, and the interpreter, while the body embodies the role of the professor, the student, and the scholar.

Incorporating music, dance, and other forms of expressive embodiment, these practices facilitate energetic exchanges and foster call-and-response dynamics. The body becomes the medium through which meaning is shaped, knowledge conveyed, and understanding forged.

The term "corrupting the deciphering key" conveys the potential disconnect between Black identities and the technological prowess of the Africana body. Such disconnections often stem from the systematic erosion of African cultures, languages, and knowledge architectures—a consequence of historical blights like colonization and enslavement.

Understanding epistemicide here requires viewing it as the severance of the Black body/personhood from its intrinsic self, its historical roots, artistic manifestations, culture, language, and unique character. This disjunction hampers individuals from harnessing the depth of knowledge and wisdom latent in their cultural lineage.

Countering epistemicide mandates the championing and upholding of Black cultural expressions, especially those intricately linked to the technologies of the Africana body. This could manifest as efforts to restore lost or obscured knowledge systems and to back modern artists and experts determined to invigorate these traditions. By celebrating embodied knowledge and safeguarding the cultural tapestry of marginalized groups, we inch closer to forging a society that esteems and reveres the diverse mosaic of human experiences and epistemologies.

ARMING OURSELVES WITH CRITICAL ACUMEN

In light of the concerns previously highlighted, it's paramount that we arm ourselves with incisive tools. These tools help us comprehend the milieu we inhabit and the nuances of our work and practices. I intend to introduce terminologies and viewpoints that can guide us in understanding our endeavors and the backdrop against which they unfold. This will lead us to discuss the unshackled Black body and how by embracing specific terminologies, our bodies find the liberation to move and epitomize our identities more genuinely. This genuine representation authenticity I characterize as being:

• Direct and undiluted 

• Fearlessly bold 

• Sustainable in essence 

• Unapologetically genuine 

• Deeply centered and rooted 

• A true corporeal representation 

• Brimming with courage 

• Confrontational in its stand 

• Embracing of pluralism 

• Sturdy and resilient 

• Adaptable and flexible

CONTEXT AS THE VALIDATING FACTOR

The validating and authenticating factor for Black dance practices lies in their contextual relevance, rather than proximity to Europeanist ballet practices. Context, in its direct form, does not require us to deviate from our path or expressive forms. It does not necessitate the adoption of Europeanist ballet techniques or elements to prove our capabilities and validate our creative voices. Just as speaking like Shakespeare does not make someone a Caribbean poet, no amount of ballet training can authenticate one’s ability to creatively represent a physical Jamaican patois on stage. The true validation lies in understanding and embodying the logics and criteria that define the essence of the patois itself. Therefore, context emerges as the authenticating factor, and our proficiency in navigating it becomes essential. Authenticity, therefore, becomes a philosophical attribute that is not only defined by, but also reliant upon, the specific context in which it is embedded.

What captures the attention and response of the audience are the swift and astute choices we make in our movements. This is why I emphasise that it lies at the core of our aesthetics. Furthermore, we must consider that rhythm is more than just a mere element. It serves as the code, the archive, the book, and the library of our cultural heritage. Our bodies are the living embodiments of this knowledge. However, when the Black body is confused or misunderstood, it hampers our ability to access and interpret this rhythmic archive. Therefore, the centrality of rhythm in our dance is crucial to our identity and authenticity.

For someone seeking to choreograph authentic Black movement, the challenge lies in imparting the knowledge of how to navigate and express oneself through rhythm with such clarity and conviction that it can overpower any potential external influences. It means resisting the gaze of a predominantly white audience that may look down upon us as we assert our reality through movement.

Authenticity cannot be achieved by presenting a two-dimensional representation. Blackness is not flat; it encompasses shape, roundness, and three-dimensionality.

CHOREONOMMO AND DANCE AS A CATALYST FOR SOCIAL CHANGE

As an artist and researcher, I have coined my practice, which is rooted in African Diasporic Philosophy and African Retentions. My choreographic practice, coined ChoreoNommo, is deeply rooted in the concept of Nommo, which refers to the power of the word to affect direct change in the world, both physically and metaphysically. This practice is grounded in the understanding of the performativity of words, gestures, rhythm, and movement, and the ability to imbibe knowledge using language.

ChoreoNommo is a choreographic practice rooted in an Africana philosophical approach to knowledge production (episteme) and the creation of interdisciplinary choreographic art. It adapts an Africognosomatic and AfriDiasporacognosomatic approach to the body and personhood. Nommo is linked to the power of utterances to affect change upon the world and experience. ChoreoNommo acknowledges both gesture and rhythm as linguistic utterances. ChoreoNommo is a specific practice that seeks to strengthen the power of choreographic artistic utterances forwarded by Afri-descendants and these utterances’ power to manifest, affect change, and build knowledge and existence. ChoreoNommo focuses on choreography and performances’ potential to be catalysts for social change and to work on behalf of a larger community.

In the Caribbean and African Diaspora, the nuanced use of language, tone, and rhythm can profoundly alter the meaning of a word. This fosters fresh understandings and identities. Such adaptations of Europeanist languages we engage in, characterized by our unique tonal rhythmicity, are sometimes appropriated and labeled as "cool" or trendy.

Within ChoreoNommo, the concept of Nommo is integrated into choreography and movement, serving as a potent means of communication brimming with layered meaning. The dancer's gestures and motions are perceived as avenues to vivify the word, resonating with the philosophy of embodiment. The rhythmic beats of the drum, too, can be viewed as a dynamic rendition of the "word." It's a language in its own right, capable of conveying intricate philosophical concepts, words, and phrases.

This philosophy underscores the artist's symbiotic relationship with their community, spotlighting the pivotal role art assumes in nurturing connections, fostering mutual understanding, and facilitating collective growth. ChoreoNommo emphasizes active participation in the word, transforming participants from mere spectators to engaged contributors. The practice sanctifies space and time, drawing inspiration from the notion of Sankofa— the Akan principle of referencing the past to chart the course for the future. The essence of Ubuntu, epitomizing the intertwined fates of all individuals and the quintessence of community, is also woven into the fabric of ChoreoNommo.

Integral to this artistic endeavor is the formulation of novel terminology. This innovation allows for the articulation of concepts that perhaps elude existing lexical frameworks. Such deliberate and audacious linguistic creativity is not a display of hubris; it's a performative gesture that pays homage to Nommo and to the lineage of ancestors who similarly indulged in this creative lexicon crafting.

Through my writings, I'm consciously pioneering unique terminology, with the intent of infusing Africognosomatic practices into academic dialogues and theatrical expressions. My aspiration is to depict our existence in a light that underscores the sophistication inherent in our artistry, the finesse of our methodologies, and the profundity of our cultural traditions.

GATHERING THE WEB

AFRICAN DIASPORA and AFRICANA DANCE COMMON AESTHETIC THREADS AND FUNCTIONS

In the exploration of African Diaspora Authentic Aesthetics, a tapestry of interconnected threads and defining elements emerges, weaving together a rich and diverse cultural fabric that spans continents and generations. Before delving deeper into the intricate nuances of this aesthetic realm, it is prudent to take a moment to acknowledge and summarize the commonalities that bind these diverse expressions into a cohesive whole. The following compilation serves as a compass to navigate through the variegated landscapes of African Diaspora aesthetics and Africana Dance. While not all the terminologies herein may have been fully elucidated yet, this list offers a valuable tool for students, teachers, and enthusiasts alike, enabling them to analyze performances and styles within this complex and profound realm. As we unravel the tapestry of African Diaspora Authentic Aesthetics, these shared elements will guide our exploration, revealing the core essence that transcends geographical boundaries and chronicles the profound cultural journey of African descendants across the globe.

UNAPOLOGETIC AND IS ITSELF NUFF:

African Diaspora Dance is unapologetic in its existence and expression. It embraces and celebrates its own unique qualities without hesitation or apology. It affirms itself and vibrates into reality, asserting its presence and cultural significance.

SOCIAL AND POLITICAL ENGAGEMENT: 

African Diaspora Aesthetics often serves as a platform for social and political change. It carries the spirit of resistance, protest, and cultural affirmation, addressing issues of inequality, oppression, and the pursuit of liberation within the diaspora community. Art is seen as a vehicle for social and political change, with a primary role in developing Black identity.

PWEN- THE POWER TO AFFECT CHANGE:

Pwen is a concept from Voudun. A cultivated ancestral power that grows through knowledge and action. PerformancePwen is the power that is harnessed and brought into fruition through performance. The power to manifest change onto the world. To render your reality and alter it. It is the potential realized to change circumstance through performance. Like how song through the civil rights movement rendered dangerous and hostile situations into peaceful demonstrations. Or how Carnival in London made the police, who usually were engaged in stop and search activities against Black bodies, have to redirect traffic and become security guards at a city wide predominantly Black party, making government redirect traffic, provide security and transport, a complete flip of roles where the Black Body defines city wide activity.

POLYCENTRICITY

– in creation, governance, performance, and cognosomatic approach:

Polycentricity is a fundamental aspect of African Diaspora Dance. It refers to the distribution of power, movement, and creative agency across multiple centers. Other than just in the dance and the relation to the body, polycentric orientation is also present in the collaborative creation process, the inclusive governance of dance communities, the diverse roles and interactions during performances, and the embodied cognosomatic approach that acknowledges the interconnectedness of mind and body.

In the context of African Diaspora Dance, it embodies a polycentric approach, where multiple body parts move independently yet harmoniously. It combines grounded movements, rooted in the earth, with fluidity, grace, and strength. The torso is broken down into its component parts, allowing for articulated movements of the shoulders, chest, quadrants, abdominals/waist, pelvis, hip quadrants, and spine.

ABUNDANCE – PREGNANT/FERTILE POSSIBILITY:

African Diaspora Dance is characterized by abundance, representing a wealth of potential movement, rhythm, and meaning. It holds a sense of fertile possibility, where numerous interpretations, expressions, and creative choices are available. It signifies the vastness of artistic exploration and the richness of cultural heritage.

RHYTHMOKINETIC MOVEMENT ORIENTATION:

Central to African Diaspora Aesthetics is the vibrant and dynamic use of rhythm and movement. It incorporates polyrhythms, syncopation, and complex rhythmic patterns, which are expressed through dance, music, and other forms of artistic creation. It is the rhythmic structure that provides the technique for the dance and it is rhythm that propels the movement. It is also the movement that creates the rhythms which are amplified by the divine microphone; the drum. *RhythmoKinetic is a term coined by Thomas Talawa Prestø (Rhythmic Movement Kinetics which deals with the forces that play in and on the body through rhythmic movement and how rhythm affects biomechanics).

ADAPTABILITY AND RESOLUTION, THROUGH CO-EXISTENCE (BEAUTY THROUGH CONFLICT):

African Diaspora Dance embodies adaptability and resolution by embracing co-existence and finding beauty through conflict. It navigates diverse perspectives, influences, and cultural intersections, bringing them together in harmonious or contrasting ways. It acknowledges and reconciles differences, creating a cohesive and dynamic artistic expression.

CIRCLING THE MEDIAN (AESTHETIC OF THE COOL):

The "Aesthetic of the Cool" in African Diaspora Dance involves circling the median. It encompasses a sense of balance, poise, and restraint while maintaining a captivating and engaging presence. It is about being in control of one's energy and movement, exuding confidence and grace even in the midst of dynamic and complex choreography. This is also an aspect of rhythmoenvironmental acclimation (to be unpacked in this paper).

EMBODIED CULTURAL IDENTITY AND SPIRITUAL THEMES: 

African Diaspora Aesthetics reflects a profound connection to cultural heritage and identity. It embraces spirituality, ritual, and ceremonial practices as integral parts of artistic expression, blurring the boundaries between sacred and secular realms. Aesthetic concerns arise from ritual, ceremony, religion, and spirituality, showcasing a propensity for joy and a propensity to ritualize even the cypher is a ritual element.

CULTURAL AMALGAMATION, INNOVATION, AND STYLE JUXTAPOSITION: 

African Diaspora Aesthetics embraces the amalgamation of African and diasporic cultures with other influences. It incorporates elements from African American vernacular traditions, popular idioms, and fine art compositions, resulting in a unique and diverse artistic language. Nonhierarchical intermingling of the African Diasporan Aesthetic vernacular structure, popular idioms, and techniques of "fine" art composition createintellectual and physical democracy as a resistance to hierarchy imposed by colonial ideology.

STORYTELLING, VERBAL/VISUAL PLAY, AND TRICKSTER: 

African Diaspora Dance serves as a powerful storytelling medium, preserving cultural narratives, history, and traditions. It also encompasses verbal/visual play, utilizing rhetorical devices such as signifying, metaphor, satire, and innuendo. The trickster figure, embodying extraordinary gifts of ingenuity, plays a role in both physical and verbal acts, teaching spiritual lessons or providing humor even in the context of a dance battle or Ballroom culture for example. 

SYMBOLIC COMMUNICATION AND SIGNIFYING: 

Symbolism plays a significant role in African Diaspora Aesthetics. It encompasses the use of symbols, gestures, metaphors, and wordplay to convey cultural messages, social commentary, and personal narratives, fostering a sense of collective identity and communication. Symbolic expressions, such as Kente cloth, dance, music, drum forms, and movement, store, express, and transmit heritage, knowledge, values, spirituality, emotions, and abstract truisms.

COMMUNITY AND COLLECTIVE PARTICIPATION: 

African Diaspora Dance celebrates community and collective participation. It often involves call-and-response, improvisation, and communal engagement, creating a sense of unity, celebration, and shared cultural experience. The audience and the performer become different aspects of a whole.

ARRIVING ON ACTION: RHYTMOKINETIC ACUMEN – CHOICE – through navigation of the 4 rhythmic modules. 

Rhythmicokinetic acumen in African Diaspora Dance refers to the deep understanding and skillful utilization of rhythm and movement choices. Acument is the ability to make good choices quickly.  It involves the navigation of the four rhythmic modules: Sonic Rhythm, Optic Rhythm, Tactile Rhythm, and Ethero Rhythm. Dancers possess a keen awareness of these rhythmic elements and make deliberate choices to enhance their performances, allowing for nuanced and expressive movement.

The African Diaspora Body acts like a supercomputer with enormous processing power, weaving complex rhythms, an almost inexhaustible array of movement possibilities, active audience engagement, lightning speed curation of movement with communicative significance, and the creation of in the moment communal storytelling all coming together on and through the body, without hesitation or delay.

Each of these points highlights essential aspects of African Diaspora Dance, capturing its unapologetic nature, abundance of possibilities, adaptability, balance, polycentricity, rhythmic acumen, transformative moments, and community-building qualities. They reflect the depth and complexity of this art form, inviting further exploration, discussion, and appreciation.

CIRCLING THE MEDIAN- THE AFRICANA AESTHETICS

The Africana aesthetic, a rich and complex tapestry of artistic expression, embodies a unique approach to the concept of beauty and performance. Central to this aesthetic is the idea that beauty is not located directly within the median or the normative center, but rather in the dynamic space surrounding it. This notion is not about adhering strictly to a central theme or note, but rather about exploring, interpreting, and sometimes deviating from it. This exploration allows for a vivid demonstration of where the median lies, achieved not through direct representation but through a creative orbit around it.

Take, for instance, the vocal stylings of Aretha Franklin. Her technique exemplifies this aesthetic principle through her approach to singing. Franklin does not simply hit a note; she explores its periphery, adding depth and emotion through a complex interplay of harmonies and melodic deviations. This approach is not about the accuracy of the pitch, but about the journey around it, enriching the central note by exploring its boundaries and possibilities.

Similarly, in African drumming, the concept of beauty in the median is demonstrated through the deliberate distortion of sound. Drummers often modify their instruments, sometimes adding metal or other materials, to create a unique sound signature. This act of altering the drum sound is not a departure from the traditional beat or rhythm but an enhancement of it. It's about finding the musicality not solely within the drum's inherent sound but in the rich tapestry of tones and resonances that can be coaxed from around its basic timbre.

In dance, this Africana aesthetic is vividly displayed through concepts like juxtaposition, off-center positioning, and polycentricity. Dancers express themselves by bending and twisting their bodies in ways that highlight not just the central line or shape of a movement but the myriad forms that can orbit around it. This approach showcases the multitude of ways a body can articulate and express itself, highlighting the beauty in the spaces between and around the central movements.

The Africana aesthetic also deeply intertwines with the notion of collective individuality. This concept refers to practices that affirm a person's identity both as a member of a collective and as an individual. The median, in this sense, represents both a collective and an individual center. Each artist or performer, through their unique expression and interpretation, displays their personal median. These individual expressions, when combined, contribute to a collective artistic endeavor, where each unique beat or movement enriches and informs the whole. This collective expression is constantly in flux, renegotiating and redefining itself, much like an ecosystem in ecological homeostasis.

SENSING THE WEB: "THE AESTHETIC OF THE ODIOUS

"The aesthetic of the odious" is an artistic strategy whereby the artist intentionally takes something that is considered repugnant or abhorrent and transforms it into a visually captivating or appealing form. This approach compels the audience to confront the subject matter they may otherwise turn away from and forces them to engage with serious events, historical injustices, violence, or aggression. It is a subversive tactic often employed by global majority artists, such as Black, Indigenous, or People of Color (BIPOC/POC artists), with the intention of educating, undermining, representing, and analyzing.

By presenting the odious in an aesthetically beautiful or alluring manner, the artist challenges societal norms and expectations. This intentional juxtaposition creates a tension that forces viewers to grapple with their own discomfort, cognitive dissonance, or complicity in the issues being addressed. The aim is to provoke thought, evoke emotional responses, and stimulate dialogue about social change, while highlighting the uncomfortable and brutal aspects of the subject matter.

Examples of the aesthetic of the odious can be found in various artistic disciplines. For instance, a photographer might capture hauntingly beautiful images of war-torn landscapes or scenes of social injustice. The juxtaposition of the visually captivating images with the underlying horrors they represent creates a powerful statement that compels viewers to confront the realities of violence and conflict.

In another example, a playwright might create a play that uses poetic language and mesmerizing performances to depict a deeply disturbing historical event or act of aggression. The artistic presentation draws in the audience, who become captivated by the performance, even though it confronts them with uncomfortable truths and forces them to reflect on their own societal positions.

By employing the aesthetic of the odious, artists seek to disrupt complacency, challenge prevailing narratives, and create opportunities for critical reflection and social change. It is a deliberate strategy to use beauty and allure as a tool for exposing the uncomfortable, urging viewers to acknowledge and take action against injustice and brutality.

In the artistic arena, the aesthetic of the odious unfolds as an evocative narrative tapestry that stitches together the visually captivating with the viscerally unsettling. This artistic strategy, deeply imbued with subversive intentions, orchestrates a complex interaction between beauty and discomfort, much like the intricate web of rhythmic relationships in African diaspora dances.

Visualize a gallery space, its walls adorned with striking portraits that arrest the eye. Yet, a closer inspection reveals the subjects as figures marred by historical injustices or cloaked in narratives of violence. The atmosphere in the room is thick with an invisible tension; the art itself serves as a charged medium, compelling its spectators into a silent dialogue with their own biases and assumptions.

As the artist introduces an element of disquiet, perhaps through distorted forms or shocking imagery, viewers intuitively sense this jarring note in the visual composition. No words are exchanged, but a form of 'aesthetic call and response' takes root, grounded in the collective human experience of moral unease and social responsibility. This mechanism triggers an instantaneous internal reckoning, making the spectator complicit in a dialogue they may have otherwise shied away from.

Much like the role of a lead dancer in CorpoMagnetic Entrainment, the artist becomes the fulcrum around which these tensions pivot. Armed with an arsenal of artistic techniques and emotive storytelling, they modulate the aesthetic and ethical frequencies of the audience. The potency of their art lies not just in its superficial beauty but in the oscillating currents of discomfort and allure they so masterfully weave.

In this stage set by the artist, traditional aesthetic norms become almost irrelevant. The focus shifts to an experiential tableau, where the art lives and breathes through the reactions it engenders. The entire exhibition turns into a dynamically charged entity, resonating with the emotions and cognitions of its spectators.

Drawing an analogy with improvisational musical performances, the aesthetic of the odious operates much like an unrehearsed jam session. It doesn't conform to the predetermined notions of what is 'pleasing' or 'acceptable.' Instead, it thrives on the unexpected, the spontaneous interplay of public sentiment and artistic expression. In doing so, it cultivates a resonant social critique, emerging from the complex mesh of beauty, revulsion, and inevitable reflection.

The aesthetic of the odious thus serves as a riveting methodological dance, one where the allure and the uncomfortable are not competing forces but rather co-conspirators. Together, they forge a potent artistic landscape that is always in flux, where the sum of emotional and intellectual engagements becomes far more compelling than the individual reactions they provoke.

FASTENING THE WEB: USEFUL TERMINOLOGIES AND CONCEPTS FOR THE BLACK PRACTITIONER - DISTINGUISHING PRACTICE FROM PRAXIS:

• Practice: Practice pertains to the systematic and habitual engagement in a particular activity or discipline. It is characterized by the tangible application of knowledge, techniques, or skills with the intent of achieving specific results. Practice is synonymous with action and performance, implying a conscious and consistent commitment to certain actions or sequences. In numerous domains, like sports, the arts, or professions, practice is indispensable for skill cultivation, honing, and mastery.

• Praxis: Praxis provides a more comprehensive insight than practice. It signifies the symbiotic fusion of theory, reflection, and proactive action, all channeled toward transformative and socially-aware outcomes. Praxis transcends mere repetitive actions or applications, embedding critical contemplation, introspection, and a scrutiny of foundational beliefs and values. It adopts an analytical lens to practice, probing the extensive social, cultural, and moral ramifications of actions undertaken.

The concept of ancestral dance praxis encapsulates the spirited and living connection with transgenerational dance traditions, sidestepping the constraints tied to the term "traditional dance". Traditional dance often hints at a cemented praxis tethered to definite geographical and cultural paradigms. Contrarily, ancestral dance praxis is innately versatile and malleable, with its essence reverberating in practitioners, epitomizing a heritage that transcends temporal and spatial boundaries.

• Dynamic Context and Adaptability: Ancestral dance praxis blossoms across a spectrum of contexts, endorsing adaptability to different settings, geographies, or even relocations. It doesn't tether itself to a single territory; it has the prowess to thrive and evolve in mutable environments, imbibing ancestral sagacity while echoing contemporary sentiments.

• Continuity of Philosophy: Ancestral dance praxis upholds an uninterrupted chain of philosophical tenets, soaring beyond mere visual artistry. Even as novel instruments find acceptance, rhythms undergo transformation, and fresh movements weave their way in, the core and cohesive philosophy anchored in ancestral praxis remains intact. This age-old lineage, bequeathed over eras, lays the groundwork for the ceaseless metamorphosis and articulation of ancestral dance praxis.

By immersively engaging with ancestral dance praxis, practitioners acknowledge the rich heritage coursing through their beings, paying homage to ancestral insight while weaving in their distinct creative nuances. This rooted yet progressive approach to dance not only encapsulates the core of ancestral traditions but also fosters innovation, adaptability, and the perpetual renewal of these profound and vivacious traditions.

AFRIANCESTRAL DANCE PRAXIS

Ancestral connections within African and African Diaspora communities provide the foundation for the term "AfriAncestral Dance Praxis." This term, which I've coined, illuminates the profound engagement with dance traditions spanning multiple generations in African and African descendant communities. Central to this praxis is the intricate interplay of rhythm, movement, and spiritual connectivity, forming a bridge between the living and the ancestral realm. Traditional rhythms frequently serve as the key to unlock and rejuvenate ancestral movements. Within this dance milieu, ancestors aren't mere memories; they're pivotal members actively participating. While this praxis honours the unique narratives and epistemologies birthed within the African Diaspora, it unyieldingly anchors itself to African origins.

AFRIDIANCESTRAL DANCE PRAXIS: THE AFRICAN DIASPORA AS A NEXUS OF PHILOSOPHY AND KNOWLEDGE

AfriDiAncestral Dance Praxis (an amalgamation signifying the African Diaspora's ancestral connections) accords the African Diaspora its rightful place as a distinct hub for philosophical introspection, lived experiences, and knowledge generation. This praxis challenges any reductive view that pegs the Diaspora as merely a repository or a watered-down version of Africa. On the contrary, it champions the independence of both Africa and its Diaspora while celebrating the perpetual exchange and dialogue connecting the two.

The flexible nature of this terminological framework paves the way for more granular distinctions, such as "WolofAncestral Praxis" or "AfriJamaican Ancestral Dance Praxis." These variants shine a spotlight on specific ethnic or geographical ties, all set within the expansive canvas of the African Diaspora or the African continent.

Both the AfriAncestral and AfriDiAncestral Dance Praxes tap into a symphony of sonic, optic, tactile, and ethereal rhythms. They treat music not as mere entertainment but as a potent medium to decipher and convey ancestral choreography. The dialogic dance—the call and response—between the dancer and the accompanying music isn't just an aesthetic choice; it's a conduit for ancestral communion, fostering a profound spiritual bond.

In adopting these terminologies, we journey deeper into the multifaceted realms of dance within African and African diaspora contexts. This exploration allows us to appreciate their distinct philosophical, cultural, and historical tapestries, all while revering the unbroken thread of ancestral insight and sagacity.

GATHERING THE WEB: AUTHENTICATING OUR FILIAL AND ANCESTRAL DANCE PRACTICE

1. Africana Filial Logic Africana filial logic underscores a philosophical and cultural ethos rooted in lineage, continuity, and the veneration of ancestral ties within African and African Diasporic dance practices. This perspective emphasizes the imperative of safeguarding and evolving traditional dance forms, techniques, and cultural expressions. While this logic is open to innovation, it always remains tethered to its ancestral lineage. Central to Africana filial logic is the revered tradition of knowledge transmission, intergenerational dialogues, and the profound cultural resonance inherent in African and African Diasporic dances.

2. Europeanist Rupture Logic Contrastingly, Europeanist rupture logic articulates a paradigm that seeks a deliberate detachment from entrenched European dance traditions and conventions. This framework cherishes innovation, challenging and often discarding the norms and tenets of classical ballet in pursuit of novel movement paradigms, expressions, and aesthetics. Characterized by its purposeful divergence from traditional ballet techniques, narratives, and structures, this logic has inspired the evolution of modern dance from classical ballet, postmodern dance from modern dance, and so on. Contemporary western dance, in its departure from postmodern dance, and post-dance ideology even flirt with the idea of abandoning the very concept of dance. This genesis of new genres often emerges as a counter-response or a direct challenge to its predecessor. A significant observation is that this progression frequently involves appropriation, drawing from African, Asian, Middle Eastern, and Japanese Butoh aesthetics.

Thomas DeFrantz's perspective illuminates the essence of Africana filial logic. He posits that Black art doesn't seek to rewrite its history or sever ties with its past. Instead, it cherishes and builds upon historical narratives to craft art that resonates in the present:

"....It isn’t trying to reshape its history or make a rupture with an errant past that left things out of its formation. Black art isn’t trying to “get it right” because our parents “got it wrong.” We don’t make postmodern dance to protest modern dance. We make hip-hop because we need the art in the present moment. Not because we’re mad at bebop or swing. Not because we have to say “no” to some detail from before. We live in what came before, always; we never forget being enslaved or being disavowed.”

Thomas DeFrantz (2017)

While filial dance practice isn't explicitly spiritual, it's worth noting the profound spiritual undertones in genres like hip-hop, which outsiders might not typically associate with spirituality. An essential nuance to appreciate is the danced spiritualities rooted in African traditions that survived the perilous journey across the Atlantic. These traditions position dance not just as a form of sociability, but also as a deeply spiritual act.

FASTENING THE WEB:  THE CORE OF AFRICANA AESTHETIC IS CHOICE!

Embedded deep within the Africana Aesthetic is the pivotal principle of choice. This notion of choice, manifesting in rhythm and movement, is not just a defining feature but the very soul of this aesthetic. Beyond mere expression, the element of potential in movement and rhythm cultivates an expansive landscape of choices. The intricate interplay of polycentric movement and polyrhythm unravels an endless spectrum of possibilities—encompassing rapid or languid movements, counterbeats, offbeats, cross-rhythms, and beyond. Such movement nuances, be it shaking, twisting, trembling, or turning, can seamlessly interlace or follow in a rhythmic sequence.

The Africana Aesthetic's essence lies in the juxtaposition or fusion of movement and sound—either blurring distinctions or creating sharp contrasts. The sagacity to decide between these two articulations becomes paramount. This Rhythmic Acumen is all about the instantaneous and precise choices reflecting both movement quality and rhythmic eloquence. The potential in both rhythm and movement is the canvas for the "aesthetic of the cool."

A phrase often resonating with jazz, the "aesthetic of the cool" is the effortless exhibition of mastery. This aesthetic captures the captivating interplay between intense passion and a calm demeanor. It subtly conveys that while there's still a vast expanse of potential to uncover and myriad choices to explore, every expression is a well-thought-out decision rather than a random or frenetic action. This conscious, purposeful choice is what demarcates the Africana Aesthetic.

In essence, the Africana Aesthetic reverberates with the celebration of choice. The artistry lies in the precision of selecting and manifesting rhythms and movements with deliberate intent. Through the exploration of potential choices, the Africana Aesthetic unfurls a realm teeming with creative exuberance and boundless expression, urging us to acknowledge and harness the potency of our choices.

SENSING THE WEB SMADDIAESTHETICS: ENERGETIC POINTING, EMBODIED ASSERTION OF IDENTITY, AND THE CARIBBEAN PHILOSOPHY OF SMADDITIZATION

I coined the term smaddiaesthetics as a richly-layered concept rooted in the Caribbean philosophy of smadditization. Smadditization is derived from the term "smaddy" or "somebody" in Caribbean vernacular, representing the assertion of self-worth, personhood, and identity, especially in the face of societal marginalization or disregard. It's an act of proclaiming, "I am somebody," a resilient affirmation against oppressive forces.

The heart of smaddiaesthetics lies in the interplay between somaesthetics (bodily perception and practice) and smadditization. Through this, I aim to encapsulate a philosophy where the body and its movements are not just modes of expression but powerful tools of resistance and affirmation.

1. Smaddiaesthetic Experience: This concept is a celebration of those moments where one's very existence becomes a symbol of defiance and affirmation. It delves into those instances where marginalized individuals, in asserting their identity, challenge dominant societal narratives. For instance, when a person with a disability dances with fervor and grace, it's more than a dance; it becomes an embodiment of smadditization, a declaration that they are "somebody" and that their narrative is as significant as any other. Or when a Black Dance company enters and performs and takes over traditionally «white» spaces or theatres, or breaks the glass ceiling by being the first to represent, or even the 20th to represent. It smadditises us, makes us someone and works to loosen the grip of stereotype and expands the range of options.

2. Smaddiaesthetic Practice: Here, daily actions, no matter how small or routine, become radical acts of self-assertion. Consider the Black woman who wears her hair naturally. More than a hairstyle, this is an act of smadditization, a challenge to Eurocentric beauty norms, and a celebration of her African heritage. It's a declaration of her worth, her history, and her pride.

3. Smaddiaesthetic Representation: This aspect emphasizes the role of art and representation in asserting identity. Through artistic mediums, marginalized communities find a voice to both celebrate their unique narratives and contest prevailing stereotypes. A mural artist painting the stories of marginalized communities isn't just creating art but is practicing smaddiaesthetics, offering these communities a canvas to declare their existence and importance.

4. Smaddiaesthetic Activism: This intertwines activism with bodily expression. It's not just about voicing dissent but about embodying it. A group performing a dance at a protest against racial discrimination is practicing smaddiaesthetics; their movements, synchronized and powerful, proclaim their shared identity and challenge the forces that seek to marginalize them.

5. Smaddiaesthetic Philosophy: This intellectual exploration delves deep into the convergence of body, identity, and society. It questions and examines how our embodied practices can be both tools of resistance and platforms of affirmation. A scholar analyzing the dance forms of marginalized communities isn't just studying art; they're exploring how these dance forms, deeply embedded in the philosophy of smadditization, encapsulate their histories, struggles, and aspirations.

To understand smaddiaesthetics, one must recognize its roots in the Caribbean ethos of smadditization. It's not merely about existence but about loudly and proudly proclaiming one's worth, identity, and history. Whether through the subtle, energetic pointing of a Caribbean elder or the defiant dance of an activist, smaddiaesthetics, as conceptualized by here, offers a lens to understand, appreciate, and celebrate the diverse tapestries of identity and resistance.

Hanging the Web: PolySpirit Praxis and Practices

PolySpirit Practice

PolySpirit practice (Prestø, 2019) describes the embodiment of multiple spirits within a single body. This occurs when a dancer is ridden by an Orisha or Lwa, or channels ancestors or others. The highly spirited body moves powerfully in praise, dance, contemplation, and community service, becoming more than itself. This concept is central to both secular and sacred Africana and Caribbean forms. Techniques must facilitate and simulate this state, moving with the same power even when not enspirited.

PolyConducted Bodies

A Polyconducted body (Prestø, 2019) is driven by multiple spirits while the original inhabitant remains present and in control. Full spiritual possession involves complete replacement, such as when a cardinal orisha takes over. Polyconducted bodies dance the urgencies of many, channeling community or musical ensemble energies to create moments greater than their present sum. These instances, often referred to as “flashes of spirit” (DeFrantz), are recognized by heightened responses—they bypass emotional defenses and connect deeply with our spirit.

Emotions, Time, and the PolySpirit

Strong emotions and associations can transcend time, connecting moments and bringing them together. In Kemethian (ancient Egyptian) understanding, no one truly dies until they are forgotten. The spirit, unlike the material body, is not bound by time. Remembering ancestors keeps them alive and active in our communities. The colonizers’ actions often aimed to kill memory, understanding the power of erasing histories. The ongoing epistemicide of indigenous and Black histories is continued violence, but reclaiming, reconnecting, and reacknowledging our ancestors counters this. Hang pictures, call names, tell stories, write books, fill family trees, and dance—dance as a means to anchor spirit in time.

Repetition and Possession

Repetitive ritual dance movements invite spirit possession, allowing the body to lose defenses that prevent open communication with spirits. Repetition is a powerful tool for clearing the mind and creating body memory. While commercial Black dance has shifted away from repetition, recent trends show its return, reconnecting with ancestral traditions. Each restarted step in a dance like Yanvalou varies due to constant changes in gravity, placement, and alignment, reflecting the non-linear approach to time in Africana philosophy.

Body First Approach

Africana philosophy often follows a “Body first approach” (Daniel), where affecting the world starts with one's own body. Anchoring spirit in time is essential in ritual possession, allowing spirits to experience heightened sensations and memories through the body. This non-linear access to memory and emotion benefits both spirit and human host. In Africana rituals, corporeal pleasures like food, alcohol, and dance entice spirits to embody the present moment.

Flashes of Spirit

“Flashes of spirit” (DeFrantz) describe altered states where dancers and audiences experience freedom and heightened awareness. These moments, akin to possession, collapse time within and around the body. Rhythm and movement cause time to fall away, allowing access to emotional and spiritual currents normally inaccessible. The BaKongo cosmogram (Dikenga or Yowa) provides a symbolic template for understanding these relationships, representing the cycle of life and death and the interconnectedness of the spiritual and physical realms.

Designed by Thomas Talawa Prestø in illustrator

The BaKongo Cosmogram

The BaKongo cosmogram, known as Dikenga or Yowa, is an ancient and sacred symbol of the Kongo people, representing both the cosmos and the cycle of life and death. Deeply rooted in Kongo cosmology, this symbol has been utilized in various contexts, including religion, art, and dance. The BaKongo cosmogram provides a symbolic template for understanding relationships between the living, the dead, the spiritual realm, and the physical world.

Structure of the BaKongo Cosmogram

The Dikenga is generally depicted as a cross inside a circle. Each quadrant of the cross represents a specific phase of the sun, a time of day, and a stage in the life-death-rebirth cycle:

1. Kala (Sunrise/East): Symbolizes birth or beginning. It's the point of emergence, where spirits come into the world.
2. Tukula (Noon/North): Represents life and the living, as well as the fullness of one's vitality. It is often associated with the color red, signifying the vigor of life and the heat of the noon sun.
3. Luvemba (Sunset/West): Signifies the realm of the dead. This is the stage of descent, where the spirits transition out of the physical world.
4. Musoni (Midnight/South): The point of the deepest spiritual realm, where there's the least light. It represents the ancestral realm and reincarnation.
5. Nseke: Refers to the color white and symbolizes purity, clarity, and light, often associated with the spiritual realm, particularly the world of the ancestors.
6. Mpemba: Connects to the color red and represents warmth, vitality, and blood, indicative of life and the physical realm.

The center of the cross, where the lines intersect, is known as Kala Tukula. It signifies the heart and is a point of balance and connection between all realms.

The BaKongo Cosmogram symbolically encapsulates the BaKongo people's understanding of existence, the universe, and spirituality. It reflects their views on the cyclical nature of life and the interconnectedness of all realms.

The Spherical Nature of the Cosmogram

Though often depicted in two dimensions, the BaKongo Cosmogram is fundamentally spherical, symbolizing the wholeness and continuity of life. This spherical representation suggests a cyclical conception of time, where endings birth beginnings, and all dimensions and facets are interconnected.

The Cosmogram and Earth's Movement

The design of the BaKongo Cosmogram reflects Earth's movements. Its counterclockwise representation mirrors Earth's rotation, emphasizing life's constant movement and change. The cosmogram's quadrants signify the sun's appearance during the four moments of the day: rising, reaching a high, setting, and disappearing below the horizon, symbolizing various stages in human life and the cycle of existence.

Life, Death, and the Continual Cycle

The cosmogram illustrates the BaKongo understanding of life and death as intertwined entities, ensuring a continuous cycle of rebirth and transformation. The spirit's journey in both the terrestrial and submerged realms signifies the constant presence and interplay of ancestral spirits in one's life.

Water: The Force Behind the Cosmogram

Water, represented by the kâlunga, is a pivotal element within the cosmogram. It serves as both a divider between realms and a connector, enabling communication between the living and the spirits. Water symbolizes life's ever-changing nature, its unpredictability, and its inherent flow.

Dance, Art, and Spiritual Embodiment

The BaKongo cosmogram is deeply intertwined with cultural expressions. Dance movements, especially during burial ceremonies, mimic the Earth's rotation and the cosmogram's flow, signifying the circle of life and the spirit's journey. The cosmogram, depicted in various forms of art, embodies the BaKongo's deep spiritual and cultural beliefs.

Ritualistic Invocation and Oaths on the Cosmogram

The cosmogram is not merely a symbol but a sacred tool. Drawing the cosmogram on the ground transforms the space into a holy realm, believed to be imbued with divine energy. Standing upon a cosmogram while taking oaths reflects the gravity and sanctity of the words spoken.

The BaKongo Cosmogram is a profound emblem of the BaKongo people's worldview, encapsulating their beliefs about life, death, spirituality, and the universe's nature. It represents their deep-rooted spirituality and understanding of existence's interconnectedness.

Application to Dance

The BaKongo cosmogram's connection to dance is multifaceted. Its layout often serves as a physical and spiritual map for dancers, guiding movements to reflect its quadrants, establishing harmony with the cosmos.

Life Cycle Representation

Dance choreography can symbolize the different stages of life: birth (Kala), the peak of life (Tukula), transition to death (Luvemba), and the spiritual realm (Musoni). This representation embodies the cyclical nature of existence as delineated in the BaKongo cosmogram.

Ancestral Connection

Movements can be choreographed to invoke ancestral spirits, especially during parts of the dance symbolizing the Luvemba and Musoni quadrants. This serves as spiritual communication and remembrance, bridging the terrestrial and spiritual realms through rhythmic motions.

Rhythmic Elements of the cosmogram

Drumming patterns often correspond with the cosmogram's quadrants: lighter beats might represent Kala, energetic rhythms symbolize Tukula, while deeper drumming associates with Luvemba and Musoni. These rhythmic elements align the dance with the cosmic energies of the Kongo cosmology, facilitating deeper spiritual resonance.

Healing and Transformation

Many African and African Diaspora dances involve healing and transformation. Aligning the dance with the BaKongo cosmogram allows dancers and participants to undergo a spiritual journey, facilitating healing or transformation.

Costuming and Decoration

Dance costumes adorned with representations of the Dikenga serve as protective symbols and further align the dancer with the cosmic energies of the Kongo cosmology. The visual embodiment of the cosmogram in dance attire amplifies the spiritual resonance of the dance, creating a visual and kinetic representation of the BaKongo cosmology.

In African Diaspora contexts, particularly within the Americas, the BaKongo cosmogram resonates in many Afro-centric religious practices like Palo Monte, Vodou, and Candomblé. It serves as a spiritual map, guiding ritual dances and helping practitioners navigate between the realms of the living, ancestors, and spiritual entities.

References

• Daniel, Yvonne. Dancing Wisdom: Embodied Knowledge in Haitian Vodou, Cuban Yoruba, and Bahian Candomblé. University of Illinois Press, 2005.
• DeFrantz, Thomas. Dancing Many Drums: Excavations in African American Dance. University of Wisconsin Press, 2002.
• Thompson, Robert Farris. Flash of the Spirit: African & Afro-American Art & Philosophy. Random House, 1983.
• Prestø, Thomas Talawa. Talawa Techniques: Principles of Ritual and Performance. Personal Communication, 2019.

Gathering the Web: The Circle and Wining in the Caribbean and African Diaspora: An Embodied Exploration

The cultural fabric of the Caribbean and the African diaspora is intricately woven with symbols, movements, and rituals that traverse vast temporal and spatial distances between the ancestral African continent and its far-flung descendants. At the heart of these symbols lies the “circle,” a potent embodiment of unity, community, and spiritual continuity. The fluid dance movements of “wining” imbue life into the circle, seamlessly intertwining the past with the present and the spiritual with the corporeal.

The Circle: A Cultural and Spiritual Keystone

In African-centered worldviews, the circle emerges as a visual and philosophical representation of interconnectedness and holism. This shape underscores the seamless unity of human existence, bridging the gap between spiritual essence and collective identity. It envisions the interconnectedness of all things, both physical and spiritual, and illuminates the interdependence between humanity, nature, and the cosmos.

Within this spiritual cosmos, the BaKongo cosmogram, also known as the dikenga, stands as a profound symbol. Originating from the Kongo culture, this cosmogram consists of a cross enclosed within a circle. It serves as a spiritual map, tracing the journey of the spirit from the ethereal realm through birth, growth, maturity, old age, and ultimately returning to the spiritual domain. The cyclical, anticlockwise path of the cosmogram mirrors the unending continuity of the circle, embodying concepts of rebirth, rejuvenation, and the rhythmic dance of seasons. The BaKongo cosmogram resonates with the cyclic movement of wining, bridging the realms of dance, spirituality, and cosmology.

Wining: The Embodied Circle of the Caribbean

In the Caribbean, particularly in Trinidad and Haiti, "wining" takes on profound spiritual significance, deeply rooted in African dance traditions and spirituality. This rhythmic, circular movement of the hips, especially when executed in an anticlockwise direction, transcends mere dance and transforms into a spiritual invocation. The anticlockwise movement mirrors the earth's natural rotation and symbolizes the creation of life. This movement has been linked to rites of passage, from celebratory birth ceremonies to the solemnity of wakes. Conversely, the clockwise wine, commonly found in secular settings, is associated with leisure and pleasure.

The vodou traditions of Haiti illuminate the significance of the "Potou Mitan," a central pillar that stands as a bridge between the material and spiritual realms within vodou temples. The Potou Mitan serves as a conduit facilitating interaction between living individuals and the spirits, known as "lwa." Encircled by dancers moving in circular patterns, this central pillar represents a tangible link between the earthly and the divine. The dance performed around the Potou Mitan vividly embodies this connection, amplifying the circle's role as a spiritual conduit uniting the living with the spiritual forces.

From the African continent to the Caribbean shores, the essence of wining persists with remarkable consistency. Artists like Denise Belfon, who master the anticlockwise wine, embody the living legacy of this dance's spiritual heritage. The motion of the hips during wining echoes the perpetual cycles of life and rebirth, resonating with the African understanding of time and existence. This embodiment of ancestral rhythms and movements illustrates the uninterrupted flow of cultural practices, fostering a profound link between generations.

The Circle as an Act of Resistance and Affirmation

Within the remnants of colonial legacies, the circle emerges as a potent tool of resistance. Through communal dances, drum circles, or traditional fabrics, the circle challenges and disrupts constructs rooted in white supremacy, effectively reclaiming and reaffirming the cultural identity of the African diaspora. It serves as a visual manifestation of unity and defiance against oppressive structures.

Beyond resistance, the circle fosters spiritual strength and community cohesion. Within its embrace, ancestral energies persist, guiding and empowering the community. Standing within the circle, individuals see their reflections in others, realizing their integral place in a broader collective. This experience fosters unity, solidarity, and a deep sense of purpose.

Concluding Reflections: Enduring Symbols of Unity and Resilience

The circle's enduring presence, marked by its rich symbolism, remains a potent force within Caribbean and African diasporic cultures. From academic discussions to the vivacious rhythms of carnivals, its resonance is palpable, reminding us of shared roots, interconnectedness, and collective resilience.

In the dynamic dance of wining, the circle springs to life, intertwining dancers with ancestral rhythms and cosmic cycles. It stands as a testament to the unyielding power of cultural practices in fostering community, connection, and resilience amidst changing times and geographical boundaries. The circle's eternal continuity echoes the enduring vitality of a people who have carried their cultural essence across continents and eras, leaving an indelible mark on the world's tapestry of diversity.

FASTENING THE WEB: THE SPECTACULAR DANCING AFRICANA BODY

The Africana Body is so spectacular in its abilities that even the gods want to borrow it!

The exchange between spirit and man is related to time. To Rhythm. The body locked in time has heightened emotional and sensory experience. The spirit covets this and exchanges it for the knowledge that comes from being outside of locked time. 

Polyrhythm is the technology through which locked and “unlocked” time is brought so close together that exchange is possible. The collapsing of time, so to speak, or rather in our point of view, the spiralling of time. The Africana Dancing Body possesses the ability to break open time. As mentioned before; the body without rhythm and movement is locked in time. As we move to certain rhythms and with certain movements, time is made non-lineal. Hence ancestral spirits and other spirits, not held by time, can enter or can dialogue with us. We barter the body, which is condensed in time. Through lending our body spirit then, can experience a heightened sense of emotion and other corporeal pleasures, in exchange for the knowledge that they leave behind. Knowledge which comes from not being bound by time, from being outside of time or to be able to be copresent across time. The cord of consciousness (the spine), and the disruption of the lineal, is central to Africana temporal and dimensional technology. Hip and Spine is the key to time and to spirit. 

The Afiocana body holds a profound place within philosophical and cosmological frameworks, with significant implications for dance and spirituality. The interplay between the body and its surrounding space influences movements, perceptions, emotions, and freedoms, particularly evident in spiritual and artistic practices. Many Africana worldviews emphasize the validity of the unseen realm of spirits and deities, treating it on par with the material world. Ancestral knowledge systems often attribute spiritual causes to physical phenomena, acknowledging the active presence and agency of ancestors, spirits, and deities within the everyday community and lives of individuals.

Africana spirituality embraces a reciprocal relationship between the materialized body and the spirit world. The body's temporal nature, governed by rhythm and movement, allows spirits, unbound by time, to experience heightened emotions and corporeal pleasures through this exchange. Spirituality and embodiment are intertwined in a complex system where the body acts as a conduit between the visible and invisible worlds.

Dance and spirituality view the body not just as a dancing entity but as a situated body in context and space. The sensoriality, layout, and morphology of a space can shape the body's movements, creativity, perceptions, and emotions. Different spatial configurations may prompt specific actions and sensorimotor patterns, impacting the body's orientation and engagement with its surroundings.

Polyrhythm plays a crucial role in breaking open time, enabling spirits to interact with humans and engage in a non-linear temporal experience. The key lies in the hips and spine, disrupting the linearity of time and facilitating spiritual exchange. Through rhythm, dance, and presence, spiritual entities are called and invoked, transforming the entire ritual site through multiple sensory mediums, including sound, movement, taste, and smell.

Ashé, a concept often associated with Orisha beliefs, represents the power to manifest into the world. In African Diaspora rituals, ashé imbues the space through rhythm, dance, and sensory elements, creating an environment where spirits are present not just through sound and movement but also through feeling, taste, and smell.

In Vodou and Ifa (Orisha) traditions, ritual objects and shrines increase the likelihood and frequency of interactions with spirits, inducing action and creating a community of initiates. The ritual space is carefully designed to generate an emotional contagion, attracting spirits who desire to experience the sensations present in the materialized body, setting the stage for a bartering process between spirits and humans.

Within much of West Africa, ancestral spirits hold authority over the living, and their wisdom and experiences are believed to be passed down as a legacy to their progeny. In Vodun practices, a Vodunsi is a person chosen and initiated by the Vodun spirits, under their full protection and guardianship. To become a Vodunsi, one must undergo an intensive initiation process within the esoteric home, a sacred place that fosters a deep spiritual connection.

By understanding the Afrocentric body within its holistic philosophical and cosmological context, we can appreciate the profound influence of rhythm, dance, and spirituality in shaping embodied experiences and connecting with the spiritual world. The exchange between the materialized body and the spirit realm reveals a complex web of interconnections that enriches both physical and metaphysical existence.

The Africana body is not confined to a singular existence; it has the remarkable capacity to house not only one spirit but also the collective urgencies and necessities of an entire community. This embodiment of communal essence is a profound aspect of African and diasporic traditions, one that holds the power to transform not just individuals but entire societies. It's a concept seldom explored in performance theory but carries immense significance in the realm of social justice.

"In the unity of a singular body channeling the essence of a community, we find the convergence of urgency and intent, a force that has the potential to drive powerful change."

The act of condensing the hopes, struggles, and aspirations of an entire community into a singular body is an act of tremendous potency. It's a crystallization of intent that, in itself, becomes a force for social transformation. In this process, individual ego is transcended, and a profound sense of both community and individuality is enforced simultaneously. It's a cleansing of intent, a purification that readies both the collective and the individual for the challenges ahead.

During the tumultuous times of the civil rights movement, figures like Bernice Johnson Reagon engaged in a practice she aptly coined "Shifting the Air." When faced with the imminent threat of violence from the police or racist white mobs, they turned to the power of music and song as a transcendent force.

"The resonant power of song and voice became a vessel for channeling the urgency, spirit, and humanity of the community towards the oppressors."

Their voices vibrated with such intensity that they condensed the humanity of the community to an extent where it became impossible for the oppressors to carry out their murderous intent. In essence, they transformed the air of potential violence into a forceful yet peaceful demonstration. "Shifting the Air" not only saved lives but also shifted the narrative from one of violent suppression to one of unyielding determination for civil rights.

This practice underscores the profound impact of African diaspora art practices, showcasing their potential not just within the realm of art but in the broader context of societal transformation. It epitomizes the essence of ChoreoNommo—the power to manifest a new reality through artistic processes.

"Art, for the African diaspora, is not a mere luxury or entertainment; it is a lifeline, a conduit for survival, a bridge between past and future, and a testament to the resilience of the human spirit."

In our pursuit of recognition within the narrow definitions of art, we must never forget that for us, art is more than aesthetics; it is a means of preserving lives, creating a sense of belonging, consecrating spaces, and passing down the wisdom of generations. It embodies the principles of Sankofa, the act of looking back to retrieve what was lost or forgotten, and Ubuntu, the recognition of our shared humanity.

"I am human; therefore, nothing human is alien to me."  For me heard quoted by Maya Angelou. These words remind us that art, in all its forms, is an expression of our shared human experience, a force that has the capacity to transform and heal not just the individual but the entire world. In a world rife with challenges, let us never underestimate the profound impact of art and its potential to shift the air, to transform violence into peace, and to create a more just and harmonious world for all.

FASTENING THE WEB: THE LIMINAL SPACE OF STAGE AND SPIRITUALITY

In the liminal space where performance art and spirituality intersect, the body takes on the role of a cosmic tapestry, woven through with strands of ancestral memories, collective experiences, and dynamic rhythms that defy the singularity of temporal existence. Stage performance, be it in dance, theater, or music, can serve as a corporeal enactment of the Africana and Caribbean PolySpirit practices—spaces where we witness the multi-dimensional potential of the human body to serve as both vessel and conduit for spirits beyond its own.

Picture a stage aglow with ethereal light, resonating with polyrhythmic beats that seem to spiral in time. The performer—much like the adept in Voudou traditions—enters a state of heightened emotional and sensory receptivity. The ritual of the performance allows for a sacred transaction between the ethereal and the corporeal; much like the revered poteau-mitan in Haitian Voudou temples, the stage becomes an axis mundi—a confluence of worlds. The body, intensely present in its gestures and movements, anchors spirits that exist beyond linear time. This coalescence of diverse temporal experiences bestows the performer with what can only be described as "flashes of spirit," turning them suprahuman for that encapsulated moment.

Yet, in the world of performance, it is not solely about the transcendent, but also about the profoundly communal. Enter the concept of "Groove," a secular sacrament that infuses the ritualistic aspects of PolySpirit practices with the materiality of rhythm and response. To groove is to participate in a sonic call and response that stitches the present moment to memories long past, sealing the gap between "You" and "We." The audience, too, becomes a part of this extended corporeal exchange. In their engagement, they lend their energies to the unfolding ritual, their collective experience spiraling in harmony with the performer's embodied spirituality.

This symphonic exchange is a living testament to the transformative power of communal memory. Just as a spirit accesses heightened emotions by grounding itself in the performer's body, so too does the audience access layers of collective experience through the groove. The resultant atmosphere is not just a shared space but a shared time—each beat, each note, each movement a ripple in the pond of collective memory, connecting everyone present to an ancestral continuum.

The beauty of this is not restricted to the performance stage. This interplay can be sensed in the collaborative endeavors of daily life—when teams move with a shared sense of purpose, or even in those transcendent moments of interpersonal connection when the boundary between the self and the other seems to dissolve. Such instances are echoes of the same cosmic dance, reminders of our capacity to transcend the limitations of individual experience through collective endeavor.

Therefore, the act of stage performance—imbued as it is with the rich textures of PolySpirit practices and the material immediacy of groove—serves as both a microcosm and an enactment of life's grand pageantry. Here, the abstract idea of spiritual co-presence meets the tangible pulse of communal interaction; the body becomes more than just flesh and bone, but a living, breathing sanctuary of shared memory and collective experience.

Thus, in both its profundity and its practicality, the stage becomes a theater of human potentiality—a place where the embodied and the ethereal, the past and the present, the individual and the collective, are not just juxtaposed but intricately, beautifully, and inevitably intertwined.

In both secular and sacred conversations, we often draw boundaries between the spiritual and the corporeal, placing them in separate realms as if they were opposing forces. However, in Africana Diaspora traditions, the separation between body and spirit is not only blurred but virtually non-existent. The embodiment of spirituality through practices like PolySpirit rituals and the universal power of Groove disrupts this division, proclaiming that our bodies are not merely vessels for spiritual experiences but are spiritual entities themselves.

GATHERING THE WEB: POLYSPIRIT PRACTICES: THE BODY AS A COSMIC CONDUIT

PolySpirit practices in Africana and Caribbean traditions challenge the artificial divide between body and spirit. In this spiritual paradigm, the body doesn't just host the spirit; it is an intrinsic part of the spiritual realm. It's a departure from the idea that the spirit is superior and must transcend the body. Instead, it embodies the concept that the highest power lies in their inseparable union.

The Polyrhythmic Dance of Time and Presence

The concept of rhythm is central to this union, serving as a connective tissue between temporal experiences and cosmic wisdom. Within traditions like Haitian Voudou, the body becomes a living, breathing axis mundi, where earthly and spiritual realms coalesce. Each rhythmic drumbeat, every dance movement, awakens not only a distant spirit but the spirit inherent in the body itself. The "flashes of spirit" are instances where the body shows its inherent divinity, its capability to be more than flesh and bone but a crucible of cosmic energy.

Groove: The Energetic Exchange of the Spiritual Body

The concept of Groove, although often approached through secular lenses, taps into this indivisible union of body and spirit. From the community halls where Gospel music resonates to the Hip-Hop clubs where beats and rhymes catalyze movement, the Groove isn't merely a catchy rhythm. It's a manifestation of the body's own spiritual nature, a sacred echo that reverberates through ancestral lines, invoking a shared memory that is both corporeal and spiritual.

The Pocket of Unity

When musicians talk about being in the "pocket," it’s that magical moment where sound, rhythm, and movement are in perfect harmony. But this is not just a musical phenomenon; it's a spiritual one. The pocket is the space where the corporeal and the spiritual, the "You" and the "We," coalesce into an indivisible entity. The experience of Groove in this pocket becomes a celebration of the body's inherent spirituality, a collective affirmation that we are more than the sum of our physical parts.

The Sacred Everyday: Where the Corporeal Meets the Cosmic

The PolySpirit practices and the concept of Groove teach us that the sacred is not far removed in distant temples or lofty philosophical theories. It resides within our bodies, within the way we move, the way we engage with rhythms, and how we connect with others. This everyday spirituality refutes the dichotomy of body and spirit, making each of us a living testament to cosmic power.

Our Body, The Spiritual Archive

Our bodies serve as archives, not just of biological information but of spiritual wisdom, ancestral memories, and collective experiences. When a spirit "lends" itself to a body during a PolySpirit practice, it's not merely visiting a separate realm. It's recognizing and activating the body's own inherent divinity. And when we feel the Groove, it's not just our spirits that are uplifted; it's a complete, holistic experience of spiritual corporeality.

Africana Diaspora traditions offer us an expansive lens to reimagine spirituality, one where the body is not a separate entity but an integral aspect of our spiritual existence. The highest power is not in transcending the body but in realizing its innate divinity, in recognizing that it too is a manifestation of spiritual energy. PolySpirit practices and the power of Groove are not merely paths to this understanding; they are vibrant affirmations of it.

The message is clear: the body is not just flesh and bone, to be transcended or overcome. It is a radiant form of spiritual energy, capable of communing with ancestral spirits, with the cosmos, and with the communal beat of a shared Groove. It is in this sacred union of the corporeal and the cosmic that we find our highest power, our most profound connection, and our truest selves.

Polyspirit practice is grounded in the profound transmission of kinetic intelligence from spiritual entities to the dancer. Infused by ancestral and divine energies, the dancer acquires a heightened understanding of movement, leading to exceptional virtuosity and a deepened connection with both their body and the essence of dance.

The Repository of Ancestral Movement

Ancestral spirits embody centuries of dance experiences and techniques. As they merge with a dancer, they pass on this rich tapestry of kinetic knowledge. This is not mere imitation of past dances but a direct transference of intricate movement patterns and rhythms, granting the dancer access to a vast and diverse movement repertoire.

Deepened Bodily Connection

Armed with this expansive kinetic intelligence, dancers develop an acute awareness of their physical form. They instinctively understand the capabilities and nuances of their muscles, tendons, and bones. This intimate knowledge transforms their dance from mere movements to deeply emotive expressions, where every gesture carries meaning and intent.

The Culmination: Enhanced Virtuosity

The inherited wisdom leads to a natural elevation in the dancer's abilities. Movements become more precise, complex routines feel intuitive, and the dance exudes a grace that seems otherworldly. It's a blend of skill and profound understanding, reshaping the dancer's relationship with their art.

FASTENING THE WEB: CHOREONOMMO AND THE POLYSPIRIT

The dimension of ChoreoNommo and Polyspirit practices unearths layers of complexity beyond conventional understanding. One of these layers involves the act of "unlocking embodied memories," a transmutation where wisdom is not merely stored as data in the brain but as living experiences within the corporeal body. This brings into focus an understanding of wisdom that transcends the intellectual and ventures deep into the cellular, even the soulular.

In Polyspirit practices, this act of unlocking is quite unlike an academic lecture or a sermon. Wisdom here is transferred and imparted in a space outside of the ego, beyond the limits of individualistic consciousness. The ego, with its need for ownership, definition, and control, is absent here. This absence is not a loss but a release, opening a celestial highway where wisdom flows not as a possession to be grasped but as a universal life force to be experienced. Because the ego is not present to question, doubt, or reinterpret the wisdom being imparted, what gets transferred is pure, unadulterated understanding. This is a deeply subversive act, one that bypasses our social conditioning to deeply commune with something far older and more profound.

It's no surprise, then, that these practices necessitate a fundamental trust of the self. This trust is not narcissistic or self-indulgent but deeply spiritual—a faith in one's own body and spirit as vessels capable of holding and channeling this ancient, cosmic wisdom. You are trusting your corporeal form to carry memories and experiences that have danced through the aeons, from the communal fires of ancestral villages to the complicated soundscapes of modern-day existence. You trust your body to be both narrator and narrative, to weave and be woven into a continuing story that transcends individual lifetimes.

To attain this trust, a surrender is required—stay out of struggle, release control. This is not a passive act but one of profound courage. It is about relinquishing the struggle to "know" in favor of the wisdom of "being." It’s akin to entering a river, not to fight the current but to become one with its flow, its ebbs, its cascades. By surrendering, an interior expansion occurs, an expansion so intense, so overwhelming in its profundity, that it can't help but manifest externally. This is felt both by the practitioner and the audience as a palpable shift in energy, an elevation, a sacred "elsewhere" that we all enter together.

This interior expansion reflects a divine form of hospitality where one opens up not just one's home but one's very being to the presence of others—community, ancestors, spirits. It's a form of radical openness, a deep rapport that goes beyond mere collaboration. You're inviting these spirits to co-inhabit your being, to co-pilot your corporeal vehicle. You're allowing yourself to be transformed by them, and in doing so, you're also transforming them, adding a new chapter to an age-old story.

The embodied memories thus unlocked can be profoundly life-altering, not just for the individual but for the community, bridging gaps between the past, present, and future. These are memories that don't just live in museums or history books but in the very sinews and cells of our bodies. And as these memories are unlocked, as this wisdom flows, we find that we're not just learning but becoming—a transformation that turns each of us into a living archive, a breathing library of ancestral wisdom and future potentialities. This redefines the very notion of what wisdom can be, liberating it from the prisons of individual ego and social construct, and returning it to its rightful place—as a shared, deeply embodied cosmic dance.

SENSING THE WEB: QUANTUM PRESENCE AND THE PROBABILITY AMPLITUDE OF POLYSPIRIT PRACTICES AND CHOREOWANGA CHOREOGRAPHY

Certain concepts in Africana spirituality could probably best be understood in “westernized” terminologies through quantum physics. Our ancestors and our deities are superpositioned beings, meaning they exist in multiple states. They are both present and not, they are active parts of our communities and environments and do interact with us. In quantum mechanics superposition is the ability of a quantum system to exist in multiple states at the same time. This means that a quantum particle, such as an electron or photon, can exist in multiple states or locations simultaneously.

Until «measured» or «registered» a superpositioned quantum system will be in multiple states of existence. Measuring it will usually result in it being where it has the most probability amplitude of existing and with the behavior/qualities that are also the most probable. Probability amplitude can be thought of as a measure of the likelihood of an event occurring in a quantum system

Ritual Probability Amplitude

Specificity is therefore such a big part of Africana spirituality. I will explain using the example of Oya or Iyansan a goddess of protection, wind, storms, change and many other things, exists in multiple iterations, personalities, qualities and states. When one calls on her one does not call to all and every state of being in which she can exist, but seek specificity, a particular version or a particular of many different states in which she might behave. This specificity where one defines the parameters of Oya in multiple ways, through naming, storytelling, placement of resonant objects, rhythms, colors, dances, chant and more is a way of “measuring” or “registering” the state of Oya, and as such, like with superpositioning, increasing the probability of her appearing in that particular state. The ritual could be said to be designed to increase the probability amplitude of her expressing herself in the desired way. Also, the probability of her appearing at all. Those who are familiar with rituals know that sometimes other iterations or even other deities who are related show up instead. Osun for example, a sister wife of Oya, might show up instead. Knowledgeable participants in the space know how to receive, guide, and eventually guide the visitor out of the energized space, allowing the coding of specificity to continue as to attract the correct force. Any visiting entity will always be received and shown due respect. This also point to the philosophy of polycentricity and the allowance of layering and co-existance rather than a focus on singularity. Layers enrich, and facilitate abundance.

A ritual for Oya or to attract Oya is designed to make the superpositioned energy that we identify as an aspect of Oya, the most likely energy to appear in the ritual space. The other half is that it is also designed to make the place the most likely place for Oya to appear. It is two sided. Specificity is there both for the likelihood of Oya appearing or wanting to appear, and also that the correct aspect of Oya, or that Oya alone appears. Therefore, the place is set to resonate and entangle with her. 

Ritual Entanglement

In the realm of quantum mechanics, entanglement describes a phenomenon where two or more particles can become linked in a way that their properties become dependent on each other, even at great distances. This notion challenges the classical concept of locality which proposes that objects are only influenced by their immediate surroundings. Similarly, in many African philosophies and cosmologies, objects and people can also be connected in such a way. In such worldviews, the past, present, and future are not necessarily considered linear and influence can flow or connect across these temporal parameters. As a result, our relationship with our ancestors is one of entanglement. Despite the fact that we may not exist in physical proximity to each other, we affect them, and they affect us in a non-linear, multi-dimensional way. Additionally, in many African spiritual and cultural practices, ritual serves to reinforce this entanglement with our ancestors and deities, providing guidance, connection, wisdom, and even the transference of certain qualities. By strengthening these bonds of entanglement, we can enhance our ability to affect events beyond our immediate surroundings.

In a way similar to how the principles of entanglement work in quantum mechanics, symbolic objects like wanga bags or juju bags can also work in a representational manner of entanglement, where the effects on one object or element instantaneously affects that of another. This is not a supernatural phenomenon, but rather an acknowledgement of how the laws of nature work. In fact, this kind of understanding is deeply rooted in African philosophies and cosmologies. The ritual is designed to strengthen the entanglement between entities/persons/objects. This is done through resonance, but also through the strengthening or specificity aspect of enhancing the attributes of a particular version/state/quality of the thing/person/entity. This approach is present in African ancestral practices across the globe. Yvonne Daniel in her book Dancing Wisdom references this in her chapters on Embodied Botany. 

Those of us familiar with African Diasporan healing chants know that they not only contain information and knowledge, but that the practice is of enforcing the qualities of a particular herb for example. Lets say you are using cloves as a pain killer for tooth ache. You would chant and enhance its numbing and healing qualities by “reminding” it of who it is and these qualities. Strengthening its identity so to speak, but also taking its “measurements” as to “lock it” or encourage it to exist in that particular phase of its existence as a multifaceted and also superpositioned system. This idea of strengthening something is also central in the Africana healing practices, where focus is more on strengthening the sick in order to heal themselves, rather than attacking the illness.  

Similarly, Bantu people in Southern Africa are known to sing people “back” if they are lost in grief or are experiencing a crisis. The content of the song are then qualities which these people possess and which others admire. There is also the practice of educating children this way. I myself witnessed a child who had stolen something being sat down by his elders. Instead of telling him how bad he was, they sat him down and started telling him memories of times he had impressed them, where he had shown wisdom, good judgement, caring. The way it was done did not seem to have the goal of shaming him, but rather of condensing and strengthening these identities within him. Affirming his good qualities, and these as his “core”, he was strengthened to take responsibility for his lapse of judgement, say he was sorry, make suggestions to ways to remedy and restore trust. This was a modeling of eldership which was truly inspiring. It was also a reminder of the deeper knowledge that lies in ritual, if we only remember to apply them to our daily lives. 

This aspect has also entered Gospel singing and other more westernized or even secular versions of African Diaspora lives. There are many songs who remind God of Gods qualities and identity. 

Ritual Tunneling Explored

Once again, I am drawn to the fascinating domain of quantum mechanics to illuminate certain aspects of Africana ritual. This time, I incorporate the concept of tunneling. Tunneling, or quantum tunneling, is a phenomenon where a particle can traverse a potential barrier even when its energy is below the barrier's height. This ability is rooted in the wave-like nature of matter, allowing the particle to exhibit wave characteristics and occupy multiple positions simultaneously. The probability of a particle successfully tunneling through the barrier is influenced by the barrier's height and the particle's energy— with the probability increasing as the barrier height decreases and the particle energy increases.

Typically, realms exist on different planes, overlaid yet not directly in co-lapping existence. Tunneling, or more precisely, the altering of vibration and the flux generated in the ritual place, facilitates the "thinning" of barriers, thereby augmenting the energy that might enable tunneling and deep entanglement. This deep entanglement is often referred to as possession by some, but I prefer to call it PolySpirit practices, where the body becomes a vessel for more than one spirit through the processes of tunneling and entanglement. The degree of entanglement or co-presence is nuanced and depends on various factors, which I will not delve into deeply here. The preparation of the body to become a capable vessel for receiving or channeling more than one spirit is integral to the ritual itself. Dance and music are pivotal and central elements of this preparation. Most deities have their preferred rhythms, tempos, and movements, resonating deeply with these rhythmic expressions. Our spirituality is vibrantly expressed, sang, danced, and musically orchestrated, embodying what one might describe as being Nommoed.

Central to much of African spirituality is the concept of exchange or bartering. This market-like framework encompasses the transfer of energy to precipitate an altered state or result. In the domain of physics, this natural transference of energy is pivotal to both entanglement and tunneling, necessitating specificity, resonance, facilitation, and the amplification of a specified energy to diminish barriers and enable permeation. Once the conditions for transference have been satisfied, the actual exchange can commence

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The Africana Body is endowed with such remarkable capabilities that even the gods seek to engage with it. The interaction between spirit and human is intrinsically tied to the concept of time, specifically to rhythm. As the body moves in rhythm, it experiences a heightened state of emotion and sensation, which the spirit desires and is willing to exchange for the knowledge inherent in existing outside the linear confines of time. This exchange fosters a synergistic relationship, orchestrating a harmonious dance between the physical and spiritual realms, thereby unveiling a rich tapestry of experiential knowledge and transcendental engagement.

FASTENING THE WEB: CREATING «DANCEHALLS» ANYWHERE

Spatial Flexibility: From Parking Lots to Cities

The practice of consecrating space and creating sites for rhythmic dance activity shines distinctively within the African diaspora, perhaps even more so than on the African continent. This distinction is not merely by choice, but forged out of necessity, borne from a history marred by the transatlantic enslavement industrial complex. Unlike traditional African settings where spaces like the Bantaba are already consecrated and prepped for dance, we in the African diaspora often found ourselves devoid of spaces dedicated to our spiritual, social, or rhythmic needs due to the pervasive white supremacy and colonial retentions that sought to negate our presence.

This adverse scenario sparked the genesis of practices where the activity of the body defines and consecrates the space, rather than the space dictating the activity. Our cultural expressions like Dancehall, Hip Hop, and Vogue epitomize this practice, transforming any venue or site into a sanctum of self-affirmation. Parking lots, empty houses, storehouses, fields—anywhere is transformed into vibrant spaces that paradoxically become the most likely sites for Black Jocundity (joy through physical embodied locus).

Tunneling, Entanglement, and Venue of Performance

The focus sharpens on the spatial-temporal dynamics within which the phenomena of tunneling and entanglement manifest. The vibrant ambiance of the dancehall emerges as a lively tableau, epitomizing the interplay of tunneling and entanglement. It demonstrates how rhythmic engagements consecrate space and time for a specific purpose, as opposed to being confined by the ambient space.

Creation of Dancehall: A Temporal-Spatial Consecration

The genesis of a dancehall transcends a mere physical act; it unveils as a profound temporal-spatial consecration. The dancehall evolves into a realm where the corporeal and the ethereal entwine in a rhythmic entanglement, facilitated by the undulating rhythms of the African diaspora body.

Western Stage: A Portal for Africanist Ritual

The discourse extends, positing that a western contemporary stage can seamlessly morph into a sacred site for Africanist ritual. The geographical and cultural delineations blur, unveiling a universal resonance underpinning these practices. The stage, irrespective of its geographical or cultural bearings, welcomes the rhythmic dialogue between the corporeal and the ethereal, facilitated by the ancient temporal technologies of tunneling and entanglement.

Taking Over Western Proscenium Theatre Stages

The act of reclaiming spaces has always been a radical form of expression and autonomy for the African diaspora. This extends to the western proscenium theatre stages, which historically have often excluded or marginalized our narratives and performances. The endeavor to turn these stages into vibrant venues of Black activity, or "Black Dancehalls," is not just a reclaiming of space, but a potent act of cultural assertion and reclamation. It’s about flipping the script, literally and metaphorically, where the stages that once denied our autonomous presence now reverberate with the rhythms, stories, and spirits of our heritage. The proscenium stage, with its rigid formality and traditional audience-performer divide, becomes transformed into a pulsating, living Dancehall, breaking free from the rigid confines that once suppressed diverse expressions.

Learning from African Diaspora Practices

Western contemporary dance, in its quest to break free from conventional spaces and create "unconventional" performance venues, has a vast reservoir of knowledge to draw from within African diaspora practices. For us, streets, parks, and parking lots are not unconventional; they are extensions of our living, breathing communal spaces. Our practices have always blurred the lines between performer and audience, between sacred and secular, between the mundane and the divine. The true unconventional space for us is the proscenium main stage, a place often entwined with elitism and exclusion. However, it's a challenge some of us are willing to embrace, to flip not only the stage but the stage of power, to reconfigure these spaces into vibrant sites for our polyspirit practices.

Selfpolyfication on the Proscenium Stage

The idea of selfpolyfication - multiplying ourselves through movement on these stages, is a revolutionary act. It's about imprinting our narratives, our rhythms, and our spirits onto the very platforms that have historically negated our presence. Through dance, we multiply our narratives, our identities, and our expressions, turning the proscenium stage into a fertile ground for our polyspirit practices. Each movement, each rhythm, each narrative, challenges the conventional ethos of these spaces, creating a ripple effect that extends beyond the physical stage into the societal narrative, challenging and changing the status quo.

Towards a Future of Inclusive Stages

As we move forward, the infusion of African diaspora practices into western proscenium stages not only holds the promise of more inclusive and vibrant performing arts culture but also offers a pathway for mutual learning and understanding. It's a bold statement that celebrates the resilience, creativity, and indomitable spirit of the African diaspora, while also extending an invitation for a cross-cultural dialogue and exploration. Through these endeavors, we don't just reclaim spaces; we redefine them, creating a tapestry of expressions that reflect a more inclusive, diverse, and enriching narrative, ensuring that the stages once used to deny our autonomous presence now serve as platforms for our vibrant and unapologetic self-expression.

Polyrhythm as a Temporal Technology in Africana Ritual Practices

In the realm of Africana ritual practices, polyrhythm stands as a temporal technology, effectively altering the fabric of time through rhythmic complexity. The simultaneous articulation of diverse rhythms orchestrates a temporal spiral, dislocating the linear progression of time.

Temporal Dislocation through the Africana Dancing Body

The Africana Dancing Body, through its rhythmic engagements, possesses the ability to transgress the linear confines of time. As elucidated, a body absent of rhythm remains 'locked' within the linear temporal continuum. However, upon engaging with specific rhythms and movements, a shift occurs, transmuting linear time into a non-linear state. This transition facilitates a fertile ground for dialogues with ancestral spirits and other entities unbound by time.

Bartering the Body for Temporal Exchange

The ritual dance unfolds as a barter space where the body, ensnared in linear time, is lent to spirits. Through this exchange, spirits delve into the corporeal realm, experiencing emotions and other bodily sensations. Simultaneously, they impart knowledge stemming from their existence outside of linear time, enriching the corporeal with transcendent insights.

Spine as the Axis of Temporal Disruption

The spine, termed as the cord of consciousness, emerges as a pivotal axis in disrupting linear temporal frameworks. The rhythmic undulation of the hip and spine acts as a key, unlocking alternate temporal dimensions, thereby facilitating a deeper entanglement with spiritual realms.

Rhythmic Complexity: Re-organizing Temporal Realities

Engaging in multiple rhythmic personalities concurrently re-organizes time into intricate spiraling designs. This rhythmic architecture, when purposefully altered or segmented, reveals deeper dimensions, challenges established orders, and collapses the barriers between temporal realms, fostering a closer proximity or co-realm presence.

HANGING THE WEB: POLYTEMPORAL ORIENTATION

The concept of poly-temporal orientation in Africana cosmologies and artistic expressions is an embodiment of a worldview where temporal linearity is replaced by a more holistic, cyclical, and simultaneous understanding of time. This approach perceives the past, present, and future not as discrete and sequential but as interconnected realms that constantly inform and infuse each other.

This temporal perspective is deeply ingrained in the cultural narratives, where storytelling is not constrained to linear progression but weaves through events and experiences in a way that mirrors the complex interplay of causality and synchronicity characteristic of human consciousness. Such narratives might start in the present, draw on ancestral history, leap forward to envisage future implications, and circle back, thereby defying the chronological order that dominates Western narratives.

In this framework, the anecdote of reacting to a comment at work becomes a mosaic of experiences, not just the immediate context but an amalgamation of interconnected events and states of being, from the mundane to the historical. The recounting becomes a tapestry of life itself, reflecting the broader Africana experience where every moment is a confluence of various temporal streams.

The Orisha practice from the Yoruba religion exemplifies this, as it navigates through the myths and stories where deities' experiences are not bound by human notions of time. Their stories are invoked and experienced in rituals as eternally present, transcending linear time, thus embracing poly-temporality. In the rich tapestry of Orisha narratives, the stories of deities such as Ogun and Shango are not static mythologies but dynamic and evolving tales that encapsulate the essence of poly-temporality. Ogun, the deity of iron and war, could concurrently be depicted as the consort of Oya, the goddess of winds and transformation, or Oshun, the goddess of water and fertility. Similarly, Shango, the god of thunder and lightning, might be revered as a once human king, a deified ancestor, or an elemental force present at the creation of the world.

These varying accounts are not held in contradiction but are understood as multifaceted expressions of the deities' natures and stories that are ancient, actively unfolding in the present, and continuing to evolve into the future. They represent the non-linear and omnipresent qualities of the Orishas—stories that are perpetually relevant and always in a state of becoming, just as they always have been.

In ritual and worship, these narratives are not recounted as historical events fixed in time but as current realities that worshippers engage with in the here and now. This engagement is both a reenactment and a contemporary interaction, reflecting the belief that these divine stories are not merely relics of the past but are alive and influential in the present and will continue to be so in the future.

This perspective reflects a worldview in which the divine is immanent, existing in an eternal now that transcends human timelines. Such stories, with their fluidity and resilience, offer powerful insights into the nature of time and existence in Africana cosmologies. They challenge the linear temporal constructs of Western thought and open up spaces for multiple realities to co-exist, intertwine, and inform each other, providing a rich framework for understanding the complexity of life and the universe.

Moreover, this poly-temporal approach is manifested in the rhythms of Africana music. Polyrhythms and polymeters represent not just musical techniques but are expressions of this profound temporal philosophy, where multiple tempos coexist, allowing for a layered experience of time. The interplay between pitch and rhythm can alter the perception of time, with lower tones often inducing a sensation of elongation and depth, while higher pitches can create an experience of acceleration and intensity.

The contrast with Western temporal orientation is notable, particularly in the industrialized world's emphasis on quantifying and managing time—a concept intrinsically linked to production and economic frameworks. In contrast, Africana and Indigenous Knowledge Systems, as well as their artistic expressions, prioritize the subjective experience of time, embracing its fluidity and inherent multiplicity.

Thus, in the realm of performance and storytelling, time becomes an elastic medium through which Africana artists and communities navigate, express, and understand their realities. The layering of time in poly-rhythmic patterns and spatial organization is not only a technical or aesthetic choice but a profound engagement with a worldview that recognizes the simultaneous existence of multiple realities and temporal dimensions. It is through this engagement that Africana art and cosmology offer a rich, complex, and deeply interconnected experience of existence.

SENSING THE WEB: TEMPORAL POLIFICATION IN AFRICANA DANCE: WEAVING TIME INTO A SYNESTHETIC SYMPHONY

Temporal Polyfication: Weaving Time in Africana Dance and Spiritual Practices

Defining Temporal Polyfication

Temporal Polyfication, a concept coined by Thomas Talawa Prestø, refers to the intricate manipulation and multifaceted experience of time within Africana dance and spiritual practices. This technique challenges the conventional, linear understanding of time by creating a synesthetic symphony where past, present, and future coexist and intertwine. Through rhythmic, kinetic, and sensory engagement, Temporal Polyfication reshapes the audience's perception of time, transforming their experiential reality.

Context and Significance

Temporal Polyfication is deeply rooted in Africana cosmologies, where time is often viewed as cyclical and multidimensional. This perspective can be seen in various cultural practices and narratives, such as the Yoruba Orisha traditions, where deities' stories are experienced as perpetually present rather than confined to historical timelines. These narratives are not static but evolve, reflecting the ongoing interaction between different temporal realms.

In performance, particularly in Africana dance, Temporal Polyfication manifests through the use of polyrhythms, polycentric movements, and dynamic spatial arrangements. These elements combine to create a temporal landscape that defies linear progression, inviting participants to experience multiple temporalities simultaneously.

The Metamorphosis of Experiential Time in Dance

Temporal Polification, an artistic technique employed within Africana dance, is an intricate manipulation of the audience's perception of time. Choreographers and composers ally to bend the passage of moments into a subjective experience, intertwining the sensory modalities of rhythm, movement, and vision. The resulting alchemy doesn't just alter the perception of time—it reshapes the experiential reality of the audience, guiding them through a labyrinth of elongated moments and fleeting eternities.

Synesthesia and Temporal Dynamics

Time, in the context of Temporal Polification, is a canvas upon which a multitude of sensory experiences converge. Deep, sonorous tones and grounded, expansive movements stretch the audience's perception of time, making moments seem to linger beyond their physical duration. Conversely, lighter, sharper movements and sounds create a perception of brevity. This choreographic and compositional mastery exploits the audience's synesthetic tendencies, crafting sequences that defy objective chronometry.

The Parallax Effect in Kinetic Time Perception

Temporal Polification introduces a "Parallax" effect in kinetic perception—a multidimensional temporal illusion. Africana dance becomes the vessel for this illusion, with its inherent polyrhythmic and polycentric structures providing a layered temporal tapestry. The audience is invited into a state of polytemporality, experiencing multiple tempos and rhythms concurrently, warping their sense of linear time.

The Sculpting of Temporal Experience

In Temporal Polification, the choreographer acts as a temporal sculptor, shaping how the audience experiences the length and order of the performance. What may be a drawn-out sequence is perceived as a quick succession of events; a brief flurry of movement feels like a prolonged narrative. This art form taps into the elasticity of time perception, engaging audiences in a more profound and intimate dance with the unfolding performance.

The Subjective Nature of Time in Engagement

The subjective experience of time during a performance echoes the variability of temporal perception in our daily lives. Temporal Polification leverages this variability, transforming the audience's engagement with the performance. Time becomes less a measure and more a medium, a dimension through which personal narratives and emotions are projected upon the stage, enriching the collective experience.

Creating Ethereal Temporal Landscapes

Africana dance, through Temporal Polification, transcends the physical stage, creating imaginoscapes where time loses its linearity. The fusion of light, sound, and movement crafts an augmented reality, merging the tangible with the temporal, the actual with the imagined. This confluence of past, present, and future in a single performative moment invites audiences into a realm of temporal plurality and artistic depth.

Continuing from the discussion of Temporal Polification and its impact on the audience:

This delicate balance of temporal perception fosters a psychological environment where attendees oscillate between focused attention and an almost involuntary absorption of the performance. Such a state is akin to a trance, where the stimuli—visual, auditory, and kinesthetic—provoke not just thought, but a profound, embodied reaction that encompasses both the present moment and an eternal, inner narrative. The differentiation between active analysis and passive dreaming diminishes, and in this space, audience members are subtly coaxed to "daydream" within the performance's reality.

This ethereal state, reminiscent of mass hypnosis, takes cues from profound traditional performance practices, like those found in Vodoun ceremonies, as well as the complex rhythmic and melodic structures of the Black church. These practices, deeply emotive in their nature, serve to amplify the audience's experience of movement and time, enveloping them in the narrative's sonic and kinetic waves.

To maintain this hypnagogic atmosphere, variability is crucial—the performance must adeptly fluctuate its rhythmic and thematic intensity. Linger too long in a rhythmic pattern or a specific thematic phase, and the spell is broken, the audience reverts to a state of analytical detachment. The paradox lies in the complexity, a nuanced disorder or "swing quality," that engages the brain yet also promotes a state of mental repose, allowing for a broader absorption of the spectacle.

Variations in movement quality, sonic textures, rhythmic complexity, and the layering of polyphonic elements are strategic; they ensure constant cerebral engagement while lulling the analytical mind into a malleable, imaginative, and receptive state. This controlled chaos prevents the diverse elements of the performance from overwhelming the senses or descending into cacophony. Instead, it crafts a symphonic tapestry that invites the audience to experience the art on multiple sensory and emotional levels.

Thus, the act of orchestrating Temporal Polification within Africana dance transcends mere performance—it invites the audience into a shared journey through time and space, an experiential tapestry woven with threads of memory, anticipation, and the profound immediacy of the present. This multisensory engagement ensures that the impact of the performance is not fleeting but endures as a resonant experience that continues to echo within the audience long after the dancers have left the stage.

FASTENING THE WEB: POLY-CENTRIC ORGANISATION OF SPACE/STAGE

Poly-centric organisation of stage/space is a practice which entails having multiple centres of activity/attention on the stage or in the space at the same time. This points back to our philosophies of a democratic approach to identity and community. Having multiple simultaneous centres of activity may force the spectator to choose a focal point. Having a poly-centric organisation of the stage allows the spectator multiple choices as they weave a story by shifting their gaze between attention centres. If one does not choose between the various centres of activity, but rather tries to step back and view them all this methodology offers a panoramic vision of difference within simultaneous composition.  

Poly-centric activation of the stage has much to offer spectators also as it usually does not favour only a few sightlines. Spectators will get a slightly different experience based on their angle of vision in relation to what is unfolding in the performance space.

I do not want to give the impression that poly-centric organisation of the space/stage is a messy affair where everything is just happening at the same time. It is not. Poly-rhythms demands that the rhythms work together and coordinate silences that both make it possible to discern the different layers of sound and provides potential for more activity by populating the silence. Similarly, poly-centric organisation of the stage/space demands that we are able to layer the various activities and create visual silences which give us a similar sense of potential. We can create an experience of likeness or difference between the various centres and as such assign value and texture to the relationship between them. 

When building poly-rhythms, some of the rhythms provide a common ground. Other rhythms provide dynamic “push” and creative “calls” which might challenge or energise the composition. Other rhythms like the ones held by the “shekere” (African bead shaker) often provide additional support to the composition. Poly-centric organisation or activation of the space/stage should be structured similarly. Poly-rhythm should not read as layered noise, but as rhythm. Poly-centric organisation of the stage, should not read as visual noise, multiple. It is a generosity of offered experience. It provides much added potential for storytelling and like poly-rhythm is a tool for communicating relation. 

In Africana aesthetic relations and interconnectedness seems to be a core principle/value. Simultaneously valuing multiple relations is one product of this world view. Poly-temporality, Poly-centricity, Poly-rhythms, these are modes which are able to communicate relation as a value, and is capable of weaving a web of relations which allow us a deeper dimensional reading of how relations are interconnected, dynamic and contextual. One relation makes another possible, by adding an extra layer two relations seemingly in conflict can suddenly reveal their balance and interdependence. Such is the potential of “poly” in relation to communication through art.

The circle is another way of poly-centric organisation of space. Who is to say which part of the circle carries the most value? It allows us to privilege more sides, to assign value through activity rather than material orientation. Some practices centre the drummers and moves around them. Kumina on Jamaica has been known to populate the space in such a manner. This also makes the sound equal around the circle of spectators and creates a radial space circling out from the sound. Each centre does tend to have a radial force. These would intersect and push against diagonal, straight and flat orientations. I also believe that the Circle as a preferred Africana space organisation, comes from this multi-radial “bi-product”. Often the organisation of the circle is such as to balance the multiple radial forces emanating from each centre. Like how we often would organise to face the music, or the dance. Poly-centric organisation of the space then lends itself to showing virtuosity through ones understanding of the various elements and ones ability to create balance between them, similar to how poly-rhythms creates balance within difference. 

Poly-centric use of the space also speaks to our traditions of multi-temporal narration. Each centre could be assigned a different temporality. You could say that poly-centric organisation of the space accommodates poly-temporal representation as well as a way to communicate multiple dimensions.

PULLING THREADS: POLY-DIMENSIONALITY: EMBRACING THE POLY-REALM ORIENTATION

The intricate tapestry of Africana and Caribbean cosmology paints a vibrant picture of existence where the seen and unseen worlds intertwine with equal significance. This cosmology acknowledges a reality that extends beyond the physical to include the ancestral, spiritual, and various socio-cultural realms like 'white space,' 'Black space,' and the 'third space'—each representing distinct experiences and states of consciousness. It's an existence that is inherently poly-focal, necessitating individuals to navigate and embrace multiple dimensions simultaneously.

The Poly-Realm Orientation (Prestø 2006)

This multidimensional approach to life and art is encapsulated in the concept of a poly-realm orientation. It's an orientation that transcends mere physicality, enabling practitioners to reach into diverse realms and engage in a dialogue with them through the medium of movement. This dialogue is not linear but rather spherical, surrounding the practitioner with a multitude of perspectives and energies to draw from.

Mytho-Technical Approach (Prestø 2006): A Synthesis of Sacred and Secular

The poly-realm orientation in dance does not discriminate between the sacred and the secular. Instead, it fuses them, giving rise to a Mytho-technical approach that balances technical prowess with the embodiment of myths and spiritual narratives. This holistic methodology ensures that movement is not just movement—it becomes a story, a prayer, a manifestation of the infinite connections that dance across the web of the poly-dimensional world.

By drawing on both the secular and sacred, dancers become vessels for a larger cosmological expression, one that is grounded in the technicalities of their craft while simultaneously reaching into the mythological tapestry that informs their cultural and spiritual identities. This dual engagement ensures that their practice is as precise as it is profound, as methodical as it is mystical.

The Cosmological Implications of Poly-Dimensional Dance

In the realm of performance, the poly-dimensional approach fosters a deep, resonant experience. The audience, too, is invited into this expansive space where the boundaries between the tangible and intangible are fluid and permeable. As dancers navigate the complex layers of their cultural cosmos, they invite spectators to witness and feel the multiplicity of realms at play.

The poly-realm orientation transforms the stage into a crossroads of dimensions, where each step and turn is imbued with the essence of both ancestral whispers and the pulsating rhythm of the contemporary world. This multi-layered, Mytho-technical expression of dance challenges and enriches the audience, beckoning them to open up to the poly-dimensional nature of their existence.

In this way, the poly-dimensional nature of Africana and Caribbean dance is a celebration and recognition of life's multifaceted reality. It offers a perspective that is as encompassing as it is detailed, fostering an understanding of ourselves and our world as a complex interplay of various dimensions, all of which dance to the same cosmic rhythm.

PULLING THREADS: CORPOPROJECTED SCENOGRAPHY (Prestø)

Corpoprojected Scenography, as epitomized by the Notting Hill Carnival—an exceptional manifestation of ChoreoNommo in action. This concept underscores the unparalleled capacity of the Black dancing body, uniquely positioned due to its historical and political associations, to project entire mental landscapes through its mere presence, stance, action, and gesture. It is within the realm of Corpoprojected Scenography that we encounter the intricate interplay of ChoreoWange, representing the structural integrity and force of the performance, and PerformancePwen, the cultivated power inherent in the performance and its profound impact on participants and their broader community.

The Notting Hill Carnival serves as an exemplar, a vivid case study that exemplifies these concepts. Born in response to the oppressive laws of "Sus," which granted the police unchecked authority to arbitrarily stop, search, and strip Black and Caribbean individuals on mere suspicion, the Carnival was more than a celebration. It was a transformative act of resistance and reclamation.

In this academic exploration, we must first acknowledge the historical and political context in which the Carnival emerged. The "Sus" laws symbolized the systemic racism and discrimination that plagued the lives of Black communities in London. It was a tool of harassment and intimidation, a manifestation of oppressive power. The Carnival, however, subverted this power dynamic through its embodiment of ChoreoNommo.

The Black dancing body, through its collective physical activity and expressive embodiment, redefined the very streets of London. A simple shift in posture or rhythm transported participants and onlookers through eras, temporalities, and landscapes—an embodiment of Corpoprojected Scenography. One could witness the hip-hop vibes of the 80s, the haunting echoes of the antebellum plantation, the vast expanse of the African savannah, the arid desert, and the bustling cityscape—all brought to life through the nuanced movements of the Black body.

What distinguishes this practice is its minimal reliance on elaborate scenography or sophisticated lighting. Instead, it is the Black body that projects itself into space, effectively defining and consecrating its environment. If a parking lot can become a Dancehall or the streets of London can transform into a vibrant cultural hub, it challenges established norms of space and performance. This poses a fundamental question: Does the history of the Europeanist stage truly define what performance action is, or is it the embodied activity of the Black Dancing Body that reshapes the narrative?

The Notting Hill Carnival's transformative power extends beyond the immediate celebration. It reorders traffic patterns, influences transportation logistics, and even prompts shifts in political, legislative, infrastructure, and economic considerations—all adapting to accommodate this annual spectacle. It is a testament to the embodied power possessed by the African diaspora body, demonstrating the ability to alter and shape society through its very execution.

At its core, the Carnival embodies PerformancePwen, a cultivated power that resonates profoundly within the performance and its participants. It doesn't merely entertain; it empowers. It creates a collective consciousness, fostering unity, pride, and resistance within the community. The Carnival becomes a living embodiment of resistance, resilience, and cultural celebration—an ode to the potential of Black performance practices in reshaping not only artistic landscapes but also the sociopolitical and cultural terrain.

In conclusion, the Notting Hill Carnival stands as an academic and embodied testament to the concepts of Corpoprojected Scenography, ChoreoNommo, ChoreoWange, and PerformancePwen. It exemplifies how the Black dancing body, with its rich history and political significance, possesses the remarkable ability to project mental landscapes and transform both space and society through the sheer force of performance. This exploration underscores the transformative potential inherent in Black performance practices, which extend far beyond artistic expression, reshaping the performative space and the world at large.

FASTENING THE WEB: SPHERICAL DANCE: EMBODIMENT, TRAJECTORIES, AND MULTI-DIMENSIONALITY

Spherical Dance (Prestø), while not widely known under this nomenclature, is a crucial form of embodiment observed in various African and African Diaspora dances. It centers on curvilinear trajectories, circumduct movement, and parallax orientation, creating a spatial harmony around the dancer. This paper delves into the multidimensional characteristics of Spherical Dance, emphasizing its ability to command both voluntary and involuntary attention while catering to a polyfrontal audience orientation.

Dance, as an expressive medium, takes numerous forms, each with its unique spatial, temporal, and kinesthetic characteristics. One such form that stands out for its distinctive engagement with space is Spherical Dance.

2. Definitions:

• Circumduct Movement: The sweeping motion where a body part, often a limb, describes a circular trajectory, utilizing the full range of motion.
• Curvilinearity: Movement that flows in smooth curves rather than straight lines, producing organic, flowing trajectories.
• Parallax Movement Orientation: The perception of spatial depth resulting from different viewpoints, enabling dancers to offer a multi-view experience.
• Polyfrontal Orientation: A presentation that doesn't strictly adhere to a singular front but allows multiple fronts to coexist simultaneously.

3. Implications for Audience Engagement

The multi-dimensionality of Spherical Dance ensures the dancer can cater to audiences from all angles, providing a 360-degree engagement. This unique orientation implies:

• Command of Attention: The dancer's multi-layered movement patterns require and command both voluntary and involuntary audience attention.
• Temporal Illusion: The curves and parallax views can cause certain movements to appear at varying tempos, although the dancer remains precisely on beat, challenging the audience's perception of time and rhythm.
• Polyfrontal Engagement: This means that no single audience member's perspective is prioritized, fostering an inclusive viewing experience.

Spherical Dance, as represented in African and African Diaspora forms, is a testament to the richness of cultural expression and the profound ways in which dance can engage with space and audience. Its curvilinear, multi-dimensional trajectories not only challenge the dancer but also the viewer, creating a dynamic and immersive experience that transcends conventional dance forms.

HANGING THE WEB: POLYTEMPORAL ORIENTATION

The concept of poly-temporal orientation in Africana cosmologies and artistic expressions is an embodiment of a worldview where temporal linearity is replaced by a more holistic, cyclical, and simultaneous understanding of time. This approach perceives the past, present, and future not as discrete and sequential but as interconnected realms that constantly inform and infuse each other.

This temporal perspective is deeply ingrained in the cultural narratives, where storytelling is not constrained to linear progression but weaves through events and experiences in a way that mirrors the complex interplay of causality and synchronicity characteristic of human consciousness. Such narratives might start in the present, draw on ancestral history, leap forward to envisage future implications, and circle back, thereby defying the chronological order that dominates Western narratives.

In this framework, the anecdote of reacting to a comment at work becomes a mosaic of experiences, not just the immediate context but an amalgamation of interconnected events and states of being, from the mundane to the historical. The recounting becomes a tapestry of life itself, reflecting the broader Africana experience where every moment is a confluence of various temporal streams.

The Orisha practice from the Yoruba religion exemplifies this, as it navigates through the myths and stories where deities' experiences are not bound by human notions of time. Their stories are invoked and experienced in rituals as eternally present, transcending linear time, thus embracing poly-temporality. In the rich tapestry of Orisha narratives, the stories of deities such as Ogun and Shango are not static mythologies but dynamic and evolving tales that encapsulate the essence of poly-temporality. Ogun, the deity of iron and war, could concurrently be depicted as the consort of Oya, the goddess of winds and transformation, or Oshun, the goddess of water and fertility. Similarly, Shango, the god of thunder and lightning, might be revered as a once human king, a deified ancestor, or an elemental force present at the creation of the world.

These varying accounts are not held in contradiction but are understood as multifaceted expressions of the deities' natures and stories that are ancient, actively unfolding in the present, and continuing to evolve into the future. They represent the non-linear and omnipresent qualities of the Orishas—stories that are perpetually relevant and always in a state of becoming, just as they always have been.

In ritual and worship, these narratives are not recounted as historical events fixed in time but as current realities that worshippers engage with in the here and now. This engagement is both a reenactment and a contemporary interaction, reflecting the belief that these divine stories are not merely relics of the past but are alive and influential in the present and will continue to be so in the future.

This perspective reflects a worldview in which the divine is immanent, existing in an eternal now that transcends human timelines. Such stories, with their fluidity and resilience, offer powerful insights into the nature of time and existence in Africana cosmologies. They challenge the linear temporal constructs of Western thought and open up spaces for multiple realities to co-exist, intertwine, and inform each other, providing a rich framework for understanding the complexity of life and the universe.

Moreover, this poly-temporal approach is manifested in the rhythms of Africana music. Polyrhythms and polymeters represent not just musical techniques but are expressions of this profound temporal philosophy, where multiple tempos coexist, allowing for a layered experience of time. The interplay between pitch and rhythm can alter the perception of time, with lower tones often inducing a sensation of elongation and depth, while higher pitches can create an experience of acceleration and intensity.

The contrast with Western temporal orientation is notable, particularly in the industrialized world's emphasis on quantifying and managing time—a concept intrinsically linked to production and economic frameworks. In contrast, Africana and Indigenous Knowledge Systems, as well as their artistic expressions, prioritize the subjective experience of time, embracing its fluidity and inherent multiplicity.

Thus, in the realm of performance and storytelling, time becomes an elastic medium through which Africana artists and communities navigate, express, and understand their realities. The layering of time in poly-rhythmic patterns and spatial organization is not only a technical or aesthetic choice but a profound engagement with a worldview that recognizes the simultaneous existence of multiple realities and temporal dimensions. It is through this engagement that Africana art and cosmology offer a rich, complex, and deeply interconnected experience of existence.

SENSING THE WEB: TEMPORAL POLIFICATION IN AFRICANA DANCE: WEAVING TIME INTO A SYNESTHETIC SYMPHONY

Temporal Polyfication: Weaving Time in Africana Dance and Spiritual Practices

Defining Temporal Polyfication

Temporal Polyfication, a concept coined by Thomas Talawa Prestø, refers to the intricate manipulation and multifaceted experience of time within Africana dance and spiritual practices. This technique challenges the conventional, linear understanding of time by creating a synesthetic symphony where past, present, and future coexist and intertwine. Through rhythmic, kinetic, and sensory engagement, Temporal Polyfication reshapes the audience's perception of time, transforming their experiential reality.

Context and Significance

Temporal Polyfication is deeply rooted in Africana cosmologies, where time is often viewed as cyclical and multidimensional. This perspective can be seen in various cultural practices and narratives, such as the Yoruba Orisha traditions, where deities' stories are experienced as perpetually present rather than confined to historical timelines. These narratives are not static but evolve, reflecting the ongoing interaction between different temporal realms.

In performance, particularly in Africana dance, Temporal Polyfication manifests through the use of polyrhythms, polycentric movements, and dynamic spatial arrangements. These elements combine to create a temporal landscape that defies linear progression, inviting participants to experience multiple temporalities simultaneously.

The Metamorphosis of Experiential Time in Dance

Temporal Polification, an artistic technique employed within Africana dance, is an intricate manipulation of the audience's perception of time. Choreographers and composers ally to bend the passage of moments into a subjective experience, intertwining the sensory modalities of rhythm, movement, and vision. The resulting alchemy doesn't just alter the perception of time—it reshapes the experiential reality of the audience, guiding them through a labyrinth of elongated moments and fleeting eternities.

Synesthesia and Temporal Dynamics

Time, in the context of Temporal Polification, is a canvas upon which a multitude of sensory experiences converge. Deep, sonorous tones and grounded, expansive movements stretch the audience's perception of time, making moments seem to linger beyond their physical duration. Conversely, lighter, sharper movements and sounds create a perception of brevity. This choreographic and compositional mastery exploits the audience's synesthetic tendencies, crafting sequences that defy objective chronometry.

The Parallax Effect in Kinetic Time Perception

Temporal Polification introduces a "Parallax" effect in kinetic perception—a multidimensional temporal illusion. Africana dance becomes the vessel for this illusion, with its inherent polyrhythmic and polycentric structures providing a layered temporal tapestry. The audience is invited into a state of polytemporality, experiencing multiple tempos and rhythms concurrently, warping their sense of linear time.

The Sculpting of Temporal Experience

In Temporal Polification, the choreographer acts as a temporal sculptor, shaping how the audience experiences the length and order of the performance. What may be a drawn-out sequence is perceived as a quick succession of events; a brief flurry of movement feels like a prolonged narrative. This art form taps into the elasticity of time perception, engaging audiences in a more profound and intimate dance with the unfolding performance.

The Subjective Nature of Time in Engagement

The subjective experience of time during a performance echoes the variability of temporal perception in our daily lives. Temporal Polification leverages this variability, transforming the audience's engagement with the performance. Time becomes less a measure and more a medium, a dimension through which personal narratives and emotions are projected upon the stage, enriching the collective experience.

Creating Ethereal Temporal Landscapes

Africana dance, through Temporal Polification, transcends the physical stage, creating imaginoscapes where time loses its linearity. The fusion of light, sound, and movement crafts an augmented reality, merging the tangible with the temporal, the actual with the imagined. This confluence of past, present, and future in a single performative moment invites audiences into a realm of temporal plurality and artistic depth.

Continuing from the discussion of Temporal Polification and its impact on the audience:

This delicate balance of temporal perception fosters a psychological environment where attendees oscillate between focused attention and an almost involuntary absorption of the performance. Such a state is akin to a trance, where the stimuli—visual, auditory, and kinesthetic—provoke not just thought, but a profound, embodied reaction that encompasses both the present moment and an eternal, inner narrative. The differentiation between active analysis and passive dreaming diminishes, and in this space, audience members are subtly coaxed to "daydream" within the performance's reality.

This ethereal state, reminiscent of mass hypnosis, takes cues from profound traditional performance practices, like those found in Vodoun ceremonies, as well as the complex rhythmic and melodic structures of the Black church. These practices, deeply emotive in their nature, serve to amplify the audience's experience of movement and time, enveloping them in the narrative's sonic and kinetic waves.

To maintain this hypnagogic atmosphere, variability is crucial—the performance must adeptly fluctuate its rhythmic and thematic intensity. Linger too long in a rhythmic pattern or a specific thematic phase, and the spell is broken, the audience reverts to a state of analytical detachment. The paradox lies in the complexity, a nuanced disorder or "swing quality," that engages the brain yet also promotes a state of mental repose, allowing for a broader absorption of the spectacle.

Variations in movement quality, sonic textures, rhythmic complexity, and the layering of polyphonic elements are strategic; they ensure constant cerebral engagement while lulling the analytical mind into a malleable, imaginative, and receptive state. This controlled chaos prevents the diverse elements of the performance from overwhelming the senses or descending into cacophony. Instead, it crafts a symphonic tapestry that invites the audience to experience the art on multiple sensory and emotional levels.

Thus, the act of orchestrating Temporal Polification within Africana dance transcends mere performance—it invites the audience into a shared journey through time and space, an experiential tapestry woven with threads of memory, anticipation, and the profound immediacy of the present. This multisensory engagement ensures that the impact of the performance is not fleeting but endures as a resonant experience that continues to echo within the audience long after the dancers have left the stage.

FASTENING THE WEB: POLY-CENTRIC ORGANISATION OF SPACE/STAGE

Poly-centric organisation of stage/space is a practice which entails having multiple centres of activity/attention on the stage or in the space at the same time. This points back to our philosophies of a democratic approach to identity and community. Having multiple simultaneous centres of activity may force the spectator to choose a focal point. Having a poly-centric organisation of the stage allows the spectator multiple choices as they weave a story by shifting their gaze between attention centres. If one does not choose between the various centres of activity, but rather tries to step back and view them all this methodology offers a panoramic vision of difference within simultaneous composition.  

Poly-centric activation of the stage has much to offer spectators also as it usually does not favour only a few sightlines. Spectators will get a slightly different experience based on their angle of vision in relation to what is unfolding in the performance space.

I do not want to give the impression that poly-centric organisation of the space/stage is a messy affair where everything is just happening at the same time. It is not. Poly-rhythms demands that the rhythms work together and coordinate silences that both make it possible to discern the different layers of sound and provides potential for more activity by populating the silence. Similarly, poly-centric organisation of the stage/space demands that we are able to layer the various activities and create visual silences which give us a similar sense of potential. We can create an experience of likeness or difference between the various centres and as such assign value and texture to the relationship between them. 

When building poly-rhythms, some of the rhythms provide a common ground. Other rhythms provide dynamic “push” and creative “calls” which might challenge or energise the composition. Other rhythms like the ones held by the “shekere” (African bead shaker) often provide additional support to the composition. Poly-centric organisation or activation of the space/stage should be structured similarly. Poly-rhythm should not read as layered noise, but as rhythm. Poly-centric organisation of the stage, should not read as visual noise, multiple. It is a generosity of offered experience. It provides much added potential for storytelling and like poly-rhythm is a tool for communicating relation. 

In Africana aesthetic relations and interconnectedness seems to be a core principle/value. Simultaneously valuing multiple relations is one product of this world view. Poly-temporality, Poly-centricity, Poly-rhythms, these are modes which are able to communicate relation as a value, and is capable of weaving a web of relations which allow us a deeper dimensional reading of how relations are interconnected, dynamic and contextual. One relation makes another possible, by adding an extra layer two relations seemingly in conflict can suddenly reveal their balance and interdependence. Such is the potential of “poly” in relation to communication through art.

The circle is another way of poly-centric organisation of space. Who is to say which part of the circle carries the most value? It allows us to privilege more sides, to assign value through activity rather than material orientation. Some practices centre the drummers and moves around them. Kumina on Jamaica has been known to populate the space in such a manner. This also makes the sound equal around the circle of spectators and creates a radial space circling out from the sound. Each centre does tend to have a radial force. These would intersect and push against diagonal, straight and flat orientations. I also believe that the Circle as a preferred Africana space organisation, comes from this multi-radial “bi-product”. Often the organisation of the circle is such as to balance the multiple radial forces emanating from each centre. Like how we often would organise to face the music, or the dance. Poly-centric organisation of the space then lends itself to showing virtuosity through ones understanding of the various elements and ones ability to create balance between them, similar to how poly-rhythms creates balance within difference. 

Poly-centric use of the space also speaks to our traditions of multi-temporal narration. Each centre could be assigned a different temporality. You could say that poly-centric organisation of the space accommodates poly-temporal representation as well as a way to communicate multiple dimensions.

PULLING THREADS: POLY-DIMENSIONALITY: EMBRACING THE POLY-REALM ORIENTATION

The intricate tapestry of Africana and Caribbean cosmology paints a vibrant picture of existence where the seen and unseen worlds intertwine with equal significance. This cosmology acknowledges a reality that extends beyond the physical to include the ancestral, spiritual, and various socio-cultural realms like 'white space,' 'Black space,' and the 'third space'—each representing distinct experiences and states of consciousness. It's an existence that is inherently poly-focal, necessitating individuals to navigate and embrace multiple dimensions simultaneously.

The Poly-Realm Orientation (Prestø 2006)

This multidimensional approach to life and art is encapsulated in the concept of a poly-realm orientation. It's an orientation that transcends mere physicality, enabling practitioners to reach into diverse realms and engage in a dialogue with them through the medium of movement. This dialogue is not linear but rather spherical, surrounding the practitioner with a multitude of perspectives and energies to draw from.

Mytho-Technical Approach (Prestø 2006): A Synthesis of Sacred and Secular

The poly-realm orientation in dance does not discriminate between the sacred and the secular. Instead, it fuses them, giving rise to a Mytho-technical approach that balances technical prowess with the embodiment of myths and spiritual narratives. This holistic methodology ensures that movement is not just movement—it becomes a story, a prayer, a manifestation of the infinite connections that dance across the web of the poly-dimensional world.

By drawing on both the secular and sacred, dancers become vessels for a larger cosmological expression, one that is grounded in the technicalities of their craft while simultaneously reaching into the mythological tapestry that informs their cultural and spiritual identities. This dual engagement ensures that their practice is as precise as it is profound, as methodical as it is mystical.

The Cosmological Implications of Poly-Dimensional Dance

In the realm of performance, the poly-dimensional approach fosters a deep, resonant experience. The audience, too, is invited into this expansive space where the boundaries between the tangible and intangible are fluid and permeable. As dancers navigate the complex layers of their cultural cosmos, they invite spectators to witness and feel the multiplicity of realms at play.

The poly-realm orientation transforms the stage into a crossroads of dimensions, where each step and turn is imbued with the essence of both ancestral whispers and the pulsating rhythm of the contemporary world. This multi-layered, Mytho-technical expression of dance challenges and enriches the audience, beckoning them to open up to the poly-dimensional nature of their existence.

In this way, the poly-dimensional nature of Africana and Caribbean dance is a celebration and recognition of life's multifaceted reality. It offers a perspective that is as encompassing as it is detailed, fostering an understanding of ourselves and our world as a complex interplay of various dimensions, all of which dance to the same cosmic rhythm.

PULLING THREADS: CORPOPROJECTED SCENOGRAPHY (Prestø)

Corpoprojected Scenography, as epitomized by the Notting Hill Carnival—an exceptional manifestation of ChoreoNommo in action. This concept underscores the unparalleled capacity of the Black dancing body, uniquely positioned due to its historical and political associations, to project entire mental landscapes through its mere presence, stance, action, and gesture. It is within the realm of Corpoprojected Scenography that we encounter the intricate interplay of ChoreoWange, representing the structural integrity and force of the performance, and PerformancePwen, the cultivated power inherent in the performance and its profound impact on participants and their broader community.

The Notting Hill Carnival serves as an exemplar, a vivid case study that exemplifies these concepts. Born in response to the oppressive laws of "Sus," which granted the police unchecked authority to arbitrarily stop, search, and strip Black and Caribbean individuals on mere suspicion, the Carnival was more than a celebration. It was a transformative act of resistance and reclamation.

In this academic exploration, we must first acknowledge the historical and political context in which the Carnival emerged. The "Sus" laws symbolized the systemic racism and discrimination that plagued the lives of Black communities in London. It was a tool of harassment and intimidation, a manifestation of oppressive power. The Carnival, however, subverted this power dynamic through its embodiment of ChoreoNommo.

The Black dancing body, through its collective physical activity and expressive embodiment, redefined the very streets of London. A simple shift in posture or rhythm transported participants and onlookers through eras, temporalities, and landscapes—an embodiment of Corpoprojected Scenography. One could witness the hip-hop vibes of the 80s, the haunting echoes of the antebellum plantation, the vast expanse of the African savannah, the arid desert, and the bustling cityscape—all brought to life through the nuanced movements of the Black body.

What distinguishes this practice is its minimal reliance on elaborate scenography or sophisticated lighting. Instead, it is the Black body that projects itself into space, effectively defining and consecrating its environment. If a parking lot can become a Dancehall or the streets of London can transform into a vibrant cultural hub, it challenges established norms of space and performance. This poses a fundamental question: Does the history of the Europeanist stage truly define what performance action is, or is it the embodied activity of the Black Dancing Body that reshapes the narrative?

The Notting Hill Carnival's transformative power extends beyond the immediate celebration. It reorders traffic patterns, influences transportation logistics, and even prompts shifts in political, legislative, infrastructure, and economic considerations—all adapting to accommodate this annual spectacle. It is a testament to the embodied power possessed by the African diaspora body, demonstrating the ability to alter and shape society through its very execution.

At its core, the Carnival embodies PerformancePwen, a cultivated power that resonates profoundly within the performance and its participants. It doesn't merely entertain; it empowers. It creates a collective consciousness, fostering unity, pride, and resistance within the community. The Carnival becomes a living embodiment of resistance, resilience, and cultural celebration—an ode to the potential of Black performance practices in reshaping not only artistic landscapes but also the sociopolitical and cultural terrain.

In conclusion, the Notting Hill Carnival stands as an academic and embodied testament to the concepts of Corpoprojected Scenography, ChoreoNommo, ChoreoWange, and PerformancePwen. It exemplifies how the Black dancing body, with its rich history and political significance, possesses the remarkable ability to project mental landscapes and transform both space and society through the sheer force of performance. This exploration underscores the transformative potential inherent in Black performance practices, which extend far beyond artistic expression, reshaping the performative space and the world at large.

FASTENING THE WEB: SPHERICAL DANCE: EMBODIMENT, TRAJECTORIES, AND MULTI-DIMENSIONALITY

Spherical Dance (Prestø), while not widely known under this nomenclature, is a crucial form of embodiment observed in various African and African Diaspora dances. It centers on curvilinear trajectories, circumduct movement, and parallax orientation, creating a spatial harmony around the dancer. This paper delves into the multidimensional characteristics of Spherical Dance, emphasizing its ability to command both voluntary and involuntary attention while catering to a polyfrontal audience orientation.

Dance, as an expressive medium, takes numerous forms, each with its unique spatial, temporal, and kinesthetic characteristics. One such form that stands out for its distinctive engagement with space is Spherical Dance.

2. Definitions:

• Circumduct Movement: The sweeping motion where a body part, often a limb, describes a circular trajectory, utilizing the full range of motion.
• Curvilinearity: Movement that flows in smooth curves rather than straight lines, producing organic, flowing trajectories.
• Parallax Movement Orientation: The perception of spatial depth resulting from different viewpoints, enabling dancers to offer a multi-view experience.
• Polyfrontal Orientation: A presentation that doesn't strictly adhere to a singular front but allows multiple fronts to coexist simultaneously.

3. Implications for Audience Engagement

The multi-dimensionality of Spherical Dance ensures the dancer can cater to audiences from all angles, providing a 360-degree engagement. This unique orientation implies:

• Command of Attention: The dancer's multi-layered movement patterns require and command both voluntary and involuntary audience attention.
• Temporal Illusion: The curves and parallax views can cause certain movements to appear at varying tempos, although the dancer remains precisely on beat, challenging the audience's perception of time and rhythm.
• Polyfrontal Engagement: This means that no single audience member's perspective is prioritized, fostering an inclusive viewing experience.

Spherical Dance, as represented in African and African Diaspora forms, is a testament to the richness of cultural expression and the profound ways in which dance can engage with space and audience. Its curvilinear, multi-dimensional trajectories not only challenge the dancer but also the viewer, creating a dynamic and immersive experience that transcends conventional dance forms.

Ai generated in Midjourned by Thomas Talawa Prestø

GETTING DOWN WITH THE BEAT

ANANSI AND THE WESTERN COMPOSERS

Before my time, before your time, and before the time when Western composers believed they could conquer all the music of the world, there was Anansi. Anansi, the spider, was a master of artistry, ingenuity, and survival. He thrived in the face of adversity, and when the Western composers arrived, Anansi sensed a challenge that went beyond musical notes—it was a battle for the very soul of African music.

These Western composers, self-proclaimed musical conquerors, believed that music should be neatly penned on paper, reduced to standardization. They arrived in Africa, armed with pens and parchment, ready to transcribe every beat, every note, and every rhythm they encountered. Their ambition was to capture the essence of African music, to claim it as their own, and to confine it to the cold lines of sheet music.

But Anansi knew better. He understood that the essence of African music flowed like a river, its complexity rippling with layered rhythms, interwoven messages, language, and symbolism. It was a living, breathing entity that could not be bottled within the confines of notation. Anansi realized that the Western composers could only capture what could be precisely transcribed on their paper.

So, with the audacity only a trickster spider could possess, Anansi issued a musical duel. He began with a deceptively simple beat, one that the Western composers could easily inscribe. But Anansi was far from simple. As he played on, he wove layer upon layer of complexity, intermingling diverse rhythms and meters, infusing the music with the swing of Africa, and creating a sonic tapestry impossible to constrain on paper.

The Western composers' eyes bulged, their ears filled with wax as if they sought to drown the complexity, and their feet stumbled over themselves in a futile dance to keep up. Anansi watched with a grin, knowing that they could never capture the heart and soul of African music.

Defeated, the Western composers retreated, unable to grasp the intricate essence of the melodies, the intricate rhythms, and the rich tapestry of African sound. Anansi chuckled to himself, knowing that the music of Africa would forever elude their grasp.

Over the following centuries, the Western composers tried to convince themselves that simplicity reigned supreme, all while they remained incapable of comprehending the intricate brilliance of Anansi's musical creations. Meanwhile, the music of Africa flourished, thriving in its complexity, its layered beats, and its hidden stories.

Anansi remained the guardian of this musical treasure, ensuring that the Western composers would never conquer the music of the world. In the end, he imparted a profound lesson—that music was not a captive entity to be standardized and penned on paper but a living, breathing force that defied captivity. He taught that the heart of African music lay in its complexity, its subtlety, and its power to unite people across cultures and borders.

So, when you listen to the music of Africa today, remember Anansi, the crafty spider who outsmarted the Western composers, preserving the soulful melodies and intricate rhythms for generations to come. He is the guardian of a living art form, a testament to the resilience of culture in the face of those who seek to conquer it.

PULLING THREADS:"RHYTHMS OF RESISTANCE: THE CRIMINALIZATION OF CARIBBEAN CULTURAL EXPRESSION THROUGH COLONIAL LEGISLATION"

In the academic exploration of Caribbean cultural forms, notably music, song, and dance, a dichotomy emerges wherein these expressions are simultaneously characterized as criminal acts by colonial powers and as legitimate art forms within performance theory. This duality reflects a historical trajectory wherein the colonial state's apprehension towards the unifying potential of these practices led to their categorization as illicit activities, subject to legal proscription and control.

The criminalization of Caribbean cultural practices is not merely a historical footnote but a central theme in understanding the region's socio-cultural dynamics. It reveals how colonial authorities employed legal frameworks as instruments of cultural suppression, aiming to disrupt the communal bonds fostered through shared musical and dance traditions. These laws were not simply regulatory measures; they signified an attempt to dismantle the cultural autonomy of Caribbean peoples and to stifle the emergent collective consciousness that these practices nurtured.

The legacy of such criminalization continues to shape contemporary discourse on Caribbean culture. Academic examination must account for the ways in which these cultural forms have been, and continue to be, subjected to state scrutiny, reflecting broader issues of power, control, and resistance. It calls for a rearticulation of the narrative surrounding Caribbean music and dance, positioning these elements not only within the paradigms of aesthetic and performative art but also within the context of resistance to colonial and neocolonial suppression.

As such, the historical portrayal of these cultural expressions as illicit has profound implications for how they are perceived and theorized today. This intersection of law, art, and colonial power dynamics invites a critical reassessment of the relationship between state mechanisms and cultural expression. It requires an acknowledgement of the ways in which the colonial legacy continues to inform the valuation and legal standing of cultural practices within the Caribbean and beyond.

I will not delve deeply into this here, as that would warrant another doctorate onto itself, but place it, acknowledge its presence as I choose to focus more onto the practice and understanding of our artistic devices and practices as understood and theorised by a descendent of these subjugated people, but without giving much space to the oppressor. 

Deliberation around the Table:

The table of legislation below illustrates the persistent efforts of colonial and post-colonial authorities to regulate and suppress African-derived expressions of sound and spirituality in the Caribbean. The laws span over three centuries, reflecting the sustained fear of the ruling classes towards the communal and communicative powers of drumming, horn-blowing, and other forms of cultural gatherings that slaves and their descendants used for purposes of social cohesion, spiritual relief, and sometimes, subversion of the oppressive status quo.

This legislative timeline underscores how deeply intertwined notions of legality and illegality have become with the performance and development of Caribbean art. On the surface, these laws were purported to maintain public order and morality, yet, beneath that veneer, they functioned to disrupt the cultural continuity and solidarity among the enslaved and colonized peoples. The criminalization of these cultural expressions was not merely an act of suppressing 'noise' but was a strategic move to silence the potent voices of resistance and identity.

HANGING THE WEB: THE POLY-DIASPORIC MATRIX: UNRAVELING THE COMPLEXITY OF CARIBBEAN AND AFRICAN DIASPORIC INTERSECTIONS

In the intricate fabric of Caribbean and African diasporic cultures, a new concept emerges: the Poly-Diasporic Matrix, a term coined and conceptualized by the author. This matrix serves as a pivotal framework, guiding the exploration of how various African communities have been interwoven into the Caribbean diaspora and how their combined cultural elements and cosmologies actively contribute to the evolution of Caribbean and African Diaspora art and worldview.

Definitions:

• Poly-Diasporic Matrix (prestø): A comprehensive research framework that traces the African communities that were integrated into the Caribbean diaspora. It delves into the dynamic interplay of diverse cosmologies and cultural elements, highlighting their active role in shaping the Caribbean and African Diaspora's art and perspectives.

• Polydiaspora (Prestø): A term that encapsulates the simultaneous existence and co-activation of multiple diasporic cultures and elements. It emphasizes the multi-centric activation of cultural precepts from which art, practices, and daily life in the Caribbean and African diaspora are continuously crafted, expanded, and evolved.

The essence of the Poly-Diasporic Matrix lies in its exploration of the African communities that were brought into the Caribbean diaspora, mapping out their complex journeys and resultant cultural imprints. By analyzing which cosmologies and cultural elements remain active, the matrix paints a vivid picture of a rich tapestry of influences that contribute to the continually evolving art forms and worldviews of the Caribbean and African diaspora.

These influences are not mere remnants of the past but are polycentrically activated cultural touchpoints, driving innovation and evolution in artistic practices and daily life. They serve as wellsprings of inspiration, as artists, thinkers, and everyday individuals tap into these myriad influences to shape, reshape, and create anew. The concept emphasizes the simultaneous co-activation of these cultural elements, underscoring the dynamic interplay of traditions, beliefs, and artistic forms.

In the Caribbean and African diaspora, the term Polydiaspora provides a more nuanced understanding of their multi-layered identity. It's not just about acknowledging diverse origins; it's about recognizing the active role each diasporic influence plays in shaping thought, art, and culture. This constant engagement and dialogue between multiple diasporic elements set the stage for a vibrant and ever-evolving cultural landscape.

In conclusion, the Poly-Diasporic Matrix, coupled with the idea of Polydiaspora, provides an invaluable lens to study and appreciate the intricate amalgamation of African communities in the Caribbean diaspora. It offers insights into the multi-centric activation of cultural elements, which not only shape artistic expressions but also breathe life into the daily practices and worldviews of these vibrant communities. The journey through this matrix reveals a kaleidoscope of traditions, beliefs, and artistic nuances, each contributing to the rich tapestry of Caribbean and African diasporic culture.

GATHERING THE WEB: POLYDIASPORIC RHYTHMIC SITES (Prestø): 

The intricate mosaic of rhythms, dances, and spiritual expressions that define the Caribbean and circum-Caribbean realms are more than mere aesthetic performances; they encapsulate centuries of history, resistance, and the amalgamation of multiple African cultures. These rhythms, deeply rooted in the African diaspora, emerged from the tumultuous journey of diverse ethnicities and cultures across the Atlantic during the harrowing era of enslavement. Over time, these cultural essences converged, intermingled, and birthed a series of syncretic practices

Prevailing colonial narratives have, for long, shaped the discourse surrounding Caribbean dance and rhythm. These narratives predominantly foreground the influence of colonial "masters", often relegating to the margins the intricate meshwork of African cultures, their exchanges, and the mutual influences that birthed a distinctive Caribbean cultural identity. Such oversight not only undermines the rich polyphony of African cultural confluences but also obscures the legacies of resistance, adaptation, and innovation that these syncretic and polydiasporic practices represent.

A linchpin in understanding this intricate tapestry is the mapping of Rhythmic Nations and their Africontinued and Afri-Retentive presences within the Caribbean and the Circum-Caribbean domains. This forms an integral facet of the Talawa Technique™  and the rhythmic explorations that underpin my choreographic endeavours. Through this lens, the dance vocabulary transcends mere movement, emerging as an embodied dialogue—a fusion of African diasporic movements and rhythms synergized with the pulsating life force of the mother continent. This exploration showcases a ceaseless flow of mutual inspiration coursing through the Atlantic, an ebb and flow that serves as a dynamic umbilical cord, continually connecting, and reconnecting us with our ancestral roots.

In a rigorous journey that unfolded over more than fifteen years, I pursued a nuanced examination of the rhythmic linkages binding the African continent to its diasporic reflections in the Caribbean. This pursuit was anchored by a multi-pronged strategy, synthesizing extensive fieldwork, embodiment of research practices, and intimate liaisons with renowned drummers, adept dance practitioners, and revered cultural custodians from both shores of the Atlantic.

The crux of my methodology rested on the immersion into and embodiment of specific dances and rhythms native to these cultures. This was not a distant academic endeavor; it was an intimate dance, a corporeal engagement. Through this tactile immersion, rhythms divulged their intricate tales, offering insights into their nuanced patterns and histories.

Conversations with elders, guardians of cultural legacies, were instrumental in plumbing the depths of oral traditions, communal narratives, and intergenerational memories. These oral reservoirs, often overlooked in mainstream academic canons, unveiled layers of knowledge, shining light on the intricacies and subtleties that might remain concealed in written archives.

Yet, amongst the myriad research strategies employed, one heuristic consistently surfaced as preeminent: the imperative to "follow the rhythm." This rhythmic trace led me through an intricate maze, enabling the mapping of cultural and artistic imprints bridging the Atlantic divide. This pursuit, focused intently on rhythm, furnished a distinctive vantage point, facilitating the disentanglement of the complex choreography of cultural interplay, adaptation, and resilience. In this soundscape, rhythms emerged not merely as metronomic beats but as potent narrators, chronicling tales of interconnections, persistent legacies, and innovative interludes.

To ascertain the depth and breadth of each cultural impact, I instituted a criterion: each culture, to be included in this exploration, was required to exhibit a minimum of three distinct coordinates. These markers, testament to the expansive contributions of the African diaspora, encompassed linguistic remnants, hallmark musical instruments, distinctive rhythmic signatures, reverberations of deities, and ritualistic chants echoing through the annals of time. While the compilation presented here does not purport to be exhaustive, it underscores those rhythmic cultures and lineages that have deeply intertwined with my scholarly and artistic trajectory.

To put it into perspective, consider the Ewe culture's influence in Trinidad. It wasn't just about identifying a vague connection but drawing a clear line between specific elements in both cultures. The Kpanlogo drum's presence in Trinidad, certain chants and practices, references to Ewe deities, and the distinct cultural dance forms are prime examples. Even certain Ewe words that have seamlessly blended with Trinidadian Patois bear testament to this profound connection.

While the compilation presented here does not purport to be exhaustive, it underscores those rhythmic cultures and lineages that have deeply intertwined with my scholarly and artistic trajectory.

VOUDUN AS A GUIDE TO THE POLYDIASPORIC MATRIX

Indigenous Caribbean knowledge systems, like Voudun, Candomble, Obeah, Lukumi, Santeria, Shango baptism, etc., are all methods for organising poly-Diasporic knowledge. These African Caribbean Diasporic knowledge systems have a high level of specificity in their practices and have been able to store knowledge passed down from the beginning of the Transatlantic slave trade up until the present. Using Voudun as an example, the initiate is well aware of the roots of the Rada, Ghede, and Petwo deities/spirits to the point of knowing which ones have their origins in Dahomey, Yoruba, Igbo, Fon, Ewe, Wolof, Serer or Mandinka peoples. They know which are from native Taino (Caribbean pre-Columbus first peoples), and which are indigenous to the African Haitian experience. Voudun, as such, is a poly-diasporic matrix that allows for the storing and organising of knowledge. Dances and rhythms are linked to the deities and are organised according to ‘nation’ (peoples of origin) and or other contexts. Within these indigenous knowledge systems, we can find ways to hold complex poly-diasporic information. Caribbean people and, by extension, most of our expressions, food, culture, and philosophies are, in essence, poly-Diasporic.

For those interested in looking at dance and culture at the intersection between Caribbean African traditions and Native First Peoples of the Americas, I recommend looking into Garifuna dance, culture, and rhythm.

A single Caribbean dance might carry retentions of Ewe, Yoruba, Mandinka, Igbo, and Bakongo elements as well as elements that have uniquely been shaped from the Caribbean experience. These again might be read or influenced by a European lens, as well as carry aspects of ‘Carib’ (indigenous first peoples like Taino or Arawak) retentions. This dance would then be multi or poly-Diasporic. Caribbean and Africana/Africanist dance forms are often termed as creole or hybrid. While creolisation and hybridisation, to me, are processes and/or states which become somewhat unspecific, I posit "poly-Diasporic" as a term that communicates the simultaneity of this state. Also, poly-diasporic speaks to the possible specificity that can be readily available with research, family and cultural history, as well as advances in modern technology and DNA research. As with poly-rhythms, where we can choose which rhythms or even meetings of rhythms to accent or stress, I posit that it is possible to accent or highlight specific retentions within a poly-Diasporic dance and/or body, and thus change its general look and feel without losing its other components. The Talawa Technique™ ™, in its focus on deconstruction and reconstruction, facilitates the poly-Diasporic interrogation of movement. It allows a poly-Diasporic person to enter their centrality without losing any component of their complex and dynamic identity. Talawa Technique™ ™ can facilitate both a Ewe dancer within a northern European context, an Afropean within an American context, and the Caribbean within an African continental context. This also reveals one of many applications in which a technique can serve to filter research. In this case, Talawa Technique™ ™ is a tool which can accommodate poly-Diasporic physical discourse.

RESEARCHING THE POLYDISAPORIC MATRIX

In relation to my research into dance techniques of the Circum-Caribbean and the African continent, I found it most logical to organise them similarly to the poly-diasporic system of Voudun, and thus to be able to link rhythms, movements, roots, and routes to their origin, in points of contact, and the unique experiences which altered and/or shaped them. My research was now more than 5,000 pages when all edited into one massive document. Some of this naturally overlaps, and much must be revised, contended, interrogated, and even negated. It is my future hope and wish to be able to focus a PHD on just this endeavour. In the meantime, I will find ways to share some of the fruits of the labour, albeit even if it’s only in the format of a form. I will share a table outlining The African Rhythms Nations which I found within Circum-Caribbean Poly-Diasporic sites.

I name Ewe Peoples, Yoruba Peoples, etc., as different Rhythm Nations acknowledging that they are Nations in their own right, and also the centrality of rhythm as a marker of identity and as a carrier of culture. These again are organised under larger rhythm cultures. These are where I found the rhythms to be similar or the cultures of the distinct Rhythm Nations to be linked and or intertwined. Those organised under the same Rhythm Culture are also the ones I found to have most often merged in the Caribbean.

This form in itself warrants an entire book of analysis and believe me, I have notes for a whole encyclopaedia. In spite of the limitations of this paper, I have decided to add this form to show the work, and because I know that it will be useful. It gives insight into how I think, and the process that has gone into making and structuring the technique. Hopefully, it is also a good starting point for continued research for those who are on a journey.

My knowledge of Indigenous Caribbean Knowledge Systems predominantly stems from initiation, practice, and apprenticeship, although I have later found some valuable sources to quote academically when needed. Yvonne Daniel writes beautifully and accessibly in her book "Dancing Wisdom", and I strongly advise reading this exceptional offering. It navigates the laborious task of walking the line between sharing information and not touching too deeply on that which is not to be shared with the uninitiated.

GATHERING THE WEB: RHYTHMOMODAL EMULSIFICATION (Prestø)

Rhythmomodal Emulsification is a concept that encompasses the integration of contrasting and distinct rhythms from multiple modes of perception, namely Sonic, Optic, Tactile, and Ethero rhythms, to create a unified and engaging rhythmic experience. It involves bringing together these different modes of rhythm, which are characterized by their contrasting qualities, and merging them into a cohesive whole that is balanced and dynamically engaging.

The modes of perception involved in Rhythmomodal Emulsification are:

1. Sonic rhythm: refers to the rhythm that we hear. It pertains to the auditory experience of rhythm and focuses on the production and perception of sound-based rhythmic elements.

2. Optic rhythm: refers to the rhythm that we see. It involves the visual perception of rhythm and emphasizes the observation and interpretation of visually expressed rhythmic patterns or movements.

3. Tactile rhythm: refers to the rhythm that we feel. It encompasses the sense of touch and bodily sensations associated with rhythm, where movement and physical interactions contribute to the rhythmic experience.

4. Ethero rhythm (Prestø): refers to the rhythm that we remember or imagine. It involves the mental and imaginative aspects of rhythm, including memory, visualization, and the ability to mentally recreate or conceptualize rhythmic patterns.

ETHERO RHYTHM EXPANDED

Ethero Rhythm is a unique and fascinating concept that sheds light on the multifaceted nature of rhythm. It proposes that rhythm is not simply a physical phenomenon that is limited to our sensory experiences, but rather a metaphysical experience that transcends the physical realm. By exploring this concept, we are able to gain a deeper understanding of the power of rhythm to connect us to the world and to our own inner experiences.

Ethero Rhythm encompasses a wide range of experiences, including nostalgia, ancestral echoes, deity realms, and aesthetic norms. It recognizes that rhythm can exist in different dimensions, including the 5th dimension, where time and space are not limiting factors. This allows us to project ourselves into the future and draw from the past, while fully experiencing the present. In the words of Thomas Prestø, "it allows yesterday to come today in order to bring tomorrow."

One of the most interesting aspects of Ethero Rhythm is its ability to connect us to our memories and emotions. For example, the voice we hear in our heads, the inner dialogue we have with ourselves, is an example of Ethero Rhythm. This voice is not a physical sound, but it is still an aspect of rhythm, as it is tied to our thoughts, memories, and emotions. Similarly, when we imagine bodies moving, even though the movement is not physical, we are engaging with Ethero Rhythm in a visual sense.

Another example of Ethero Rhythm is the way we remember and envision musical or dance performances. We can recall the rhythm of a song, even if we are not physically hearing it, and imagine the movements of a dance, even if we are not physically experiencing them. This demonstrates the power of Ethero Rhythm to connect us to the past, present, and future.

Ethero Rhythm is also an important aspect of aesthetics, as it highlights the communicative power of rhythm and its ability to convey meaning and emotion beyond the physical realm. By embodying all of the different modalities of rhythm, Ethero Rhythm can serve as a tool for measuring, assessing, predicting, and projecting through the power of rhythm. In this way, Ethero Rhythm is truly a form of communication, a vibration that is tied to the "word."

In conclusion, Ethero Rhythm is a rich and complex concept that sheds light on the power of rhythm to connect us to the world and to our own inner experiences. Through its ability to transcend the physical realm and connect us to our memories, emotions, and mental imagery, Ethero Rhythm has the power to shape our perceptions of the world and to enhance our aesthetic experiences.

When these four modes of rhythm are brought together in Rhythmomodal Emulsification, a synesthetic experience can occur. Synesthesia refers to the phenomenon where stimulation in one sensory modality leads to experiences in another modality. By integrating the contrasting elements of these different modes of rhythm, a heightened and enriched sensory experience is created. The contrast and interplay between the modes enhance the perception and appreciation of each individual mode, resulting in a more engaging and dynamic overall experience.

Building upon Rhythmomodal Emulsification, we can further explore Sonic and Corpokinetic Rhythmic Emulsification. In this specific mode, the focus is on the integration of two contrasting modes: the corpokinetic rhythm, which involves bodily movement and dance, and the sonic rhythm, which encompasses the perception of rhythm through hearing.

When Sonic and Corpokinetic Rhythmic Emulsification occurs, the distinct modes of dance and heard rhythm are brought together in a way that creates an emulsified, whole-body rhythmic experience. The contrasting qualities of bodily movement and sound-based rhythm generate a dynamic relationship characterized by balance and friction. Through this integration, the experiencing of both modes is strengthened, as they interact and enhance each other.

Corpokinetic rhythm, rooted in corporeal kinetics, emphasizes the expressive movement of the body as a rhythmic form of communication. Sonic rhythm focuses on the auditory aspects of rhythm, including the production and perception of rhythmic patterns through sound. By merging these contrasting modes, a wholistically balanced and engaging relationship is forged, resulting in an embodied experience that draws upon the richness of both corpokinetic and sonic rhythms.

PULLING THREADS: SWINGING THE TACTILE RHYTHM- A PERSONAL EXPERIENCE

In my exploration of dance, particularly within the African diaspora, I have come to appreciate pallesthesia, the ability to sense vibration and pressure, as a critical aspect of understanding and embodying rhythm. This appreciation extends beyond the auditory realm, tapping into a more nuanced perception of music and movement.

My awareness of this dimension was profoundly deepened through an experience with a deaf dancer in my group. His approach to dance, rooted in the physical sensation of the music rather than its auditory manifestation, revealed a new realm of rhythmic acuity. Working alongside him, I was astonished to find that his sense of timing and rhythm was often more accurate and attuned than those of us who relied primarily on hearing. This encounter led me to a deeper exploration of how rhythm can be felt, a journey that significantly refined my own sense of timing and alignment with music.

Training with the deaf dancer allowed me to develop a heightened sensitivity to the vibrations and pressures of the music. This training shifted my focus from solely auditory cues to a more holistic perception of rhythm. This shift was transformative; it enabled me to align more precisely with the drum's beat, to find myself consistently in the ‘pocket’ of the rhythm. I noticed that the act of oscillating between auditory and pallesthetic perceptions of music didn't just alter my experience of rhythm; it enhanced my ability to create a sense of groove and swing in my movements.

This slight shift in perspective, as perceived by observers, was consistently interpreted as a quality of swing and groove. Such observations led me to theorize that this ability to alternate between different sensory perceptions of rhythm might be an inherent characteristic of Africana dance practices. This synesthetic approach to rhythm, where auditory and tactile experiences are fused, seems to be a distinctive feature of African diaspora music and dance traditions.

In many Black cultural contexts, the emphasis often lies more on feeling the rhythm rather than just hearing it. This rhetorical emphasis on the physical experience of rhythm underlines the importance of pallesthetic perception in these artistic traditions. It suggests an approach to rhythm and music that is integrative and multi-sensory, engaging the body and the ears in a harmonious dance of perception.

From this perspective, the experience of rhythm in Africana dance transcends auditory limitations, becoming a rich, multi-dimensional experience. It is not merely a matter of keeping in time with the music but of living and expressing the rhythm through every part of one's being. This holistic approach to rhythm and dance illuminates the depth and complexity of African and African diaspora artistic practices, offering an enriched understanding of music and movement that is both academic and deeply embodied.

Pulling Threads: Rhythmomodular Synaesthesia

Rhythmomodular Synaesthesia, coined by Prestø, describes a phenomenon where corpokinetic (bodily movement), optic (visual), sonic (auditory), tactile (tactile and kinesthetic), and ethero (imagined or remembered) rhythms converge and combine, blurring their boundaries and allowing one aspect of rhythm to be experienced as a manifestation of another. This embodied and immersive experience emerges through the erudite execution of polyrhythmic playing and polycentric dancing, resulting in a synesthetic perception of rhythm.

Rhythmomodular Synaesthesia involves the multisensory integration of different modes of rhythm. This integration occurs when a highly skilled dancer and musician combine their expertise, transcending individual modes to create a holistic and immersive rhythmic experience. The erudite execution of polyrhythmic playing refers to the advanced ability to perform multiple rhythmic patterns simultaneously, involving different meters, accents, and subdivisions. Similarly, polycentric dancing involves executing multiple independent rhythmic movements with different body parts or in different spatial locations, requiring a deep understanding of rhythm, coordination, precision, and timing.

When polyrhythmic playing and polycentric dancing are skillfully intertwined, a heightened sense of rhythmic complexity and interplay emerges. This interaction within the dancer's movements and the musician's performance creates an environment where the boundaries between different rhythms become less distinct, merging and interacting to produce a synesthetic experience where one aspect of rhythm is perceived or felt as a manifestation of another.

In this context, virtuosity is measured by the artist's ability to create and facilitate such a synesthetic experience for themselves and the audience. The artist's mastery of their craft enables them to blend different modes of rhythm seamlessly, creating an embodied and immersive environment that invites the audience to perceive rhythm in a multidimensional and interconnected way.

During a performance characterized by Rhythmomodular Synaesthesia, the audience may perceive the corpokinetic rhythm of the dancer's movements as a visual representation of the sonic rhythm produced by the musician. The tactile rhythm of the dancer's footsteps might be felt as a kinesthetic embodiment of the ethero rhythm, evoking a sense of imagined or remembered rhythm. The optic rhythm of the visual patterns created by the dancer's body might be experienced as an extension of the tactile rhythm, blurring the boundaries between the two modes.

Our ethero rhythm, encompassing our sense of memory, aesthetics, history, and relationship to the music and movement, is also a crucial aspect of revitalizing the ghost. By tapping into this embodied experience, we can create a deeper connection to the music and bring new meaning and significance to the performance. The ultimate goal of revitalizing the ghost is to create a dynamic, shared experience of rhythm that unites people in a cypher or circle of rhythm. By responding to the music and adding our unique contributions, we create a space where we connect to each other and the music in new and meaningful ways. This form of performance is highly affective and has the power to revitalize both the dancer and the audience, bringing new life to the ghost of pre-recorded music.

PULLING THREADS: RHYTHMIC RECURSION – BORROWED FROM COMPUTER SCIENCE

At the intersection of computer science and African rhythmic traditions lies an intriguing conceptual parallel: recursion. In computational paradigms, recursion is a mechanism by which a function calls upon itself, breaking complex problems into more digestible iterations of the same challenge. A similar cyclical repetition, a form of rhythmic recursion, is evident in the music and dance traditions of Africa.

Rhythmic Repetition as Foundation

In rhythm, repetition functions as a foundational scaffold. While it provides stability, it is not merely a passive backdrop. Instead, it serves as a dynamic platform for improvisational ventures, anchoring spontaneous and fluid musical articulations within a recognizable framework.

African Music: Conversations in Rhythm

Repetition and recursion are paramount within the vast tapestry of African music. The ensemble character of African performances frequently showcases polyphony, polyrhythm, and an interlocking conversational style. Central to these elements is rhythm, acting as the binding agent. Both the articulated notes and the spaces between them, the intentional silences, contribute to the rhythm, eliciting a palpable sense of movement and engagement in the audience.

Layering and Conversations in African Drumming

Rhythmic recursion prominently features in African and African diaspora arts. In the realm of African drumming, this concept is realized through the intricate layering of distinct rhythms. Each musician, in contributing their unique patterns, adds to a collective sonic canvas. This layering isn't just an aggregation; it is a dynamic conversation. Each drummer, while playing their rhythm, is also an active listener and respondent to the ensemble, ensuring their individual contributions align with and enhance the group's collective pattern.

Embodiment of Rhythmic Recursion in Dance

The dance traditions of Africa and its diaspora further amplify the principle of rhythmic recursion. Dance movements are not isolated gestures but are deeply intertwined with the rhythms they generate. The dancer, as the progenitor of rhythm, engages in a feedback mechanism with it. As the dancer initiates a rhythm, that very rhythm then influences subsequent movements, creating a recursive feedback loop. This continuous give-and-take allows dancers to iterate, innovate, and diversify their movements, all the while staying rooted in the rhythmic structure.

To encapsulate, rhythmic recursion, whether in the context of African arts or computer science, underscores the harmonious coexistence of structured repetition and unbridled improvisation. This symbiotic relationship transcends the boundaries of disciplines, illuminating the universality of underlying principles.

SENSING THE WEB: POLYMETER

Poly-meter is an exciting and powerful tool for choreographers and dancers to create an engaging and dynamic experience for their audience. It's a unique way of layering multiple time signatures in a composition, creating a sense of tension and groove within the musical structure. This tension, when harnessed effectively, can bring a new level of depth and interest to a performance.

It's important to note that poly-meter and poly-rhythm are not interchangeable terms, even though they often work hand-in-hand. Poly-meter is specifically concerned with the layering of multiple time signatures, while poly-rhythm deals with multiple rhythmic patterns within a single meter.

As a dancer, being able to move to or create poly-meter can take on many forms. It could be as simple as picking out different time signatures, or it could be as complex as moving to a different time signature that isn't audible. If the dancer's movements create rhythmic sound, then they become an active participant in the musical composition, elevating their role from just performer to musician.

When used as a choreographic tool, poly-meter can add a new level of excitement and intrigue to a performance. It can serve to defamiliarize movement, motifs, or change the overall feel of the piece. For example, a shift in time-signature can communicate a change in the value or importance of a moment or movement, capturing the audience's attention and shifting their focus.

By layering movement on a slower time-signature than the music, the feeling of elasticity and time slowing down can be created. This expands the moment, communicating a sense of importance or severity to the audience. When applied to a significant moment between two dancers, such as a meeting, it can be experienced as a poignant and significant interaction, adding depth and meaning to the relationship between the dancers.

Conversely, if the interaction between two dancers quickens, it can communicate an increase in power, intensity, or urgency, depending on the surrounding dramaturgy. On the other hand, if a slower time-signature is used in a moment, it can communicate a resistance or struggle against that moment. The return to the dominant time signature can then be felt as a release, adding an emotional layer to the performance.

The beauty of using poly-meter in this way is that it can affect and manipulate time and affect in a subtle yet powerful manner. If the changes in time-signature are subtle enough, the audience may not even be consciously aware of them, yet they will still be able to feel the impact on the choreography. This is the power of poly-meter in the hands of a skilled choreographer and dancer, elevating the performance to new heights.

FASTENING THE WEB : POLYRHYTHMIC PRAXIS AND MULTIFACETED RESONANCE

Polyrhythmic practices, traditionally rooted in music, have an allure that goes beyond mere auditory pleasure. Their essence lies in the art of layering and intertwining, much like silken threads weaving together to form a tapestry of sound. But, to understand them merely as musical constructs would be simplifying their profound significance. These practices encapsulate a philosophy, a worldview, and a means of communication.

1. Complex Spiraling Designs of Time

Imagine a loom, with each thread representing a distinct rhythmical voice. As they interlace, they create patterns – some predictable, others startlingly unexpected. Polyrhythms are similar. They don't just progress linearly; they spiral, loop back, and diverge. This intricate dance of rhythms is reflective of life's unpredictable trajectories, where past, present, and future moments can coalesce, separate, and reconverge in unexpected ways.

2. Depth Through Alteration

By juxtaposing and layering rhythms, polyrhythmic practices bring forth an unparalleled depth. It's like peering into a body of water and seeing not just the surface, but the various depths beneath, each with its unique ecosystem. Similarly, the layering of rhythmic voices allows listeners to dive deep into the intricacies of each while also appreciating the harmony of the collective.

3. Affirming Relationships and Creating Movements

Relationships, both in music and life, are about harmony and balance. In polyrhythmic practices, each rhythm, while maintaining its individuality, synchronizes with others, much like individuals in a community. This harmonious coexistence creates a movement – a collective force that can propel change, incite reactions, and stir emotions.

4. Collapsing Realms and Time

One of the most mystical aspects of polyrhythms is their capacity to blur boundaries. They collapse the boundaries of time by making the past, present, and future audible simultaneously. But they also transcend realms – between the earthly and the divine, the tangible and the intangible. When immersed in such rhythms, one might feel a connection to ancestors, the natural world, or even the cosmos.

5. Co-realm-presence

In the heart of polyrhythmic practices lies the idea of co-realm-presence. It's not just about coexistence but active presence across multiple dimensions. Whether it's the spirit world communing with the living or past histories resonating in the present, polyrhythms become a bridge, a medium, allowing for dialogues across realms.

SENSING THE WEB: POLYRHYTHM

Poly-rhythm is an intricate and layered musical style where multiple rhythms are played simultaneously, often within the same time signature or meter. This approach to rhythm offers an almost infinite possibility for creative expression and play. Dancers, in particular, are central to the creation of poly-rhythms as their movements can serve as the rhythmical score, with the drummer playing the body of the dancer. The poly-rhythm is created through the complexity of multiple rhythmic personalities playing at the same time and multiple rhythmic conversations of call and response happening simultaneously. The dancer, as a rhythmic composer, can also choose to challenge the composition by moving to another time signature, adding to the complexity and interest of the performance.

The concept of standardised or popular rhythms being part of previous dance suggested rhythms is also important in understanding poly-rhythm. These rhythms have been accepted by the community and have become recognisable samples or entire styles. These samples give meaning and help us recognise particular forms or motifs. This is the concept of polyrhytms, which makes use of these standardised rhythms to create new, recognizable musical styles. The ability to navigate, layer, interpret, and create poly-rhythmic play is a valuable and fine-tuned skill, passed down for generations and deeply ingrained in many cultural practices.

In conclusion, poly-rhythm is a rich and complex musical style that offers endless possibilities for creative expression. The role of the dancer as a rhythmic composer and the concept of gesto-rhythmization are key to understanding and appreciating the art of poly-rhythm. Eurhythmia, polyrhythmia, isorhythmia, and arrhythmia are also important concepts to explore for those interested in the deeper aspects of rhythm and affect.

SENSINS THE WEB: RHYTHMIC PERSONALITY

Rhythmic personality, as the name suggests, embodies the individualistic rhythmic essence of a person. Just as our fingerprints, voice, and disposition set us apart, our engagement with the diverse elements of rhythm — be it sounds, silences, kinetic ebbs and flows, or moments of pause — creates a distinct rhythmic signature.

This isn't merely about following a beat or tapping to a melody. It's about the nuanced choices we make — the crescendos we embrace, the pauses we cherish, the motions we initiate, and the stillness we revere. These choices, intentional or subconscious, become a rhythmic dialogue, portraying our personal stories, emotions, and experiences.

Imagine a room filled with dancers. While the background score remains constant, each dancer might interpret and express it differently. One might linger a fraction longer in a pause, while another might accentuate a particular beat. These variations, subtle yet profound, arise from each dancer's unique rhythmic personality.

Our rhythmic personality is akin to silk — intricate, individualized, and expressive. It's an unfol

ding narrative, woven from the threads of our experiences, emotions, and innate rhythm. It positions us distinctively, allowing us to harmonize with, complement, or even contrast against other rhythmic personalities, forging connections or delineations in the vast symphony of life.

RHYTHMIC PERSONALITY AND THE TAPESTRY OF POLYRHYTHM

Rhythmic Personality is the thread that intricately weaves the fabric of Polyrhythm. At its core, Polyrhythm is an intricate dance of different rhythmic personalities interacting simultaneously. This doesn’t just pertain to interactions between different individuals; intriguingly, within a single person, there exists a multitude of rhythmic personalities, each with its own signature, playing in harmony or contrast at any given moment.

Taking Gwoka as an exemplar, the musical tradition highlights this concept vividly. There exists a foundational ground rhythm, consistent and anchoring. Yet, as a dancer steps into the performance space, the "cutter" drum instinctively syncs with their every motion, translating their kinetic energy into an echoing sonic palette. It's a dynamic conversation, a real-time call and response between movement and sound. Herein lies the beauty: no two dancers evoke the same sound. Each dancer's unique rhythmic personality influences the drum's output, making each performance an unparalleled rhythmic narrative.

Similarly, drummers, with their distinctive rhythmic personalities, add layers of complexity to this interaction. The cadence, the intensity, the pauses — every drummer tells a different story, and that story interacts with the narratives of the dancers.

It's akin to a spontaneous jamming session. There’s no pre-decided script; the composition of the moment emerges from the confluence of multiple rhythmic personalities. It's not just about individual expression; it’s a harmonious coming together, a congregation of rhythmic souls, giving birth to a rich, collective sonic tapestry. This is more than music and dance. It’s a rhythmic community, living and breathing in the ebb and flow of shared and individual moments.

Francis Bebey Cameroonian flute:

https://www.youtube.com/watch?v=c6T6s uvnhco

Bobby Mcferring thinking about your Body:

https://www.youtube.com/watch?v=_4BhsYbXwf4

ECHOES OF SELF: POLYRHYTHMIC PERSONIFICATION IN AFRICANA AESTHETIC

Francis Bebey's exploration of the Cameroonian flyte, a seemingly simplistic instrument, serves as a testament to the layered richness of African artistry. Though the flute can produce just a single note, it resonates with a multitude of tonalities, all thanks to the musician's virtuosity. The performer creates a symphony by harmoniously dialoguing with the instrument, not just through it. This interplay, where the musician answers the flute with their own voice, encapsulates the essence of rhythmic personality.

Bobby McFerrin, a revered African American singer and composer, beautifully mirrors this technique. He crafts melodies by answering his own voice in real-time, turning his own body into an instrument by using his hand to make his chest a reverberating soundbox. Such an artistry is reminiscent of the African drum, capable of responding to its own rhythm, and akin to the Africana polycentric dancing body. This body, in its majestic splendor, replies to itself, indulging in what can be termed as “selfpolyfication” during polycentric dances. The dancer multiplies in rhythm and gesture, yet never loses essence — "multiplying yourself without ever canceling yourself out."

This dance form, at its core, showcases a profound dialogue with oneself. It represents the myriad internal conversations we have, those moments where we introspect, evaluate, and choose. It’s akin to speaking, where our internal monologues guide our expressions. As we talk, we simultaneously listen, evaluate our words, read our audience's reactions, self-correct, and indulge in internal commentaries. Polyrhythm and polycentric dance, in their infinite complexities, capture these layered internal dialogues, bringing them to the forefront. They don't just present a refined "product", but lay bare the myriad internal choices that shape it. Through rhythmic personalities and the fluidity of polycentric dance movements, the intricate process of decision-making — the 'call and response' of our internal voices — is displayed in all its glory.

This multifaceted form of expression highlights the ability to showcase "CHOICE", which is the foundational ethos of Africana Aesthetic. It reveals the profound journey that precedes every decision, every movement, and every beat, allowing the world to witness not just the conclusion but the beautiful complexity that led to it.

THE WEB OF CHOICE IN AFRICANA AESTHETICS

Within the realm of Africana aesthetics, the essence of 'CHOICE' isn't just a mere selection between alternatives; it is a testament to freedom, individuality, and creativity. It serves as the mosaic upon which infinite patterns of possibility are painted, revealing the depth and vastness of African artistry.

Consider the drummer, immersed in a polyrhythmic structure. They don't merely adhere to the existing rhythm but actively choose to 'cut the rhythmic code.' These drum solos, which might appear as an interjection to an untrained ear, are in reality a profound act of choosing, a statement of individual interpretation. They slice through the existing tapestry of sound, layering their unique choices upon the codified rhythmic structure. This action is not a disruption but a declaration. It showcases the drummer's autonomy, their ability to offer a fresh perspective within an established theme.

Similarly, a dancer, swaying to a polyrhythmic composition, becomes a visual embodiment of choice. They don't merely mirror the beats but interpret, challenge, and play with them. Each twirl, leap, and step represents decisions made in real-time — a unique 'rhythm of choice'. The dance becomes a conversation, a dialogue between the dancer's intent and the rhythmic offerings of the music. The choices they make, seen in every movement, form a dynamic narrative of expression.

The profundity of this is that Africana aesthetics is not just about the rhythm or the dance; it's about the choices made within and around them. Polyrhythmic structures and polycentric orientations are not just tools but canvases, designed to multiply the instances of choice and crystallize them simultaneously. The inherent intelligence and complexity of these practices elevate them from mere performances to philosophical expressions.

The audience, whether in a tap dance exchange, a ballroom catwalk, a House circle, or a bantaba, isn't just passive spectators. They too become participants in this dance of choices, their reactions forming an immediate feedback loop, echoing the principles of call and response. Every applause, cheer, or nod becomes a testament to the choices made by the performers.

Thus, in Africana aesthetics, choice is both the medium and the message. It's the soul of every performance, the heartbeat of every rhythm, and the essence of every dance. The choice is the core, and in its celebration lies the true spirit of Africana artistry.

GATHERING THE WEB: REVITALISING THE GHOST (Prestø): BREATHING VIBRANCY INTO RECORDED MUSIC THROUGH DANCE

Within the African Diaspora, dancers frequently face the challenge of dancing to pre-recorded tracks. This evolution to recorded music is inextricably linked to historical shifts in musical tastes and cultural dynamics. When music first began to be recorded for broad distribution, there was a deliberate emphasis on melody. This was largely driven by the intent to appeal to white audiences who traditionally favoured melodic structures. Such commercial endeavors often overshadowed the intricate rhythmic complexities that Africana practitioners deeply cherished.

Yet, even in these recordings, segments known as "breaks" provided a window to the past. These breaks often showcased drum-based rhythmic breakdowns, reminiscent of traditional African percussive patterns. These moments, though brief, encapsulated the essence of Africana rhythmic intricacies.

DJ pioneers recognized the potency of these breaks and, using innovative techniques termed "turntablism", began extending these rhythmic interludes. By elongating these breaks, DJs essentially created a rhythmic playground that allowed Africana dance practitioners to engage with the music as they traditionally would, dancing atop these complex rhythms. This process was not just a nod to tradition; it was a potent act of re-Africanisation and decolonisation of the pre-recorded format. It served as a form of aesthetic resistance, a reclaiming of the rhythmic heritage that had been muted in many recordings.

Central to this revitalization process is the technique of multimodal rhythmic modulation (Prestø). It entails a deliberate calibration of musical rhythms, aiming to craft a multisensory aesthetic experience. Through the deployment of visual (optic), auditory (sonic), and physical (tactile) rhythms, our perception of the music undergoes a shift, leading to a synesthetic intertwining of the sounds we hear with the movements we witness and execute.

For instance, during our performances, we might harness the optic rhythm to echo the visual elements present in the music. By adding fresh accents or layers to the performance and highlighting subtler nuances of the composition, we usher in a renewed dynamism. This approach not only enriches our experience as performers but also ensures the audience's engagement is amplified.

An intrinsic element in this revitalization process is our ethero rhythm. This rhythm captures our collective memory, aesthetic inclinations, historical imprints, and our intricate relationship with music and dance. By delving deep into this reservoir of embodied experiences, we forge a profound bond with the music, instilling each performance with added depth and resonance.

The primary objective of "Revitalising the Ghost" is to cultivate a shared rhythmic journey, converging participants in a communal rhythmic embrace, or a cypher. By resonating with the music and interspersing our distinct rhythmic interpretations, we craft an inclusive space—a space where connections are formed, both with each other and with the music, in innovative and profound dimensions. Such a mode of performance doesn't just entertain; it deeply moves, rejuvenating both performer and spectator alike. It promises to resurrect the lingering spirit of pre-recorded music, bestowing upon it a fresh lease of life.

PULLING THREADS: THE SONIC LANDSCAPE OF RHYTHM AND MOVEMENT: EXPLORING THE AFRICAN DRUM AND THE CORPORHYTHMOKINETIC (Prestø) BODY

African diaspora dance has long embraced the harmonious relationship between the rhythm of the drum and the vibrancy of the moving body. This interwoven tapestry of sound and movement is not merely an art form, but a complex and sophisticated dialogue that encapsulates the rich heritage and cultural lineage of African artistic traditions.

The Dance of Encoding and Decoding:

At the heart of this intricate dance lies the African drum, which stands as an emblematic encoding device. With each beat, it captures, interprets, and translates the myriad nuances and intricacies of the dancer's movements into an auditory experience. Each lift of a foot, each sway of the hips, and even the subtlest gestures are transformed into a rhythmic soundscape.

Conversely, the African corporhythmokinetic body, infused with ancestral knowledge and tradition, becomes an astute decoder. It listens, responds, and moves in tandem with the rhythms of the drum. This dance is not a mere reproduction of the drum’s rhythms, but rather a dialogue - an ever-evolving conversation where movements might propose, question, or even challenge the statements made by the drum.

Dimensional Rhythmic Resonance (Prestø):

One of the most profound aspects of this dance is its exploration of dimensional spatial rhythmic investments. Each movement, depending on its spatial orientation, carries a distinct sound signature. A forward stride resonates differently from a retreating step. Similarly, central movements evoke a different auditory response compared to those executed at the peripheries of the body. This fine-tuned attention to the spatial and dimensional qualities of movement ensures a richer, more layered sonic experience, bridging the auditory and kinesthetic realms.

The Enigma of Rhythmic Dialogue:

The interplay between the drum and the dancer can be likened to the intricate workings of the Enigma machines. Both elements operate in a state of constant deciphering, evolving, and understanding. Each beat and movement becomes a coded message, waiting to be interpreted, understood, and responded to. This dynamic system, reminiscent of a multi-computing mechanism, runs multiple operations simultaneously in real-time, producing a dance that is both intellectually and emotionally engaging.

The Ancestral Echo:

The African drum and corporhythmokinetic dance do more than just produce an aesthetic spectacle; they carry the whispers of ancestral voices. Each rhythm, each movement is imbued with stories, wisdom, and traditions that have been passed down through generations. The dance becomes a living testimony to the resilience, creativity, and depth of African diasporic communities.

Engaging the Onlooker:

To witness this dance is to be drawn into its rhythmic vortex. The audience is not merely an observer but becomes an active participant, feeling each beat resonate within and perhaps even finding their own body swaying, tapping, or moving in unconscious resonance with the dance.

PULLING THREADS: RHYTHMOKINETIC PROSODY

Rhythmokinetic Prosody is a term coined by Thomas Talawa Prestø to explain the link between movement qualities and sound qualities in Africana Dance (African and African Diaspora). Prosody is the study of the various qualities of rhythm and sound in speech, including pitch, stress, rhythm, tempo, volume, tone, inflection, and duration. In Africana drumming and rhythm, these qualities are closely linked to the prosody of speech. The way in which the drum is played and the rhythms that are created are based on the rhythms of speech and language, which in turn are based on these prosodic qualities.

As an extension of this, the movement qualities in Africana Dance are also closely linked to prosody. Movement qualities such as tone, pressure, and inflection are based on the same prosodic qualities found in speech and language. For this reason, instructors within African-rooted aesthetic forms and forms with African retentions, such as hip hop, krump, salsa, reggae, dancehall, rumba, and house, often prefer to sound out rhythm through prosodic use of the voice. This allows for a better communication of the movement and rhythmic qualities, and how they interact with one another, rather than relying solely on the counting of 8ths, which only partially captures the nuances of Africana Dance.

The qualities of prosody are crucial to the understanding and building of African and African Diaspora rhythms. The pitch, stress, rhythm, tempo, volume, tone, inflection, and duration of sound are all elements that inform the creation of rhythm. In Africana rhythms, the drum is seen as an extension of the voice and is used to mimic and communicate the prosodic qualities found in speech. The use of prosody in Africana drumming and rhythm is not simply a matter of aesthetics but is deeply rooted in the cultural and historical context of these practices.

Rhythmokinetic Prosody is a portmanteau word based on the words Rhythm, Movement, and Kinetic. It is a term also coined by Thomas Talawa Prestø to point to the kinetics (physics) of rhythmic corporeal movement. The use of Rhythmokinetic Prosody in pedagogy involves a deep understanding of the cultural and historical context of Africana Dance, as well as an appreciation of the embodied nature of rhythm and movement. By using prosodic qualities to communicate rhythm and movement, instructors are able to more fully capture the nuances and complexities of these practices, and help students to develop a deeper understanding and connection to the music and culture.

The qualities of prosody are:

1. Pitch – the perceived highness or lowness of a sound
2. Stress – the emphasis placed on a syllable or word in speech
3. Rhythm – the arrangement of sounds and silences in time
4. Tempo – the speed or pace of a musical or spoken passage
5. Volume – the loudness or softness of a sound
6. Tone – the quality of a sound that distinguishes it from others of the same pitch and volume
7. Inflection – the variation of pitch or tone in speech
8. Duration – the length of time a sound or silence lasts.

RHYTHMOKINETIC PROSODIC SOUNDINg (Prestø)

Then it comes to polyrhythmic structures and a polycentric approach to movement, counting eights can be limiting and flatten the multidimensionality of the movement material. This is especially true in forms based on Africana retentions, where Western teaching pedagogy may not always be the best fit. It’s important to acknowledge the intelligence and sophistication of the African practices that are at the root of these genres, and to respect the nuances and complexities that come with them.

In light of this, it’s essential to reach for pedagogical practices that are more attuned to the specificities of these genres, such as Rhythmokinetic Prosodic Sounding. This approach recognizes that movement qualities and sound qualities are deeply interconnected and cannot be fully conveyed through the mere counting of beats. Instead, it emphasizes the ability to convey complex information about movement quality, direction, pressure, tempo, size, volume, inflection, stress, and sharpness of movement through the prosodic use of the voice.

Through this approach, students are better able to grasp the nuances of the movement material and embody it in a more authentic and meaningful way. It also allows for a deeper appreciation of the cultural context and history of these genres, as well as a greater respect for the intelligence and sophistication of Africana practices.

Some of the ways in which movement qualities and sound qualities relate to each other in Rhythmokinetic Prosodic Sounding include

RHYTHMOKINETIC INSCRIPTION: A DEFINITION

Rhythmokinetic Inscription (prestø) refers to the concept that rhythm is a form of communication and that the body can be used to interpret and express rhythm through movement. This term encompasses the idea of the body "inscribing" rhythm, or creating a lasting expression of it through movement.

The Importance of Understanding Rhythm

The ability to understand and engage with rhythm is crucial to the process of rhythmokinetic inscription. Just as with any language, it is important to have a deep understanding and connection to rhythm in order to fully engage with it and to evolve and innovate within it. When a person only performs the form of a dance style without understanding its rhythm and language, they are limited in their ability to engage with it and to evolve and innovate within it.

The Analogy of an Opera Singer

This concept is similar to the example of an opera singer who sings in a language they do not know. They may perform the song expertly, but they will not have the same internal connection to the song as someone who understands the language. In the same way, a person who does not understand the rhythm and language of a dance style may be able to perform the form, but they will not have the same depth of connection and understanding as someone who does understand it.

The Implications of Rhythmokinetic Inscription

It is important to note that the concept of rhythmokinetic inscription has implications for cultural appropriation. It argues that a person cannot claim to own, innovate, or evolve a rhythm or dance style that they do not understand or speak. To truly engage with and evolve a rhythm or dance style, it is necessary to have a deep understanding and connection to its language and history.

The distinction between traditional African dances and those performed by ballet and professional or semi-professional troupes is noteworthy. Traditional African dances are often passed down orally through generations and are adapted to suit local traditions, beliefs, and social circumstances. They hold significant cultural and spiritual value for the communities that practice them and are often associated with specific rituals and events.

On the other hand, ballet and professional or semi-professional troupes aim to reproduce traditional dances with technical and artistic precision, emphasizing form and aesthetic rather than cultural or spiritual significance. Choreographies may also be altered or simplified to accommodate the expectations of the audience or to facilitate learning for dancers.

Furthermore, professional or semi-professional ballet and troupes may integrate contemporary dance elements or blend different dance styles, producing hybrid works that may differ significantly from traditional African dances.

Despite these differences, ballet and professional or semi-professional troupes play an important role in preserving and promoting African traditional dances by presenting them to a wider audience and incorporating them into contemporary works of art.

It is important to acknowledge and respect the cultural and spiritual value of African traditional dances to the communities that practice them, even as they are being introduced to a larger audience through the art of ballet and professional or semi-professional troupes.

WEAVING THE WEB: RHYTHMIC OVAHSTANDING (Prestø)

RHYTHMODYNAMIC RELATIONAL ABILITY:

The ability to relate rhythms and meters to eachother by organizing them mentally or by adding or substracting. This is both a listening skill, a creation skill and a tracing skill. It can be trained, as well as some are born with additional or uncommon aptitude.

Africana approach to polyrhythm values subjective metronome and rhythm. We have to relate and bridge the various rhythms to each other. Syncopated and off-beat rhythms threaten but never destroy the listeners rhythmodynamic relational ability. 

Your Rythmodynamic Relational Ability can be broken down into several parts. I have mapped some of them and their differences and thus allowing for discussion and even training of  the various modes. Some of these are Portent Rhtyhmic Ability, Rhythmic Ken and Rhythmic Acumen

PORTENT RHYTHMIC ABILITY (prestø)

Is your ability to foreshadow or predict a rhythmic event or alteration. One could be tempted to call it rhythmic intuition, except, it is science, understanding, intelligence, skill, observation and calculation. This ability can both be trained and falls into the realm of aptitude or talent. Some do have a higher natural ability to do this than others. However, like most skillsets it is trainable. It is also one of those skills, like so many in the Africana world, that the more proficient you are at it, the more inborn and natural it seems. This leads to the often mistaken and racist claim, that Africans are born with this skill, although I do believe one could argue that there, in addition to a being born into cultures that train these skills from young, there might be a case for aptitude. 

However, from the Africana perspective there is one way to substantiate the claim that we are born with it, although this would not be based on the same colonial and inherently racist assumptions of the euro-western lens, but rather that of a deepcultural perspective. Because I am born with my ancestors being present and active in my life, and their technology and knowledge is laregely based on rhythm, and I believe that they impart and share their knowledge with me, one could say I was born with rhythm as I was born with them. Through this perspective rhythm, as a cultural and metaphysical entity would not be as accessible to someone who does not have rhythm ancestry. 

RHYTHMIC KEN (prestø)

Ken refers to the range of vision at sea, or in relation to knowledge. It is linked to depth and perception. Translated to rhythmi you could say that in a sea of rhythm, Rhythmic Ken is your ability to see the rhythmic terrain and the forces that might affect it. In a polyrhythmic structure Rhythmic Ken would be how much of the rhythm, rhythmic paths and possibilities you are able to perceive. A high degree of Rhythmic Ken(knowledge and perception) increases your RhythmoDynamic Relational Ability, hightens you Portent Rhythmic Ability and sharpens your Rhythmic Acumen. 

RHYTHMIC ACUMEN*(Prestø)

Refers to the ability to make good judgement and take quick decisions. It is not only the speed of your choices but also the quality and confidence of them. When entering the drum circle and dancing to live music or even in the house or hip hop cypher it is often this very ability that the audience is judging through their call and response and instant feedback. You could say that your rhythmic acumen is one of the dominant markers of virtuosity in Africana aesthetics.

Portent Rhythmic Ability can allow you to foreshadow a rhythmic event, however, it is your Rhtyhmic Acumen that determines your ability to act and make decisions accordingly.

To explain the distinctions: Rhythmic Ken determines the scope and with of your rhythmic recognition and knowledge, your Portent Rhythmic Ability determines how you can use this knowledge to predict and anticipate where the rhythm is going or to help guide it to a desired place, and your Rhyhmic Acumen is your ability to make quick and good choices based on your rhythmic ken and portent abilities.  Rhythmic Acumen is the very basis of how virtuosity is often perceived with African and African Diaspora dance genres. In a hip hop battle it is not uncommon for everyone to know the song. Hence, simply marking what the for example Busta Rhymes is saying would not be enough to get the crows exited. It is the restructuring of how we hear the music, allowing us to see your rhythmic ken by accenting various sounds with movement, your ability to stay with the changes of the music and predict sudden shifts (portent ability) and ultimately your ability to wow and surprise us with your daring, surprising or excellent choices (acumen) that is being judged. An excellent dancer shows exceptional acumen in their choices, reading the music, the crowd, their opponent and their own body, allowing for excellent rhythm physics where the movement get propulsive power from the rhythm, the restructure of optic, sonic, tactile and ethero rhythm, or the communication of such are the tools of the erudite rhythmic dancer. 

GATHERING THE WEB: CORPORHYTHMOKINETIC SONIC TRANSCRIPTION: BRIDGING RHYTHM AND MOVEMENT

Rhythm and motion are inherently interlinked, with each having the capacity to inspire and manifest within the other. When we talk about the interplay between the two, especially within the realm of performance and art, it opens up a profound dialogue that taps into our primal instincts and the basic human penchant for pattern recognition.

 Corporhythmokinetic Sonic Transcription (Prestø): From Rhythm to Motion Representation

At the heart of this concept is the act of converting auditory experiences into kinetic expressions. This is not a mere mechanical translation but a deeply intuitive one:

• Auditory Absorption: This begins with a keen sense of listening, capturing the nuances, the beats, the silences, and the crescendos of the auditory input.
• Kinetic Synthesis: Once the auditory patterns are internalized, they serve as a blueprint. The body, as an instrument, then crafts a corresponding dance, gesture, or movement.
• Emotional Resonance: Beyond the technical translation, there's an emotional component. The rhythm might evoke certain feelings or memories, which then get manifested in the expressiveness of the movement.

Sonic Corporhythmokinetic Transcription: From Motion to Rhythm Representation

This is the inverse process, yet it’s equally intricate and captivating:

• Movement Initiation: Everything starts with a gesture, a motion, or a dance. The inherent rhythm in these movements becomes the core focus.
• Auditory Translation: The rhythms embedded within these movements are then captured and transformed into corresponding sounds. This could be through instruments, technological devices, or even vocalizations.
• Kinetic Feedback Loop: As sounds emerge from movements, they might, in turn, influence further movements, creating a dynamic feedback loop. This results in a fascinating interplay, an ever-evolving dance between sound and motion.

Applications and Implications

Such processes of transcription find relevance in various domains:

• Performance Arts: Dancers might use Corporhythmokinetic Sonic Transcription to interpret music, while percussionists might employ Sonic Corporhythmokinetic Transcription to create rhythms from dance.
• Therapeutic Practices: Music and movement therapies might tap into these transcription methods to aid expression, healing, and emotional release.
• Technological Innovations: In the age of digital interactivity, such transcriptions could find applications in virtual reality, gaming, and interactive installations where motion sensors translate body movements into sounds and vice versa.

In conclusion, the dialogues between rhythm and motion, as encapsulated in these transcription processes, represent a synthesis of the sensory and the expressive, highlighting the intricate ways in which we perceive, internalize, and express our experiences of the world around us.

HANGING THE WEB: ARRIVING ON ACTION (Prestø) 

The concept of "Arriving on Action," coined by Thomas Talawa Prestø, introduces a unique framework for understanding the intricate relationship between movement and sound in Africana dance, specifically between the dancer and the drummer. This concept transcends traditional interpretations of dance and music synchronization, proposing a more fluid and anticipatory dynamic that embodies a futuristic artistic practice.

Understanding "Arriving on Action"

"Arriving on Action" describes a state where the dancer and the drummer are not merely responding to each other in real-time but are instead deeply attuned to the anticipated actions and intentions of one another. In this dynamic interplay, the dancer is not simply moving to the rhythms played by the drummer, nor is the drummer merely providing a beat for the dancer's movements. Rather, each is engaging in a predictive and intuitive exchange:

• The Dancer's Role: The dancer interprets and moves in alignment with the anticipated future rhythms and patterns that the drummer will play. This requires the dancer to possess a heightened sense of awareness and an intuitive grasp of the drummer's intent.
• The Drummer's Role: The drummer, in turn, plays with an understanding of the dancer's forthcoming movements. This involves a similar level of anticipation and intuitive connection, enabling the drummer to produce rhythms that resonate with the dancer's imminent actions.

Creating the Moment of Convergence

The essence of "Arriving on Action" is the simultaneous convergence of movement and sound, where both the dancer and the drummer meet at a precise point of action. This convergence creates the illusion that the movement and the music are unfolding as one, erasing the perceived boundaries between the two. The result is an experience where the sound and the movement are so seamlessly integrated that they appear as a singular expression of artistic virtuosity.

Aesthetic Virtuosity and Ubuntu

Achieving this level of synchronization, where movement and music are indistinguishable, is described as reaching aesthetic virtuosity. This state is not just a technical achievement but a profound expression of artistic unity and synergy. It reflects a deep philosophical underpinning rooted in the concept of Ubuntu, which emphasizes interconnectedness, community, and shared humanity.

In the context of "Arriving on Action," Ubuntu manifests as the mutual understanding and cooperation between the dancer and the drummer. The practice requires each participant to be acutely aware of and responsive to the other's intentions, fostering a sense of unity and collective creation. This interconnectedness is not only a reflection of traditional Africana values but also a forward-looking approach to artistic collaboration.

The Futuristic and Poetic Dimensions

"Arriving on Action" represents a futuristic practice in the realm of Africana dance and music. It challenges conventional boundaries and invites participants to engage in a risky yet profoundly rewarding process. The potential for failure is ever-present, as the success of this practice depends on the perfect alignment of intention and action. However, when successful, it offers a poetic and powerful manifestation of artistic excellence.

The risk inherent in this practice underscores the innovative and avant-garde nature of "Arriving on Action." It requires both the dancer and the drummer to step beyond traditional roles and engage in a form of creative symbiosis that pushes the boundaries of their respective disciplines. This daring approach is what makes "Arriving on Action" a groundbreaking concept, poised at the intersection of tradition and futurism.

"Arriving on Action" is a concept that affirms the relationship between dancer and drummer in Africana dance. By emphasizing anticipatory synchronization and the seamless convergence of movement and sound, it offers a new paradigm for artistic collaboration. This concept not only highlights the technical and aesthetic potentials of dance and music but also embodies deeper philosophical principles of interconnectedness and community, making it a significant contribution to both the practice and theory of Africana performance arts.

Polycentric movement, Polyquality and Polyrhythm is the multiplication of choice. The core of Black aesthetic is the navigation of choice and your ability to communicate choice with intention, so that audience, (call and response), drummers and other practitioners can arrive on action with you.- Thomas Talawa Prestø 2019.

For nearly three decades, my dance journey has borne witness to the intricate relationship of steps, beats, and the silent, energetic dialogues that form between dancers and drummers. This sacred symbiosis between rhythm and movement was brought into sharper focus during my interactions with Caribbean dance luminary, Dr. Yanique Hume and Makeda Thomas during a dance residencey curated by Makeda Thomas in Trinidad summer of 2023. The need for a terminology around this concept was already evident from my own reading, a lifetime of rhythmic dancing as well as it was further accentuated after working with and discoursing with the virtuosity of Master Drummer Sidiki Camara from Mali. The interactions during the residency and the deep knowledge of Sidiki who specializes in playing for the dance as I specialize in dancing with the drum further crystalized my understanding of what I call Arriving on Action- "Actionable Rhythmic Intentionality." Traditional African drum and dance serve as a looking glass, providing glimpses into both its historical significance and its contemporary interpretations. Through Arriving on Action this interplay is vividly brought to life, grounding it firmly within the rich traditions of African and Caribbean cultures while enabling it to transcend the boundaries of mere performance.

Defining the Essence:

Arriving on Action- Actionable Rhythmic Intentionality" (ARI) is the concept of dancers and drummers/musicians weaving and communicating intent in such a way as to arrive upon action together. Both parties actively manifest each other's intentions, guiding each other from their etheric realms, shaping future actions.

At its core, Arriving on Action which encompasses "Actionable Rhythmic Intentionality" (ARI) delves into the dancers' and drummers' unique ability to interweave and communicate intent. This process allows them to collaboratively find common ground and act in unison. It's not just about performing but about manifesting the unspoken desires of the other, ushering actions from their etheric realms, and subsequently shaping the course of the performance.

"Actionable Rhythmic Intentionality" (ARI) goes beyond the surface-level understanding of music and dance. It captures the essence of dancers and drummers/musicians weaving a fabric of communication, allowing both entities to move in tandem and act as one. By navigating each other's intentions, both participants fluidly move within and shape their etheric realms, foreseeing and dictating future rhythmic conversations.

Within the tapestry of traditional African drum and dance, ARI stands out as a beacon connecting ancestral roots to contemporary interpretations. More than just a performance technique, ARI represents an ongoing rhythmic dialogue, an intimate conversation between drummer and dancer, where intentions are felt, shared, and reciprocated.

Echolocative Dynamics and the Vision of Unity

The phenomenon of echolocation showcases how nature communicates through frequencies. Bats send out signals into their surroundings, and the echo helps them interpret and navigate their environment. Similarly, ARI mimics this strategy but in a more nuanced manner. ARI emulates a system of sending and receiving signals. The drummer and dancer release their intentional 'signals' into the ether, decoding and assimilating them, and then arriving together in shared rhythmic spaces. This is not merely a dance or a set rhythm; it's an entire ecosystem of trust, respect, and mutual action. Beyond the physical movements and the audible beats, ARI paints a picture of aligned intentions. The objective is not just to respond to a rhythm but to weave together a shared tapestry of intentions, guiding each other towards a synchronized course.

Using the concept of  "Kassé" or rhythmical “breaks” or breakdown as an example. "Kassé" (often also spelled as "cassé") refers to a break or a rhythmic cue. These breaks often signal transitions, changes, or punctuated moments in both the drumming and accompanying dance. In essence, they serve as directive cues.

In the vast rhythmic landscape of African and African Diaspora drumming, Kassé acts as a bridge or a connector. It can initiate or conclude a musical or dance section, thereby giving the performers a shared point of reference amidst intricate layered rhythms. The drummers utilize this shared rhythmic cue to synchronize, signaling changes or affirming the continuity of the current rhythm.

Dancers, well-versed in these rhythms, anticipate the Kassé. Their movements might intensify, pause, or shift entirely upon hearing this cue. It's a moment of heightened interaction, where drummers and dancers converge in intent and action, illustrating the concept of "Actionable Rhythmic Intentionality" — they arrive together, shaping future action from each other's etheric realm.

Break Dancing has its name from the practice of expanding these polyrhythmic breakdowns in Funk music and dancing on them. This practice was not new, but entered the real of pre-recorded music and as such became accessible to communities that were not previously versed in drum-based dance practice.

Looking at the rhythms of West Africa as a lens, its 'breaks' symbolize pauses that invite both dancer and drummer to traverse the boundaries of the main rhythm. This journey becomes a mutual exploration of interpretation, eventually arriving together in a crescendo of understanding. This is not a mere execution of choreographed steps; it’s a sophisticated dialogue where every beat and move is an active response to the other.

ARI suggests that the true essence of a performance is neither in the steps nor the beats, but in the aligned intentions that guide them. It's more than reacting to a rhythm; it's about aligning intentions to converge on an action of arriving together.

In this video example the dancer is the main protagonist and the drummer is focusing on manifesting the dancers intentions:

https://vimeo.com/862197192/05d781336d?share=copy

Embodying Future Intentions: Afrifuturism in Motion

Time becomes a third partner in this dance. ARI embodies the future, urging both participants to always anticipate, be a step or beat ahead, magnetizing each other towards a seamless junction of rhythm and movement.

To term ARI as "futuristic" is to recognize its essence of proactive foresight. Within this framework, drummers and dancers aren't merely present; they are predictive, foreseeing and shaping each other's next moves. This resonates with the ethos of Afrifuturism: a melding of African history with future vision. In this sphere, the participants don’t merely react; they inhabit and influence each other's imaginative realms.

Living Fantasies and Collective Embodiment

Central to ARI is the manifestation of shared imagination. The dancer and drummer both live in each other’s intent to move or to play. As such they shape each other inner and outer reality. The dancer is not dancing to what the drummer is playing in the moment but rather already moving towards what the drummer intends to play. Similarly, the drummer is not playing what the dancer is doing in the moment, but rather what the dancer intends to do in the next. As such they manifest each other’s dreams and desires before they have been uttered, and through this course of co-action, are manifesting the future, together. This dance is a bridge between reality and imagination, grounded in ancestral legacies and elevated by contemporary dreams. The body in this performative act is an archive, a living repository of collective memory and shared cultural narratives. It is a canvas that has been continually written upon by the ink of communal experience and ancestral wisdom. This polyphonic memory is activated and made tangible through the act of performance, offering an intimate interaction with the archive not as something static, but as a living, breathing entity.

Aesthetic Reverberations: The aesthetics shaped by Action Rhythmic Intentionality aren't just about pleasing visuals or harmonious sounds; they are deeply rooted in clarity and purpose. In a dance or musical realm where improvisation is celebrated, there exists an undercurrent of intentionality that provides an anchor. It's this intentional underpinning that ensures that even the most spontaneous expressions lack neither direction nor meaning.

This practice, as a central aspect of African and African diaspora practices, also has an impact on aesthetics. This practice is a fundamental component of both African and African diaspora traditions. Its influence extends to aesthetics as well. The emphasis on intention ensures that even though improvisation and exploration are dynamic processes, they never come across as aimless or lacking direction. Each movement is purposeful, a tangible expression of the performer's inner state and feelings.

This quality makes it possible to weave dance from the "now of now" and seem like one has rehearsed it for years, even if the conditions of the moment are so unique that the dance that unfolds could only belong to that particular moment. As mentioned before, a dance that could only be made in this moment, weaving its existence out of the specifics of now, is considered the height of virtuosity. This is also because that would only be possible if one can predict the convergence of that moment before it has happened. In other words, it is the intentional manifestation of futurity.

The Role of Improvisation and Investigation: At first glance, improvisation might seem like a free-form, unstructured exploration. But in the context of African and African diaspora practices, improvisation is a dynamic journey led by intention. Every footfall, every beat, every movement, and pause is a deliberate embodiment of an inner narrative, a story that seeks to manifest outwardly. There's no room for confusion, only purposeful exploration.

Dance: The Confluence of Past, Present, and Future: There's a magical quality to watching a dancer who, anchored in the "now of now," seems to be drawing from a well of timeless wisdom. Such performances resonate with a rehearsed precision, yet they are birthed spontaneously, forged in the unique crucible of the present moment. This dance, born of now, can never be replicated, for its essence is interwoven with the specificities of its time of creation.

https://vimeo.com/862205163/149cc13792?share=copy

Virtuosity in the Moment: In many cultures, virtuosity might be associated with technical mastery or the perfect replication of established forms. However, in the realm influenced by Action Rhythmic Intentionality, the pinnacle of virtuosity is the ability to create in the present, drawing from a reservoir of intention and anticipation. The dancer or musician isn't just reacting to the moment but also anticipating its unfolding, allowing them to dance or play at the convergence of past experience, present intention, and future manifestation.

The Dance of Futurity: At the heart of this practice lies a profound understanding of time – not as a linear progression but as a malleable entity where past, present, and future dance in harmony. To be able to predict the convergence of a moment, to stand at the intersection of intention and manifestation, is to engage with futurity intentionally. It's not just about foreseeing the future but also about molding it with purpose, one beat, one step, one intention at a time.

In essence, Action Rhythmic Intentionality provides a lens through which one can understand the rich tapestry of African and African diaspora aesthetics – a world where intention drives action, where the present is a playground for the past and the future, and where every movement is a deliberate dance of existence.

Yesterday must arrive today to bring tomorrow- Dr Harold Charles-Harris

https://vimeo.com/861036582/6535969c87?share=copy (luciano dancing Long way to go for Sidiki to record)

SENSING THE WEB: CORPOMAGNETIC KINETIC SENSING (Prestø)/ BODYSENSING (Entrainment):

Entrainment:

Entrainment is the process by which two interacting systems come to synchronize with each other, often adapting to a shared frequency. In a broader context, it can refer to the synchronization of organisms to an external rhythm, like humans adapting their circadian rhythms to the light-dark cycle of a day.

CorpoMagnetic Kinetic Sensing the dynamic interplay where dancers in close proximity inherently adjust and recalibrate their movements, fostering a call and response, action and reaction, a push and pull. concept, where the proximity and synchronicity of dancing bodies goes a step further into a rich tapestry of intertwined movements and emotions. This goes beyond mere synchronization to a realm where dancers' energies, movements, and intentions not just align but also weave together, sometimes seamlessly and at other times with beautiful discord. Their dance is informed by a heightened sense of tactile rhythm, auditory feedback, atmospheric transitions, spatial insights, energy shifts, purposeful gestures, intent-driven moves and visual prompts.

Extended Explanation: 

African diaspora dances, rooted in a deep sense of community and interconnectedness, bring forth an intricate web of rhythmic relationships between dancers. These dances often unfold as live, evolving narratives where every beat, step, and turn is a conversation.

Imagine a dance floor resonating with the beats of a traditional drum, each thud transmitting a tactile rhythm that the dancers can feel under their feet. The very air around them shifts with their movements, carrying with it the whispers of their shared energy. This environment becomes rich with stimuli - visual cues from fellow dancers, sonic rhythms from the music, and the tangible rhythm in the floor.

As one dancer decides, in the heat of the moment, to accentuate a turn or prolong a stance, others intuitively pick up on this deviation. There's no verbal communication, but a deep-seated 'call and response' mechanism, rooted in their shared Africognosomatic practices, triggers an instantaneous reaction. It's as if the dancers are magnetically linked, each one sensing shifts in the 'magnetic' field of the other. The result is a captivating swing quality, a rhythmic dance negotiation where the push and pull, or the call and response, creates a dance form that's alive, reactive, and continuously evolving.

In the intricate dance phenomenon known as CorpoMagnetic Entrainment, a discernible structure emerges, often characterized by the guiding presence of a lead dancer. This central figure does more than simply set the pace or initiate moves; through a potent mix of intent and innate capability, they become the primary force that "shapes" the dynamics, intricacies, and energy flow of the entire dance ensemble.

Much like a magnetic field that aligns particles in its vicinity, the lead dancer has a gravitational pull, affecting the orientation, movement, and reactions of fellow dancers. The power of this central dancer is not solely based on their physical movements, but also in the intentions and emotions they project. The rest of the ensemble remains deeply attuned, navigating not only the audible cues from the accompanying musicians but also the more subtle, nuanced intentions and projected trajectories of the lead.

In this complex interplay, traditional constraints like beat counts become secondary. Instead, what unfolds is a living tableau of dance, where movements breathe, pulse, and flow organically. The whole ensemble, in its responsive dance, becomes a singular dynamic and pulsating entity.

Drawing a parallel from the music world, this phenomenon can be likened to an impromptu jam session. In such sessions, musicians do not strictly adhere to a predetermined structure or rhythm. They vibe, adapt, and create in real-time, feeding off each other's energy and cues. Similarly, CorpoMagnetic Entrainment exudes a 'swing' quality, an unscripted rhythmic flow that emerges from the myriad interactions, energies, and influences at play. This creates a vibrant and ever-evolving dance landscape, where the sum is truly greater than its parts.

FASTENING THE WEB: THE KINETIC ENTRAINER (Prestø)

In dance, the Kinetic Entrainer is the lead dancer who becomes the primary synchronization point between the rhythm of the drums and the dance ensemble.

In the intricate dance between music and movement, the concept of "entrainment," derived from physics, takes on a unique, pivotal role. Entrainment, in its original context, refers to the synchronization of two interacting oscillating systems. Applied to the world of dance, the 'Kinetic Entrainer' emerges as a central figure, acting as the primary conduit between the rhythm of the drums and the ebb and flow of the dance ensemble.

The title 'Kinetic Entrainer' is reserved for the lead dancer. This isn’t merely a designation of seniority or skill but signifies a greater responsibility. This dancer isn't just performing; they are the primary point of synchronization – the dancer to whom the drummers predominantly align their rhythms, the one from whom the ensemble members draw their cues. Given the inherent impossibility for drummers to synchronize with multiple dancers simultaneously, the Kinetic Entrainer becomes the linchpin, connecting the rhythmic pulsations of the music with the fluid movements of the ensemble.

Yet the role of the Kinetic Entrainer extends beyond mere synchronization. This dancer shoulders the onus of expanding their energetic influence, forging a magnetic connection with their co-dancers. By broadening their sphere of influence, they facilitate a more extensive field of manifestation, allowing other dancers to 'Arrive on Action', that is, to align their movements with the drum's beats seamlessly. It's a profound state, a dance not just of the body, but of intention, energy, and deep listening. It's about harmonizing action with anticipation, ensuring every motion is a mirrored echo of the preceding beat.

This paradigm brings to the fore a deeper understanding of the dance ensemble's dynamics. It's not just about individual performance but a collective resonance. The Kinetic Entrainer, through their heightened state of awareness and expanded field of influence, orchestrates this resonance, ensuring that every dancer, though dancing to their rhythm, moves in unison, bound by the invisible threads of entrainment.

GATHERING THE WEB: FULL CORPOSENSORIC RHYTHMIC COMPUTATION WITHIN AFRICOGNOSOMATIC PRAXIS: EMBODYING THE CYPHER AND AFRICAN DANCE CIRCLES

AfriCognoSomatic Praxis, deeply anchored in the traditions and contemporary expressions of African dance, illuminates the intricate intelligence of the Africana dancing body through the concept of Full Corposensoric Rhythmic Computation (FCRC). This phenomenon, at the intersection of cognition, sensory engagement, and rhythmic response, represents an advanced state of embodied understanding and communication. Through this lens, the fluid dynamics of the danced cypher and African dance circles can be more deeply comprehended.

Defining Full Corposensoric Rhythmic Computation (Prestø) (FCRC):

FCRC describes a heightened state wherein the entire body becomes an advanced processor of rhythmic stimuli. During this state, the body does not merely respond to sensory input sequentially; it anticipates, integrates, and expresses in a real-time dance dialogue. Beyond the immediate sensory interplay, FCRC embodies a form of pre-emptive cognition, where dancers predict and align their movements with upcoming rhythmic patterns, even before their tangible onset.

The Octopus Paradigm in Talawa Technique™ (Prestø):

By likening the Africana body to the octopus in the Talawa Technique™ , there's an emphasis on multi-faceted awareness and adaptability. The FCRC state mirrors the octopus’s capabilities, especially in the context of the danced cypher, where the dancer, surrounded 360 degrees by participants, must rapidly interpret and adapt to a myriad of stimuli.

Engaging FCRC in the Danced Cypher:

Within the danced cypher, FCRC takes center stage. Here, the dancer isn't just moving to music; they’re navigating complex terrains of interpersonal dynamics, audience energy, spatial considerations, and evolving rhythmic patterns. This milieu demands more than just reaction; it requires rhythmic anticipation, spatial awareness, and a deep-rooted connection to the collective energy of the circle. The dancer, in the throes of FCRC, can instantaneously analyze, predict, and embody the rhythm, engaging holistically with both the tangible and intangible elements of the cypher.

Arriving on Action Praxis in African Dance Circles:

Within African dance circles, the "Arriving on Action Praxis" becomes particularly salient. FCRC underpins the mutual rhythmic dialogue, where the intention isn’t merely communicated but is felt and anticipated. The dancer, in tandem with the drummer, crafts a shared rhythmic narrative, actively manifesting shared etheric intentions in real-time.

Rhythmomodular Synaesthesia’s Confluence with FCRC:

As various rhythmic stimuli converge in the dance experience, Rhythmomodular Synaesthesia emerges, enriching the FCRC's domain. This inter-sensory fusion not only exemplifies the body's capability to perceive rhythm through varied modalities but underscores the interconnectedness and holistic nature of the African dance experience.

Full Corposensoric Rhythmic Computation acts as a dynamic compass, guiding and explicating the rhythmic intelligence intrinsic to the Africana dancing body. It serves as both a cognitive tool and an embodied experience, connecting the individual to the collective, the present to the past and future, and the tangible to the intangible within the vibrant arena of AfriCognoSomatic dance praxis.

2 individuals in the realms of dance and music. It symbolizes an embodied rhythm, akin to a metaphysical drum within, enabling the generation and intricate control of complex rhythms and the proficient execution of swing time. This rhythmic intuition allows for the skillful maneuvering through spaces charged with diverse and simultaneous stimuli and is honed through cultural and environmental immersion, embodying a legacy of multigenerational expertise and the very essence of "cool."

Components:

• Afri-: Indicative of the African continent and its diaspora, this component underlines the unique cultural narratives and historical experiences that inform their rhythmic and kinetic expressions.
• Chrono-: Derived from the Greek word for time, it stresses the element of timing and rhythmic acuity, echoing the capacity to synchronize with the dynamic progression of time within music and dance.
• Somatic: This portion of the term emphasizes the physical aspect, the comprehensive experience of rhythm felt and expressed through the body.

Extended Explanation: AfriChronoSomatic Navigation captures the extraordinary ability of the Africana individual to function as a living rhythm processor, adept at crafting and interpreting complex rhythmic patterns. This proficiency is not merely instinctual but is refined by generations of cultural practice and environmental interaction.

In the vibrant context of dance, AfriChronoSomatic Navigation entails a proactive and fluid engagement with multiple aspects: navigating through intricate polyrhythms, executing polycentric movements, interacting with the audience's audiovisual input, and adapting to spatial and energetic variations in the environment. This is all achieved with a demeanor that embodies "cool," a calm and self-assured attitude that is the pinnacle of their rhythmic prowess.

PULLING THREADS: RHYTHMOENVIRONMENTAL ACCLIMATION (Prestø)

RhythmoEnvironmental Acclimation is the cultural and personal practice of adapting to one's surroundings and environment by attuning to the rhythm and vibration of a place. It involves drawing from one's corporeal experience and embodied knowledge to navigate unfamiliar situations with the ease and familiarity of a daily ritual. This concept emphasizes not only survival but also the ability to transform challenges into expressions of resilience and artistry, often accompanied by a sense of "coolness" and charisma. RhythmoEnvironmental Acclimation can be especially prominent in the experiences of individuals from the African diaspora, where it encompasses physicality, social intelligence, and artistic expression.

Transforming Spaces: RhythmoEnvironmental Acclimation is not just about adapting to spaces; it's also about making those spaces adapt to us. By embodying and projecting our adaptability, we effectively reshape and redefine the environments we inhabit. This transformation is driven by the charisma and "cool" factor that comes from gracefully navigating adversity. It's a dynamic process of asserting presence and agency within spaces that might otherwise be unwelcoming.

Desirability and Envy: The ability to turn adversity into something desirable is a testament to the power of RhythmoEnvironmental Acclimation. When others witness this charisma and adaptability, it often evokes envy and desire. The allure of what is perceived as effortless coolness and resilience can be captivating to those who seek to understand and emulate it.

Grudging Respect: Beyond envy, there is often a sense of grudging respect that accompanies RhythmoEnvironmental Acclimation. People are fascinated by the ability to transform what's considered undesirable into something sought after. This respect arises from recognizing the skill and artistry involved in this transformation, as well as the tenacity of those who embody it. For this reason, what is considered «Black» and which often comes from the disenfranchised and oppressed is often coveted, because of the wonderment around why and how someone who is deemed to have so litle, is still capable of enjoying, having joy, being cool, and beying desirable. There is a feeling or a sense of «what they have must be better if it can still foster that sense in them». Therefore, trends are often created by the oppressed and the supposedly undesirec «Black class». 

Imitation and Commodification: The impact of RhythmoEnvironmental Acclimation is such that it leads to imitation and, at times, commodification. When others recognize the demand for this charisma and adaptability, they may attempt to replicate it or even package it for mass consumption. This can be seen in various forms, such as cultural appropriation or the commercialization of cultural elements.

RhythmoEnvironmental Acclimation not only empowers individuals and communities to navigate challenging spaces but also positions them as influential shapers of culture. The ability to turn adversity into desirability and redefine spaces is a testament to the enduring strength and creativity of those who practice it, and it highlights the need for genuine appreciation and respect for the contributions of these communities.

PULLING THREADS: RHYTHMOENVIRONMENTAL ACCLIMATION: NAVIGATING THE PULSE OF PLACE

RhythmoEnvironmental Acclimation (Prestø) is a rich and multifaceted concept that encompasses the art of adapting to one's surroundings and environment by attuning to the rhythm and vibration of a place. It goes beyond mere survival; it is a profound cultural and personal practice that draws from the entirety of corporeal experience and embodied knowledge to navigate unfamiliar situations with the familiarity of a daily ritual. Let's unpack and elaborate on this concept:

Soulful Adaptation: RhythmoEnvironmental Acclimation is like a dance born from the rhythm of the streets. In this metaphorical dance, every step syncopates with the urban pulse. It's more than just survival; it's the embodiment of a culture's resilience. Even in the face of adversity, people find ways to transform challenges into artistry. The ability to adapt becomes a dance of memory and adaptation, where the shackles of adversity are turned into a swaggering walk, deemed "cool."

Cool in the Face of Change: This concept highlights the transformative power of adaptation. When faced with change or adversity, individuals and communities can turn these challenges into global trends, embodiments of what's considered "cool." It's a performance that reverberates and leaves an indelible mark on culture. RhythmoEnvironmental Acclimation is akin to alchemy, where change is transmuted into charisma, providing a tangible testament to the power of collective experience.

African Diaspora Perspective: For individuals of the African diaspora, rhythmoenvironmental acclimation is deeply ingrained. It's rooted in the polyspirited nature of the African diaspora body, which carries the spirits of ancestors, community, family, and individual identity. These influences are expressed through physicality, imbuing movement with intensity, necessity, urgency, and organic precision.

This ancestral aspect of the poly spirit allows for graceful navigation of unfamiliar movements and conditions, preventing awkwardness. It enables individuals to regain composure after stress, embodying an "aesthetic of the cool." This coolness not only makes movement desirable but also positions African diaspora individuals as trendsetters and creators of the cutting edge.

Beyond Physicality: RhythmoEnvironmental Acclimation is not limited to physical movement; it extends to an understanding of social and cultural codes. It allows individuals to know when to engage or disengage in various sociorhythmical interactions, whether in dance cyphers, rap battles, or other social contexts. This code-switching and understanding are fundamental aspects of African diaspora personhood and corporeality.

Artistic Expression: The concept is closely linked to Africana art practices, where the process of adapting to new cultural elements is at the core of creating meaningful and relevant art for the community. Afritectonic artistic research explores the impact of Africana elements in art and culture. By understanding and embracing rhythmoenvironmental acclimation, artists can challenge dominant paradigms while celebrating repetition and fluidity.

In conclusion, RhythmoEnvironmental Acclimation is a profound and holistic concept that speaks to the resilience, adaptability, and artistry of individuals and communities, particularly within the African diaspora. It encompasses physicality, social intelligence, and artistic expression, highlighting the enduring power of adaptation in navigating the diverse rhythms of life

GATHERING THE WEB:: KINOWEAVING THE NOW: THE EMBODIMENT OF KINETIC PRESENCE IN PERFORMANCE

KinoWeaving the Now is a concept that seamlessly marries kinesthetic, or movement-driven experiences ("Kino-"), with the act of weaving. 

DEFINITION

KinoWeaving the Now (Prestø) emphasizes the convergence of movement and the present. Performers not only dance but dynamically weave their kinetics into the fabric of the immediate environment and audience pulse.

In the heart of the African Bantabas, where the rhythm of the earth meets the pulse of its people, an intricate dance unfolds. Here, the boundary between the performer and the audience blurs. Money is tossed, chants rise, claps resonate, and every shout or whisper becomes a part of the kinetic tapestry. Such a vibrant setting offers a lucid exemplification of the concept: KinoWeaving the Now.

KinoWeaving the Now is a philosophy that accentuates the profound convergence of movement and the immediate present within varied performance settings. At its core, it is about the performer's ability to dynamically interlace their movements with the tangible and intangible elements of their surroundings. It's a living dialogue between the artist and the environment, rooted in the moment, deeply reactive, and profoundly immersive.

The symbiotic relationship with the audience, central to KinoWeaving, shifts the latter from passive spectators to active participants in the kinetic narrative. As the performer dances, the audience's energy, whether in the form of vocal encouragements, rhythmic claps, or spontaneous contributions like coins, fuses into the performance. This dynamic synchronization creates an evolving, shared kinetic story that is as unpredictable as it is captivating.

Beyond this tactile interaction lies the performer's nuanced relationship with music and sound. In the realm of KinoWeaving, music isn't a mere backdrop; it's a living entity. Every note, every beat becomes embodied, turning the performance into a visceral symphony where melodies are not just heard but felt and expressed. The honk of a car, the distant laughter, or even the rustling of leaves are not interruptions but rather improvisational cues. They are woven into the fabric of the performance, enriching it with layers of spontaneity and authenticity.

This philosophy also gives prominence to the performer's spatial sensibility. Every venue, whether a bustling street corner, an intimate room, or the sacred expanse of Bantabas, holds its own kinetic aura. The performer, acutely attuned, senses and navigates through this aura. Each space's distinct attributes and its kinetic memories become both a canvas and a collaborator, aiding and shaping the performer's movements.

KinoWeaving the Now thrives in its embrace of the unpredictable. Every gesture, every leap, every pause is a genuine reaction to the present elements. The dancer's body becomes a conduit, perceiving the intricacies of the now, absorbing them, and then channeling these perceptions back into the environment in a continuous loop of kinetic dialogue.

KinoWeaving the Now represents a radical yet organic evolution in the performance paradigm. Rooted in the age-old traditions of African Bantabas but expansive enough to encompass urban streets or any dynamic setting, this philosophy underscores the performer's ability to remain rooted in the present, weaving each moment's energy into an unforgettable dance narrative. It's where every external stimulus is an invitation, and every response is a dance step, making the entire world a stage.

Lecture notes:

• Audience Resonance: Central to KinoWeaving is the symbiotic relationship between the performer and the audience. The performer dynamically syncs with the collective energy, evolving audience members from passive spectators to dynamic participants in the kinetic story.

• Auditory Kinetics: Beyond the mere melody and rhythm is the performer's kinesthetic interaction with music. This kinetic connection forges a dance of synergy where music transcends being just an auditory experience; it becomes felt and lived.

• Spatial Sensibility: This captures the performer's physical relationship with the environment. The space, with its distinct attributes, morphs into both a backdrop and collaborator in the kinetic ballet of KinoWeaving.

• Echoes of the Past: Each space retains its kinetic history. Sensing these age-old vibrations, the performer intertwines with these energies, curating a performance with multiple layers.

• Momentary Immersion: Every nuance of the current moment, from the background noises to the prevalent ambiance, augments the performance. With acute sensitivity, the performer ensures every movement aligns seamlessly with the present instant.

• Kinetic Spontaneity: The crux of KinoWeaving rests in its unpredictability. Every motion is a natural reaction to the present elements, rendering each performance uniquely unparalleled.

• Tempo Intuition: This surpasses mere rhythmic adherence. It's about harmonizing with the present's pulse, sculpting motions that resonate with the current mood.

• Dynamic Dialogue: This embodies the ongoing energy exchange between the performer, the space, and the audience. This kinetic conversation infuses life into the performance, facilitating a perpetually evolving discourse.

• Bodily Intuition: Within the realm of KinoWeaving, the body acts both as a detector and an articulator. It grasps the present's intricacies and channels them into movement, making sure every act is an authentic reflection of the now.

• Extended Embodiment: Performers extend beyond merely occupying a space; they metamorphose it. By radiating their kinetic energy, they intertwine with diverse stories, manifesting a vivid and layered performance tableau.

KinoWeaving the Now elevates beyond traditional performance frameworks. It magnifies a performer's ability to root themselves in the now, adeptly braiding kinetic energy with their immediate surroundings. The result is a fleeting yet unforgettable encounter that etches itself into memory.

RHYTHMOKINETIC EXTEMPORATION: 

Abstract: This paper introduces the concept of RhythmoKinetic Extemporation, a term that encapsulates a unique form of dance improvisation characterized by spontaneous, topical, and rhythmic movement. This concept extends beyond traditional improvisation, integrating elements of wit, satire, audience interaction, and rhythmic adaptability. Central to RhythmoKinetic Extemporation is the process of gestorhythmitization, wherein rhythm and movement are imbued with gestural content, enhancing the communicative and narrative aspects of the performance. This paper examines the key elements of RhythmoKinetic Extemporation, its applications, and its cultural significance.

Introduction

The concept of RhythmoKinetic Extemporation emerges from the rich tradition of extemporation in Calypso music, where performers create lyrics spontaneously, addressing current events and social issues with wit and satire. This paper extends these principles into the realm of dance, proposing RhythmoKinetic Extemporation as a mode of kinetic communication that is socially interactive and discursive in nature.

Defining RhythmoKinetic Extemporation

RhythmoKinetic Extemporation is defined as a dynamic form of dance improvisation that involves spontaneous, topical, and rhythmic movement. Unlike mere improvisation, it integrates the following key elements:

1. Topical Relevance: Movements are inspired by contemporary issues, social contexts, or immediate environments, making the dance meaningful and resonant with the audience.
2. Spontaneity: Dancers create movements in real-time, reacting to the music, spatial environment, and audience responses, showcasing their creativity and quick thinking.
3. Wit and Satire: The movements often carry elements of humor and critique, using bodily expressions to make satirical statements or highlight absurdities, engaging the audience on an intellectual level.
4. Audience Interaction: Performances engage with the audience, responding to their reactions and sometimes incorporating them into the performance, creating a dynamic and immersive experience.
5. Rhythmic and Melodic Adaptability: Dancers must adapt their movements to fit the rhythms and melodies of the music, demonstrating a deep understanding of musicality and timing.

Gestorhythmitization in RhythmoKinetic Extemporation

Central to RhythmoKinetic Extemporation is the concept of gestorhythmitization.

• Definition: Gestorhythmitization is the process by which rhythm and movement are imbued with gestural content, creating a new form of embodied communication.
• Context: This process emphasizes the creation of gestural rhythms that transcend traditional musical rhythm and extend into the realm of movement and gesture. Through gestorhythmitization, dancers infuse their movements with meaning, using gestures to tell stories, convey emotions, and communicate complex ideas.

Components of RhythmoKinetic Extemporation

1. Rhythmic Syncopation: Utilizing off-beat rhythms to create dynamic and unexpected movements, adding complexity and interest to the dance. This technique allows dancers to break free from conventional rhythmic patterns, making their movements more engaging and innovative.
2. Dancing of Rhythmical Breaks: Highlighting breaks in the rhythm with specific movements that accentuate musical pauses or changes. This creates a dialogue between the dancer and the music, emphasizing moments of silence or transition and making them integral to the performance.
3. Social and Interactive Nature: The dance is inherently social, performed as a conversation with the audience and the environment. Dancers react to and influence their surroundings, making the performance a shared experience.
4. Discursive Nature: The movements serve as a form of discourse, conveying messages, emotions, and critiques that contribute to a larger social and cultural dialogue. Through RhythmoKinetic Extemporation, dancers engage in a form of kinetic storytelling, where their bodies become tools for narrative expression.
5. Dance Performance: Choreographers can incorporate RhythmoKinetic Extemporation into performances to create pieces that are dynamic, engaging, and socially relevant. This approach allows for a deeper connection with the audience and a more profound exploration of contemporary issues.
6. Dance Therapy: In therapeutic settings, principles of RhythmoKinetic Extemporation can help individuals express themselves and engage in meaningful movement, enhancing emotional and social connections. The emphasis on spontaneity and interaction can be particularly beneficial in therapeutic contexts.
7. Cultural Studies: Studying RhythmoKinetic Extemporation provides insights into how dance serves as a medium for social commentary and cultural expression, particularly in communities where dance is central to social life. This perspective can enrich our understanding of dance as a form of cultural and political discourse.
8. Urban and Public Spaces: Implementing performances of RhythmoKinetic Extemporation in public spaces can engage communities and bring attention to social issues through the medium of dance. This practice can transform urban environments into stages for dynamic and interactive performances.

Practical Applications

Cultural Significance

RhythmoKinetic Extemporation holds significant cultural value, particularly within Caribbean dance traditions. Caribbean dance is often performed in motion, on streets, and among crowds, rather than in fixed spaces. Dancers navigate a dynamic environment filled with other bodies, props, vehicles, and costumes. This movement requires adaptability and the ability to engage polycentrically with the space and other participants.

Even when adapted to stages or designated spaces, the essence of "solving for space" and navigating obstacles remains evident. The principles of RhythmoKinetic Extemporation reflect this heritage, emphasizing the dancer's ability to interact fluidly with their environment and audience while conveying topical and social messages.

Conclusion

RhythmoKinetic Extemporation is a sophisticated and multifaceted form of dance improvisation that integrates topical relevance, wit, audience interaction, and rhythmic adaptability. Central to this concept is gestorhythmitization, which enriches the dance with gestural content and narrative depth. By examining and applying the principles of RhythmoKinetic Extemporation, we can appreciate the profound skill and creativity involved in navigating and performing within ever-changing environments. This concept underscores the potential of dance to engage with and reflect upon the complexities of contemporary life, making it a powerful tool for communication and social discourse.

Future Research

Further research can explore the applications of RhythmoKinetic Extemporation in various cultural contexts and its impact on audience engagement and social commentary. Additionally, investigating its therapeutic benefits and potential for community engagement in urban spaces can provide deeper insights into its broader implications and utility.

PULLING THREADS: RHYTHMOENVIRONMENTAL ACCLIMATION (Prestø)

RhythmoEnvironmental Acclimation is the cultural and personal practice of adapting to one's surroundings and environment by attuning to the rhythm and vibration of a place. It involves drawing from one's corporeal experience and embodied knowledge to navigate unfamiliar situations with the ease and familiarity of a daily ritual. This concept emphasizes not only survival but also the ability to transform challenges into expressions of resilience and artistry, often accompanied by a sense of "coolness" and charisma. RhythmoEnvironmental Acclimation can be especially prominent in the experiences of individuals from the African diaspora, where it encompasses physicality, social intelligence, and artistic expression.

Transforming Spaces: RhythmoEnvironmental Acclimation is not just about adapting to spaces; it's also about making those spaces adapt to us. By embodying and projecting our adaptability, we effectively reshape and redefine the environments we inhabit. This transformation is driven by the charisma and "cool" factor that comes from gracefully navigating adversity. It's a dynamic process of asserting presence and agency within spaces that might otherwise be unwelcoming.

Desirability and Envy: The ability to turn adversity into something desirable is a testament to the power of RhythmoEnvironmental Acclimation. When others witness this charisma and adaptability, it often evokes envy and desire. The allure of what is perceived as effortless coolness and resilience can be captivating to those who seek to understand and emulate it.

Grudging Respect: Beyond envy, there is often a sense of grudging respect that accompanies RhythmoEnvironmental Acclimation. People are fascinated by the ability to transform what's considered undesirable into something sought after. This respect arises from recognizing the skill and artistry involved in this transformation, as well as the tenacity of those who embody it. For this reason, what is considered «Black» and which often comes from the disenfranchised and oppressed is often coveted, because of the wonderment around why and how someone who is deemed to have so litle, is still capable of enjoying, having joy, being cool, and beying desirable. There is a feeling or a sense of «what they have must be better if it can still foster that sense in them». Therefore, trends are often created by the oppressed and the supposedly undesirec «Black class». 

Imitation and Commodification: The impact of RhythmoEnvironmental Acclimation is such that it leads to imitation and, at times, commodification. When others recognize the demand for this charisma and adaptability, they may attempt to replicate it or even package it for mass consumption. This can be seen in various forms, such as cultural appropriation or the commercialization of cultural elements.

RhythmoEnvironmental Acclimation not only empowers individuals and communities to navigate challenging spaces but also positions them as influential shapers of culture. The ability to turn adversity into desirability and redefine spaces is a testament to the enduring strength and creativity of those who practice it, and it highlights the need for genuine appreciation and respect for the contributions of these communities.

PULLING THREADS: RHYTHMOENVIRONMENTAL ACCLIMATION: NAVIGATING THE PULSE OF PLACE

RhythmoEnvironmental Acclimation (Prestø) is a rich and multifaceted concept that encompasses the art of adapting to one's surroundings and environment by attuning to the rhythm and vibration of a place. It goes beyond mere survival; it is a profound cultural and personal practice that draws from the entirety of corporeal experience and embodied knowledge to navigate unfamiliar situations with the familiarity of a daily ritual. Let's unpack and elaborate on this concept:

Soulful Adaptation: RhythmoEnvironmental Acclimation is like a dance born from the rhythm of the streets. In this metaphorical dance, every step syncopates with the urban pulse. It's more than just survival; it's the embodiment of a culture's resilience. Even in the face of adversity, people find ways to transform challenges into artistry. The ability to adapt becomes a dance of memory and adaptation, where the shackles of adversity are turned into a swaggering walk, deemed "cool."

Cool in the Face of Change: This concept highlights the transformative power of adaptation. When faced with change or adversity, individuals and communities can turn these challenges into global trends, embodiments of what's considered "cool." It's a performance that reverberates and leaves an indelible mark on culture. RhythmoEnvironmental Acclimation is akin to alchemy, where change is transmuted into charisma, providing a tangible testament to the power of collective experience.

African Diaspora Perspective: For individuals of the African diaspora, rhythmoenvironmental acclimation is deeply ingrained. It's rooted in the polyspirited nature of the African diaspora body, which carries the spirits of ancestors, community, family, and individual identity. These influences are expressed through physicality, imbuing movement with intensity, necessity, urgency, and organic precision.

This ancestral aspect of the poly spirit allows for graceful navigation of unfamiliar movements and conditions, preventing awkwardness. It enables individuals to regain composure after stress, embodying an "aesthetic of the cool." This coolness not only makes movement desirable but also positions African diaspora individuals as trendsetters and creators of the cutting edge.

Beyond Physicality: RhythmoEnvironmental Acclimation is not limited to physical movement; it extends to an understanding of social and cultural codes. It allows individuals to know when to engage or disengage in various sociorhythmical interactions, whether in dance cyphers, rap battles, or other social contexts. This code-switching and understanding are fundamental aspects of African diaspora personhood and corporeality.

Artistic Expression: The concept is closely linked to Africana art practices, where the process of adapting to new cultural elements is at the core of creating meaningful and relevant art for the community. Afritectonic artistic research explores the impact of Africana elements in art and culture. By understanding and embracing rhythmoenvironmental acclimation, artists can challenge dominant paradigms while celebrating repetition and fluidity.

In conclusion, RhythmoEnvironmental Acclimation is a profound and holistic concept that speaks to the resilience, adaptability, and artistry of individuals and communities, particularly within the African diaspora. It encompasses physicality, social intelligence, and artistic expression, highlighting the enduring power of adaptation in navigating the diverse rhythms of life

GATHERING THE WEB:: KINOWEAVING THE NOW: THE EMBODIMENT OF KINETIC PRESENCE IN PERFORMANCE

KinoWeaving the Now is a concept that seamlessly marries kinesthetic, or movement-driven experiences ("Kino-"), with the act of weaving. 

DEFINITION

KinoWeaving the Now (Prestø) emphasizes the convergence of movement and the present. Performers not only dance but dynamically weave their kinetics into the fabric of the immediate environment and audience pulse.

In the heart of the African Bantabas, where the rhythm of the earth meets the pulse of its people, an intricate dance unfolds. Here, the boundary between the performer and the audience blurs. Money is tossed, chants rise, claps resonate, and every shout or whisper becomes a part of the kinetic tapestry. Such a vibrant setting offers a lucid exemplification of the concept: KinoWeaving the Now.

KinoWeaving the Now is a philosophy that accentuates the profound convergence of movement and the immediate present within varied performance settings. At its core, it is about the performer's ability to dynamically interlace their movements with the tangible and intangible elements of their surroundings. It's a living dialogue between the artist and the environment, rooted in the moment, deeply reactive, and profoundly immersive.

The symbiotic relationship with the audience, central to KinoWeaving, shifts the latter from passive spectators to active participants in the kinetic narrative. As the performer dances, the audience's energy, whether in the form of vocal encouragements, rhythmic claps, or spontaneous contributions like coins, fuses into the performance. This dynamic synchronization creates an evolving, shared kinetic story that is as unpredictable as it is captivating.

Beyond this tactile interaction lies the performer's nuanced relationship with music and sound. In the realm of KinoWeaving, music isn't a mere backdrop; it's a living entity. Every note, every beat becomes embodied, turning the performance into a visceral symphony where melodies are not just heard but felt and expressed. The honk of a car, the distant laughter, or even the rustling of leaves are not interruptions but rather improvisational cues. They are woven into the fabric of the performance, enriching it with layers of spontaneity and authenticity.

This philosophy also gives prominence to the performer's spatial sensibility. Every venue, whether a bustling street corner, an intimate room, or the sacred expanse of Bantabas, holds its own kinetic aura. The performer, acutely attuned, senses and navigates through this aura. Each space's distinct attributes and its kinetic memories become both a canvas and a collaborator, aiding and shaping the performer's movements.

KinoWeaving the Now thrives in its embrace of the unpredictable. Every gesture, every leap, every pause is a genuine reaction to the present elements. The dancer's body becomes a conduit, perceiving the intricacies of the now, absorbing them, and then channeling these perceptions back into the environment in a continuous loop of kinetic dialogue.

KinoWeaving the Now represents a radical yet organic evolution in the performance paradigm. Rooted in the age-old traditions of African Bantabas but expansive enough to encompass urban streets or any dynamic setting, this philosophy underscores the performer's ability to remain rooted in the present, weaving each moment's energy into an unforgettable dance narrative. It's where every external stimulus is an invitation, and every response is a dance step, making the entire world a stage.

Lecture notes:

• Audience Resonance: Central to KinoWeaving is the symbiotic relationship between the performer and the audience. The performer dynamically syncs with the collective energy, evolving audience members from passive spectators to dynamic participants in the kinetic story.

• Auditory Kinetics: Beyond the mere melody and rhythm is the performer's kinesthetic interaction with music. This kinetic connection forges a dance of synergy where music transcends being just an auditory experience; it becomes felt and lived.

• Spatial Sensibility: This captures the performer's physical relationship with the environment. The space, with its distinct attributes, morphs into both a backdrop and collaborator in the kinetic ballet of KinoWeaving.

• Echoes of the Past: Each space retains its kinetic history. Sensing these age-old vibrations, the performer intertwines with these energies, curating a performance with multiple layers.

• Momentary Immersion: Every nuance of the current moment, from the background noises to the prevalent ambiance, augments the performance. With acute sensitivity, the performer ensures every movement aligns seamlessly with the present instant.

• Kinetic Spontaneity: The crux of KinoWeaving rests in its unpredictability. Every motion is a natural reaction to the present elements, rendering each performance uniquely unparalleled.

• Tempo Intuition: This surpasses mere rhythmic adherence. It's about harmonizing with the present's pulse, sculpting motions that resonate with the current mood.

• Dynamic Dialogue: This embodies the ongoing energy exchange between the performer, the space, and the audience. This kinetic conversation infuses life into the performance, facilitating a perpetually evolving discourse.

• Bodily Intuition: Within the realm of KinoWeaving, the body acts both as a detector and an articulator. It grasps the present's intricacies and channels them into movement, making sure every act is an authentic reflection of the now.

• Extended Embodiment: Performers extend beyond merely occupying a space; they metamorphose it. By radiating their kinetic energy, they intertwine with diverse stories, manifesting a vivid and layered performance tableau.

KinoWeaving the Now elevates beyond traditional performance frameworks. It magnifies a performer's ability to root themselves in the now, adeptly braiding kinetic energy with their immediate surroundings. The result is a fleeting yet unforgettable encounter that etches itself into memory.

RHYTHMOKINETIC EXTEMPORATION: 

Abstract: This paper introduces the concept of RhythmoKinetic Extemporation, a term that encapsulates a unique form of dance improvisation characterized by spontaneous, topical, and rhythmic movement. This concept extends beyond traditional improvisation, integrating elements of wit, satire, audience interaction, and rhythmic adaptability. Central to RhythmoKinetic Extemporation is the process of gestorhythmitization, wherein rhythm and movement are imbued with gestural content, enhancing the communicative and narrative aspects of the performance. This paper examines the key elements of RhythmoKinetic Extemporation, its applications, and its cultural significance.

Introduction

The concept of RhythmoKinetic Extemporation emerges from the rich tradition of extemporation in Calypso music, where performers create lyrics spontaneously, addressing current events and social issues with wit and satire. This paper extends these principles into the realm of dance, proposing RhythmoKinetic Extemporation as a mode of kinetic communication that is socially interactive and discursive in nature.

Defining RhythmoKinetic Extemporation

RhythmoKinetic Extemporation is defined as a dynamic form of dance improvisation that involves spontaneous, topical, and rhythmic movement. Unlike mere improvisation, it integrates the following key elements:

1. Topical Relevance: Movements are inspired by contemporary issues, social contexts, or immediate environments, making the dance meaningful and resonant with the audience.
2. Spontaneity: Dancers create movements in real-time, reacting to the music, spatial environment, and audience responses, showcasing their creativity and quick thinking.
3. Wit and Satire: The movements often carry elements of humor and critique, using bodily expressions to make satirical statements or highlight absurdities, engaging the audience on an intellectual level.
4. Audience Interaction: Performances engage with the audience, responding to their reactions and sometimes incorporating them into the performance, creating a dynamic and immersive experience.
5. Rhythmic and Melodic Adaptability: Dancers must adapt their movements to fit the rhythms and melodies of the music, demonstrating a deep understanding of musicality and timing.

Gestorhythmitization in RhythmoKinetic Extemporation

Central to RhythmoKinetic Extemporation is the concept of gestorhythmitization.

• Definition: Gestorhythmitization is the process by which rhythm and movement are imbued with gestural content, creating a new form of embodied communication.
• Context: This process emphasizes the creation of gestural rhythms that transcend traditional musical rhythm and extend into the realm of movement and gesture. Through gestorhythmitization, dancers infuse their movements with meaning, using gestures to tell stories, convey emotions, and communicate complex ideas.

Components of RhythmoKinetic Extemporation

1. Rhythmic Syncopation: Utilizing off-beat rhythms to create dynamic and unexpected movements, adding complexity and interest to the dance. This technique allows dancers to break free from conventional rhythmic patterns, making their movements more engaging and innovative.
2. Dancing of Rhythmical Breaks: Highlighting breaks in the rhythm with specific movements that accentuate musical pauses or changes. This creates a dialogue between the dancer and the music, emphasizing moments of silence or transition and making them integral to the performance.
3. Social and Interactive Nature: The dance is inherently social, performed as a conversation with the audience and the environment. Dancers react to and influence their surroundings, making the performance a shared experience.
4. Discursive Nature: The movements serve as a form of discourse, conveying messages, emotions, and critiques that contribute to a larger social and cultural dialogue. Through RhythmoKinetic Extemporation, dancers engage in a form of kinetic storytelling, where their bodies become tools for narrative expression.
5. Dance Performance: Choreographers can incorporate RhythmoKinetic Extemporation into performances to create pieces that are dynamic, engaging, and socially relevant. This approach allows for a deeper connection with the audience and a more profound exploration of contemporary issues.
6. Dance Therapy: In therapeutic settings, principles of RhythmoKinetic Extemporation can help individuals express themselves and engage in meaningful movement, enhancing emotional and social connections. The emphasis on spontaneity and interaction can be particularly beneficial in therapeutic contexts.
7. Cultural Studies: Studying RhythmoKinetic Extemporation provides insights into how dance serves as a medium for social commentary and cultural expression, particularly in communities where dance is central to social life. This perspective can enrich our understanding of dance as a form of cultural and political discourse.
8. Urban and Public Spaces: Implementing performances of RhythmoKinetic Extemporation in public spaces can engage communities and bring attention to social issues through the medium of dance. This practice can transform urban environments into stages for dynamic and interactive performances.

Practical Applications

Cultural Significance

RhythmoKinetic Extemporation holds significant cultural value, particularly within Caribbean dance traditions. Caribbean dance is often performed in motion, on streets, and among crowds, rather than in fixed spaces. Dancers navigate a dynamic environment filled with other bodies, props, vehicles, and costumes. This movement requires adaptability and the ability to engage polycentrically with the space and other participants.

Even when adapted to stages or designated spaces, the essence of "solving for space" and navigating obstacles remains evident. The principles of RhythmoKinetic Extemporation reflect this heritage, emphasizing the dancer's ability to interact fluidly with their environment and audience while conveying topical and social messages.

Conclusion

RhythmoKinetic Extemporation is a sophisticated and multifaceted form of dance improvisation that integrates topical relevance, wit, audience interaction, and rhythmic adaptability. Central to this concept is gestorhythmitization, which enriches the dance with gestural content and narrative depth. By examining and applying the principles of RhythmoKinetic Extemporation, we can appreciate the profound skill and creativity involved in navigating and performing within ever-changing environments. This concept underscores the potential of dance to engage with and reflect upon the complexities of contemporary life, making it a powerful tool for communication and social discourse.

Future Research

Further research can explore the applications of RhythmoKinetic Extemporation in various cultural contexts and its impact on audience engagement and social commentary. Additionally, investigating its therapeutic benefits and potential for community engagement in urban spaces can provide deeper insights into its broader implications and utility.

CORPORHYTHMIC PERAMBULATION: "SOLVING FOR SPACE"

Definition: Corporhythmic Perambulation refers to the dynamic, rhythmic navigation through space, involving the whole body in a fluid and adaptive manner. This term captures the essence of moving in harmony with one's surroundings while continuously solving spatial challenges presented by various obstacles and other moving entities.

Concept Deliberation

Overview: Corporhythmic Perambulation is a concept deeply rooted in the physical and rhythmic engagement with space, especially evident in Caribbean dance forms. Unlike dances confined to a designated area, Caribbean dance often involves movement through streets, integrating the act of travel with the dance itself. This style of dance requires participants to navigate a myriad of obstacles, including other dancers, props, vehicles, and elaborate costumes.

Polycentric Movement: A key feature of Corporhythmic Perambulation is its reliance on polycentric movement, where multiple centers of motion within the body operate simultaneously and independently. This approach allows dancers to adapt their movements in real-time, accommodating the spatial dynamics of the environment and the presence of other bodies in motion.

Solving for Space: Caribbean dance embodies the principle of "solving for space," where dancers must constantly adjust their movements to fit within and move through their surroundings. This involves a continuous process of spatial problem-solving, where the dancer's awareness of their own body and the bodies around them is paramount. The ability to navigate through tight spaces, avoid collisions, and maintain the flow of the dance is a testament to the dancer's skill in Corporhythmic Perambulation.

Locomotion and Navigation: The locomotion aspect of this concept emphasizes the need to cover ground while maintaining the dance's rhythmic integrity. Dancers must be adept at moving through space in a way that is both purposeful and harmonious, often incorporating elements of kinetic extemporation to respond to the ever-changing environment. This includes maneuvering around obstacles, synchronizing movements with others, and seamlessly integrating into the flow of the dance procession.

Stage Adaptation: Even when these dance movements are adapted for a stage or designated performance space, the principles of Corporhythmic Perambulation remain evident. The choreography retains the essence of navigating space and overcoming obstacles, reflecting the dance's origins and the dancers' inherent ability to solve spatial challenges. The stage becomes a microcosm of the street, with dancers continuing to demonstrate their polycentric adaptability and rhythmic navigation.

Practical Applications

1. Dance and Performance Art: Corporhythmic Perambulation can be applied to choreographing performances that require dancers to interact with dynamic environments, emphasizing movement that is both rhythmic and adaptive.
2. Urban Studies and Public Spaces: This concept can inform the design of public spaces to accommodate dynamic human movement, enhancing the functionality and flow of areas where large groups gather and move.
3. Movement Therapy: In therapeutic settings, incorporating principles of Corporhythmic Perambulation can help individuals develop better spatial awareness, coordination, and adaptability through rhythmic, full-body movements.
4. Cultural Studies: Examining Corporhythmic Perambulation provides insights into the cultural significance of dance and movement in various communities, highlighting how traditional practices adapt to and influence modern urban environments.

Conclusion

Corporhythmic Perambulation encapsulates the intricate dance of navigating space with rhythmic precision and bodily adaptability. It celebrates the art of movement as a solution to spatial challenges, demonstrating how dance can transform ordinary environments into dynamic stages of cultural expression and human interaction. Through this lens, we can appreciate the profound skill and creativity involved in navigating and performing within the ever-changing tapestry of urban life.

PULLING THREADS: RHYTHMIC DELVING (PRestø)

The concept of Rhythmic Delving is central to the practice of Africana rhythm. It refers to the systematic search for truth and understanding of rhythm and its relationship to duration and sophistication. Through this process, practitioners aim to deepen their understanding of rhythm by altering and renegotiating rhythmic relationships in a sophisticated and intentional manner.

Rhythmic Delving encompasses a range of other rhythmic practices that seek to deepen the understanding and connection with rhythm. This practice is unique to Africana and seeks to explore the nuances and subtleties of rhythm through the manipulation and renegotiation of rhythmic relationships.

One of the key aspects of Rhythmic Delving is the emphasis on intentionality and sophistication in the alteration of rhythmic relationships. This allows practitioners to delve deeper into the complexities of rhythm and to better understand the relationships between sounds, movements, and duration.

PULLING THREADS: ACCENTUAL RHYTHMIC BALANCE (Prestø)

Accentual balance refers to the balance of accents in music or dance performance that ensures that the rhythm remains distinct and engaging.

In the realm of Africana fine forms, accentual balance plays a crucial role in determining the rhythmic distinction of a piece. Too many or too few off-beat accents as this can throw off the audience and cause them to lose their orientation to the rhythm or perceive separate rhythms as a single rhythm. This loss of tension can lead to dull and uninteresting music.

To prevent this, the lead drummer or dancer is responsible for balancing the rhythm so that cross-rhythms remain distinct. This balance reflects the level of rhythmic sophistication of the audience. The audience's response is the measurement for how deep the rhythmic engagement can go. Dancers and drummers use the audience's reaction to determine the depth of the rhythmic exploration.

This highlights the importance of audience engagement in the creation and experience of Africana fine forms. The level of rhythmic sophistication in the audience affects the level of rhythmic sophistication that can be explored in a performance, making the audience an integral part of the experience.

Examples of Accentual Balance

• In African drumming, the lead drummer may vary the number and placement of off-beat accents to keep the rhythm interesting and engaging for the audience.
• In Latin dance, the lead dancer may emphasize certain beats in their movements to keep the rhythm distinct and lively.

In conclusion, accentual balance plays a crucial role in ensuring that the rhythm remains distinct and engaging, and that the audience remains oriented to the rhythm. By maintaining a balance of accents, drummers and dancers can create a dynamic and captivating performance that showcases their rhythmic sophistication.

SENSING THE WEB: RHYTHMIC RAPPORT (Prestø) AND SOCIORHYTHM (Prestø) IN AFRICANA DANCE:

Africana dance is a rich tapestry of cultural, historical, and rhythmic traditions, reflecting the diverse lived experiences of African and Diaspora communities. Embedded in these dance forms are complex patterns and rhythms that are more than mere movement; they are intricate systems of knowledge, communication, and cultural discourse. By delving into the multifaceted concepts of Rhythmic Rapport and SocioRhythm, we gain a deeper understanding of the significance and depth of these practices within the broad context of Africana dance.

Rhythmic Rapport (Prestø): Synchronizing Heartbeats, Histories, and Harmonies

At its core, Rhythmic Rapport refers to the dynamic and interconnected relationship established between participants, be they performers or audience, rooted in mutual rhythmic understanding and communication. It emphasizes the interconnectedness of participants, making rhythmic engagement a two-way street.

1. Audience's Rhythmo-Relational Capacity: Rhythmo-Relational Capacity (Prestø) A central tenet of Rhythmic Rapport is the audience's depth of rhythmic understanding. This "rhythmo-relational" aspect is crucial in determining the profundity of the rhythmic discourse. Performers can delve deeper into rhythmic complexities when the audience possesses a refined rhythmic literacy, reflected in their active participation, such as call-and-response patterns. This mutual rhythmical understanding is so vital that when presented to audiences unfamiliar with its intricacies, rhythms are often simplified to enhance accessibility. This often happens when expressions “cross over” to Europeanist audiences.

2. Bridging Knowledge Gaps: For performances where rhythmic intricacy is integral, there's an inherent challenge and responsibility to elevate the audience's rhythmic awareness. Here, performers and choreographers might deploy various techniques, such as repetitive motifs or introductory rhythmic patterns, to make the audience attuned to the rhythmic nuances they're about to experience.

SocioRhythm: Interwoven Beats, Bonds, and Histories

SocioRhythm encapsulates the broader sociocultural dimensions of rhythm within Africana dance. More than individualized beats, it emphasizes the collective nature of rhythm and how it acts as a communal bridge, connecting individuals in shared rhythmic experiences.

1. Rhythm: Presence, Absence, and Coexistence: SocioRhythm delves into rhythm's duality, recognizing the equal significance of beats and silences. Especially in complex polyrhythms, rhythm becomes a communal endeavor of co-habitation, where different beats coexist, creating tensions and resolutions, rather than striving for dominance. This mirrors societal lessons about coexistence and mutual respect, challenging notions of hegemony and dominance.

2. Rhythms as Living Chronicles: Rhythms are not spontaneously birthed. Rooted in the community's linguistic, cultural, and bodily expressions, they carry within them layers of information - from ethnicity, linguistic nuances, to socio-economic markers. The unique rhythm of an urban industrial hub, for instance, contrasts that of a fisher village, echoing their respective life rhythms, challenges, and joys. These beats, thus, are not mere sounds but historical chronicles, embodying societal dynamics and collective memories.

3. Relationality of Rhythm: Every rhythm, particularly in the Africana context, is intrinsically relational and social. Polyrhythms, with their overlapping beats, answer to themselves and others, reflecting the interconnectedness of individual and communal narratives.

Africana Diaspora Dance Practices: Synthesizing Rhythms and Realities

The forced migrations due to the transatlantic enslavement enterprise brought together a melange of rhythmic traditions. This confluence led to the birth of new rhythmic languages, each echoing the resilience, and synthesis of histories and cultures.

1. Roots and Routes: The diaspora's rhythms emerged from a fusion of varied traditions - from forest dwellers to fisher villages, from diverse ethnic backgrounds. These rhythms carry with them tales of origins, migrations, resistances, and adaptations. The interplay between foundational rhythms and the solo rhythmic voice, as epitomized by the "cutterDrummer" (the drummer which translates the dancers movement to sound), symbolizes an intergenerational dialogue, bridging past legacies with contemporary realities.

2. Rhythmic Conceptualization: Delving deeper into the rhythmic structures, one recognizes that rhythmic engagement in Africana dance is not a superficial exercise. It's a deeply conceptual and contemporary exploration, reflecting and shaping the current zeitgeist. It's a dynamic dialogue, rooted in historical realities but continuously evolving to resonate with the present.

PULLING THREADS: DYNAMIC RHYTHMIC TENSION & METRIC TENSION

Often the role of leading drummer or leading dancer would be one of two functions if no both. It would either be to “cut” or “break” the rhythm by adding virtuosic Dynamic Rhythmic Tenison or to organize the Metric Tension.

Dynamic Rhythmic Tension is when the dynamics within a polyrhythmic structure or creates a tension or a challenge to the balance and equilibrium of the composition. This creates both excitement and risk, because the composition might collapse. In the interplay between dancer and drummer, they might challenge eachothers ability to maintain rhythmic flow and not have the rhythm collapse. This must be done with astute ability and is not random play without a rhythmic understanding as a base. It is also not trying to be unclear in order to confuse the other, it can however involve unexpected rhythmic stunts. It is important to rember here that rhythm does not ask, it does, it shows and it is. Therefore, a dancer must show her or his rhythm, not ask the drummer if the rhythm is correct with their body. 

When several rhythms are played simultaneously (polyrhythm) with shifting metric potentials it creates an instability in the composition. This could be called Metric Tension. 

METRIC TENSION

Off-beat phrasing is often used with Dynamic Rhythmic Tension. However, Metric Tenison is a more direct challenge to the subjective pulsation of the active listeners metronome. This is because several rhythms, each with shifting metric potentials, create an instability in when combined and are not so much dependent on accentuation to create effect. As mentioned earlier, such accentuations are usually knowns as Breaks, as in the Haitian Voudun concept of Kasé and as cross-rhythms all depending on context or reference of the speaker. The Rhythmic Movement that this creates is perhaps too complex to be grasped in their individual parts. This is similar to other polyrhythmic constructs where it is the whole that reveals and confirm the individual part. Similarly in dance, to separate yourself or rather to distinguish yourself you need references; Other dancers,  other soloist, something to show the small unique choices that affirm you as an individual. In the Africana context you are always relational and the relationships are in constant dynamic reposition.

SENSING THE WEB: MELOPROSORHYTHMIC PRACTICES, GESTO-RHYTHMITIZATION, AND CHOREONOMMO

As a researcher and artist, I have formulated several concepts in the study and practice of African rhythm and movement. ChoreoNommo, Gesto-rhythmitization, and Meloprosorhythmic Practices (Prestø) are three key concepts that are interrelated and form the foundation of my work.

ChoreoNommo, as previously discussed, refers to the power of language, gesture, rhythm, and movement to bring forth marginalized narratives and identities into existence. It embodies a holistic approach to art-making and research that is concerned with both the embodied and performative aspects of language and movement, and the power of naming and communication to bring forth new realities.

Gesto-rhythmitization, on the other hand, is the process by which rhythm and movement are imbued with gestural content, thereby creating a new form of embodied communication. This process involves the creation of new gestures, or the modification of existing ones, to imbue them with rhythmic content. This results in a form of gestural rhythm that transcends the boundaries of traditional musical rhythm and extends into the realm of movement and gesture.

Meloprosorhythmic Practices, as described earlier, refers to the fusion of melody, prosody, and rhythm in African musical practices. In African drumming, rhythm is not just a matter of beats, but is also melodically rich, with each instrument producing its own distinct and complex set of tone levels. These tone levels, when combined with the drum's rhythmic patterns, create a unique musical style that is both rhythmic and melodic.

The relationship between these three concepts is one of interdependence, with each concept influencing and shaping the other. For example, ChoreoNommo practices often involve the use of Gesto-rhythmitization techniques, which allow the dancer to imbue their movements with rhythmic content. This results in a form of embodied communication that is both rhythmic and gestural.

Furthermore, Meloprosorhythmic Practices are central to the creation of ChoreoNommo performances, as the fusion of melody, prosody, and rhythm creates a unique musical style that is both rhythmic and melodic. This style provides a foundation for the creation of embodied communication that is not just rhythmically inflected, but also melodically rich.

GATHERING THREADS: RHYTHMIC REENFORCEMENT AND MANIPULATIONS

Rhythmic Reinforcement Modes (Prestø) and Rhythmic Manipulations are important concepts in the study and practice of music and dance. These concepts refer to the ways in which rhythms can be altered, manipulated, or reinforced in order to create different effects or to emphasize certain elements of the composition.

Rhythmic Entropy refers to the level of randomness or uncertainty within a rhythm. A rhythm with high entropy is one that is more unstructured and prone to change, while a rhythm with low entropy is more structured and stable. This concept can be used to describe the rhythmic complexity of a composition and can also be used to analyze the way in which rhythms are used to create different effects in music and dance.

Concerted Rhythmic Reinforcement (Prestø) is when the ensemble builds up under the rhythm of either the main drummer or the main dancer. This ensures that the composition remains in an open and dynamic structure and that the rhythms are reinforced and affirmed. This concept is often used in African-American music and dance, where rhythms are created through a call-and-response pattern.

Accentuated Rhythmic Reinforcement (Prestø) is when the main drummer or dancer “comments” on the ensemble's rhythm by accentuating it and adding virtuosic phrases that cut across, contrast, or complement the existing rhythms. This can add a layer of complexity and virtuosity to the composition, and can be used to create a sense of drama or tension.

Tonal Rhythmic Alteration refers to the use of simple modifications such as the replacement or alteration of single notes to change the “style” of the rhythm. This can be done by muffling or sharpening sounds, which can change the perception of speed or stress. High-pitched notes can give a sense of speed and sharpness, while low-pitched notes can give a sense of weight, control, and “slowness”.

Spacial Rhythmic Alteration is when the spacing between sounds is altered. This can create a “swing” quality or give a feeling of expansion or contraction of the rhythm and movement. This can be done by omitting beats or by rearranging the beats while maintaining the same meter.

Rhythmic Velocity Alteration is the change of speed of the composition. This can be done by altering the tempo, or by using asymmetric speed changes. In pre-recorded music, the meter is usually maintained as a main reference, but in live music the speed and meter may fluctuate depending on the dancers.

Polyrhythmic Thread Alteration (Prestø) is when one or more rhythmic threads in a polyrhythmic composition change. This can be done by the main drummer playing solo phrases that become more elaborate, fall off, or come back.

Polymetric Thread Alteration (Prestø) is when one or more metric threads in a polymetric composition is altered. This can change the feel and structure of the composition, adding complexity and interest.

PULLING THREADS: RHYTHMIC DISTORTION

Rhythmic Distortion is when an element is added that disrupts the feel or sense of the rhythm. This can be done by altering the sound quality, such as with special effects, or by altering the force and strength of the rhythm. These concepts are central to my research, as I explore the ways in which rhythms can be used to create different effects and to convey different meanings in music and dance.

Through a deep understanding of these rhythmic reinforcement modes and rhythmic manipulations, I am able to expand upon traditional Afrikana practices and create new forms of expression that are both rooted in the past and relevant to the present and future. In my technique, The Talawa Technique™ , I incorporate these concepts into my choreography, composition, and performance, always striving for mastery and purposing, rather than innovation for its own sake. My concern is to create meaningful and powerful art that connects with my community and helps to preserve and celebrate the rich cultural heritage of the African diaspora.

SENSING THE WEB: THE CORPORHYTHMO COMPLEX (prestø)

The CorpoRhythmo Complex, a term I have coined, is an intricate nexus where rhythm, movement, and the corporeal intricacies of African dance converge. Rooted in the rich tapestry of African heritage, this framework aims to explore the layered intricacies between the African drum and the African corporhythmokinetic body. This chapter unveils the sophisticated dialogue between rhythmic sounds and embodied movement, tracing the heritage and evolution of this interplay.

Defining the CorpoRhythmo Complex:

At its essence, the CorpoRhythmo Complex represents the rhythmic movement of the body, intertwining polycentric and polyrhythmic practices. This construct not only organizes and elevates these nuanced practices but also integrates them as cornerstones in choreography. By combining "corpo" (of the body) with "rhythmic movement," we delineate movements that both embody and are brought to life by rhythm.

CorpoRhythmokinetic (Prestø) - The Dance of Energy and Rhythm:

Derived from the melding of body, rhythmic movement, and kinetic energy, CorpoRhythmokinetic delves into the harmonizing of rhythmic patterns to magnify the dynamism of body movements. It posits that rhythm, much like in music, orchestrates movements to harmonize rather than clash, allowing a dancer's motions to overlay or transition without conflict. Building upon this, the concept of Kinetic Selfpolyfication (Prestø)comes into play. A consequence of employing Polycentric Movement and Dutticiousness, Kinetic Selfpolyfication is the art of dancers extending and multiplying their essence through movement, shape, form, and energy, all the while maintaining their core identity. Echoing the sentiments of Thomas Talawa Prestø, "Polycentric movement, Kinetic Selfpolyfication is about multiplying yourself without ever cancelling yourself out. It celebrates the complete kinetic coexistence within the community of self."

The Symbiosis of the African Drum and the Corporhythmokinetic Body (Prestø):

At the heart of African dance lies the symbiotic relationship between the drum and the dancing body. The drum captures and echoes the dancer's intricate movements, translating them into a sonic canvas. The body, in response, resonates with the drum's rhythm, creating a kinetic reflection of sound. Within this intricate dance, the principle of "Arriving on Action" emerges as a recurrent theme, underscoring the importance of each movement and rhythm. This dynamic system, reminiscent of advanced multi-computational frameworks, processes and interacts in real-time, akin to the operations of Enigma machines constantly decoding each other's signals. The presence of Kinetic Selfpolyfication further intensifies this dynamic, bringing forth a multi-dimensional, resonant dance where the dancer does not just move, but multiplies in presence and essence.

Decoding the Dance of Rhythm and Movement:

The interplay between the drum and the corporhythmokinetic body unravels as a multi-layered conversation. Each challenges, affirms, or negates the other, resulting in a sophisticated dance that communicates both sound and movement. It's a real-time decoding system, where both entities interact, refuting or corroborating the rhythmic statements of the other.

CorpoRhythMo: An Anatomy of Corporal Rhythmic Movement

CorpoRhythMo, a term I've coined, encapsulates the essence of corporal rhythmic movement, referring to movements within the body that both represent and are enabled by dynamic rhythm. At its core, rhythm serves as a conductor, orchestrating actions, forces, and intent to harmoniously reach a specific outcome. Just as the heart of a piece of music lies in its rhythm, so does the soul of dance resonate with rhythmic movement.

In my quest to understand and dissect rhythm, I identified a 4-point complex consisting of Sonic, Optic, Tactile, and Ethero dimensions. Analogously, I've delineated CorpoRhythMo into five dominant modes. These modes can coexist within the body, emanating from or being catalyzed by its rhythmic activity.

1. Optic CorpoRhythMo (Prestø): The visual dimension of rhythm is captured by Optic CorpoRhythMo. It represents rhythmic movement as perceived by the eyes, emphasizing that rhythm is not just audible, but also visual. Such a distinction permits an understanding of whether the rhythm being conveyed is primarily Optic, Sonic, or Tactile. Optic CorpoRhythMo brings to the fore the nuances of movement that are observed rather than heard, offering a diverse perspective on the rhythmic dance experience.

2. Sonic CorpoRhythMo (Prestø): This mode taps into the audible manifestations of rhythm generated by the body. It provides insights into the nature of movement and, at times, even identifies the specific body parts in motion. Sonic CorpoRhythMo amplifies the language of the body, where every move resonates with distinct rhythmic sounds, narrating the dancer's tale.

3. Sonic Object CorpoRhythMo (Prestø): Beyond the natural sounds generated by the body, there is rhythm birthed from interactions between the body and external objects, like instruments. Sonic Object CorpoRhythMo distinguishes these rhythms, underscoring the authenticity and spirit emanating from bodily interactions as opposed to synthesized, computer-generated sounds. It celebrates the profound embodiment of spirit channeled through corporeal engagements.

4. Tactile CorpoRhythMo (Prestø): Embracing the tactile dimension of rhythm, this mode underscores the vibrations and movements birthed from rhythmic bodily engagements. Dancers, interconnected through the universe of rhythm, can "vibrosense" each other, decoding details like positioning, intentions, and impending changes. The beauty of this mode is in its inclusivity - a deaf dancer can dance, guided by vibrations, just as a blind dancer can map surroundings through rhythmic vibrations. Africana aesthetics, in its rich tapestry, recognizes and venerates the tactile nature of rhythm.

5. Ethero CorpoRhythMo (Prestø): Venturing into the metaphysical realm, Ethero CorpoRhythMo signifies rhythms that transcend the tangible, touching upon memories, cultural norms, ancestral or divine codes. Recognizing that rhythm isn't confined to the physical realm, this mode expands our understanding of rhythmic experiences.

• Potential Rhythm (Prestø): Nestled within Ethero CorpoRhythMo is the concept of Potential Rhythm. It’s the dance of possibilities, the unexpressed yet ever-present virtuosity of abundance. While the dance may not manifest every potential rhythm, its presence is always felt, adding layers of depth and complexity to the rhythmic narrative.

CorpoRhythm Physics (Prestø): A Polycentric Movement Philosophy

Dance, in its essence, mirrors the vibrant facets of a cultural mosaic, deeply intertwined with history and personal narratives. Similar to how the Inuit language encompasses various terms to depict the nuances of snow, the intricate lexicon of traditional African dance deserves a more profound global expression. In response, we present the concept of "CorpoRhythm Physics."

This term extends beyond mere nomenclature; it embodies a holistic polycentric movement philosophy. Anchored in the traditions of African dance, it endeavors to encapsulate the multilayered essence of grounded rhythmic movement.

Diving deeper into "CorpoRhythm Physics":

1. Corporeality: Dance transcends mere sequences and patterns. It resonates with stories, experiences, and diverse shades of human expression. These narratives are not just enacted; they are deeply internalized, forming an intimate bridge between the dancer and their ancestral roots.
2. RhythMo: This pulsating core of our philosophy embraces the polyrhythmic symphony of the body, intertwined with each dancer’s distinct rhythmic persona.
3. Kinetics and Kinematics: A poetic adaptation from physics, these elements add depth and structure to our understanding:

• Kinetics explores the invisible forces that invigorate the dancer, laying the foundation for the polycentric cadence.
• Kinematics magnifies the harmonious interplay between different segments of the dancer's body, emphasizing their independent movements while ensuring a cohesive ensemble.

PULLING THREADS: CORPORHYTHMIC PHYSICS (Prestø):: Delving Deep into Polycentric Movement

The tapestry of dance, with its undulating rhythms and intricate movements, deserves a lexicon that captures its depth and complexity. In the spirit of understanding the nuanced dance expressions deeply rooted in cultural traditions, we introduce the concept of "CorpoRhythmic Physics." This multi-faceted philosophy not only encapsulates the essence of dance but seeks to provide a framework to dissect and appreciate its various components.

1. CorpoRhythmic Momentum (Prestø)::

The core of any movement lies in the momentum it generates. In the realm of dance, this momentum is not merely physical but is deeply rhythmic. CorpoRhythmic Momentum speaks to this concept, highlighting the synergy of rhythm and physical force. When dancers harness this momentum, they achieve a confluence of power, speed, and grace. It’s evident in styles like K.R.U.M.P, where the rhythmic buildup and release of energy results in a whip-like movement, displaying power without exertion.

2. CorpoRhythmic Coordination(Prestø):

To harness momentum, one must master coordination. CorpoRhythmic Coordination delves into this art. In dance, the coordination is not just about aligning movements but ensuring these movements align rhythmically. This is evident in dances like Sabar, where dancers must align their steps not just with the beats but with the rhythm of their body's movements. Such coordination amplifies the dance's power and fluidity, making every motion seem effortless.

3. CorpoRhythmic Capacity (Prestø)::

Beyond momentum and coordination lies the realm of capacity. The CorpoRhythmic Capacity speaks to a dancer's ability to layer rhythms, integrate various dance elements, and harness the energy of the dance. It's about the depth and breadth of a dancer’s rhythmic engagement. It determines the extent to which a dancer can integrate momentum, coordination, and representation to produce a holistic and captivating performance.

A true testament to this capacity is "Rhythmic Virtuosity". It's not about the sheer volume of movements or rhythms a dancer can display, but the balance and harmony achieved in layering them. Whether it's the subtle groove of an elder or the explosive energy of a youngster, the essence lies in the balanced execution of movements.

PULLING THREADS: WE TIME- NEGOTIATING INTERPERSONAL RELATIONSHIPS THROUGH RHYTHM

In the intricate world of rhythmic expression and movement, the concept of "We Time" emerges as a fundamental and dynamic entity. We Time is the unifying factor in a polyrhythmic approach to music and movement, serving as the glue that binds multiple, often differing, rhythms into a unified relationship. It's important to note that this unity is not necessarily synonymous with harmony but is rather about relation, often achieved through contrast or absence as much as through harmony and unison.

Distinct from Common Time: We Time should not be confused with a traditional downbeat or a common time signature. It's not about following a regular beat or a predictable rhythm. Instead, it thrives on the interplay of diverse rhythms and tempos while finding a common pulse that serves as a reference point. This reference point, however, is not a fixed time signature; it's a shared groove and an understanding of timing that allows for rhythmic negotiation.

Examples from Dance: Consider House dance, where two dancers may perform entirely different steps and move at varying speeds, yet they remain unified by a constant pulse they share. This pulse is their common reference point, not a rigid time signature. They navigate and play with time signatures, doubling, halving, or real-timing them to add pressure and friction to the rhythmic composition.

Polyrhythm vs. Polymetric: While House dancers predominantly explore polymetric compositions, expert tap dancers or hoofers can work with complex polyrhythms, even relating to different time signatures, all while maintaining a common groove or We Time. This distinction between polyrhythm and polymetric is essential for understanding the nuances of rhythmic expression.

We Time as Groove: We Time is inherently connected to groove. In African dance, the groove is not limited to the downbeat but is a dynamic and multi-dimensional element. For example, the Zinli dancers in Benin showcase the intricate negotiation of groove, even in seemingly individual movements. This complexity surpasses what is typically seen in mainstream contemporary dance expressions like Hip Hop.

Deep Cultural Practices and Rhythmic Complexity: To truly grasp the depth of rhythmic complexity and We Time, one must explore central cultural practices, often involving drum usage and sacred or ritual dance on the African continent and in the Diaspora. These practices reveal a profound understanding of rhythm and its role in cultural expression.

High Aesthetics vs. High Art: The notion of High Aesthetics, as opposed to High Art, becomes relevant in understanding how Africana approaches to art, life, and lifeart differ from Western standards. In Africana cultures, the boundaries between art, sacred, and secular are fluid and liminal, defying categorizations based on Western art practices.

Rhythmic Personality and Tangent Positionality: The concept of Rhythmic Personality and Tangent Positionality adds layers of complexity to We Time. These factors challenge the established harmony and cause constant renegotiation of interpersonal relationships through rhythmic and kinetic conversation. In essence, Africana dance can be viewed as an ongoing conversation that constantly shapes and reshapes our relations with one another.

We Time is not merely a rhythmic concept; it's a profound expression of Africana culture and aesthetics. It underpins the negotiation of interpersonal relationships, serving as a testament to the intelligence and depth of rhythmic conversation. Recognizing Africana dance as a conversation allows for a more accurate and appreciative understanding of its core practice, one that values and acknowledges the importance of interpersonal relationships within pan-African culture.

FASTENING THE WEB: GESTO-RHYTHMITIZATION

This concept is in dialogue with Thomas DeFrantz concept of Corporeal Orature and how it relates to Black Social dance. Thomas has the following to say about his concept Corporeal Orature:

Corporeal Orature

Black social dance becomes itself when dancers recognize their motion as a technology of communication and expression. Particularities of intention and citation occur within these gestures, and Black social dance distinguishes itself by its ability to convey feeling as a fact of intentional movement. We can call this capacity corporeal orature.

DEFINITION

GestoRhythmitization is the conscious and immediate curation of meaningful gesticulations and rhythmic codes in African diaspora art practices, such as dance, music, and performance. This curation aims to heighten and diversify layers of communicative action that respond to the present moment, the past, and the future. Central to this is the rhythmic linguistic connection prevalent in tonal languages, reflecting the unique communication and personality of African and African diaspora communities. By emphasizing that rhythm and gesture convey profound cultural meaning, GestoRhythmitization pulls from historically embodied discourses. Through the dancing body, it clarifies ambiguity, negotiates identity, confronts internal and external suppressors, and reveals personal truth. In essence, gestures function as fluid, body-written hieroglyphs, deeply rooted in tradition and looking ahead to future interpretations.

Coined by Thomas Talawa Prestø 2019

The concept of Gesto-Rhythmitization emphasizes the idea that rhythm and gesture both carry meaning and are signifiers and carriers of meaning in African diaspora art practices. This is rooted in the fact that most African languages are tonal, and rhythm, movement, and language have always been closely linked. Gestures can be seen as written hieroglyphs which carry cultural-specific meaning that can be written with the body, and altered by curvature, movement quality, rhythmicity, and a series of other elements.

1. Embodied Knowledge:

• GestoRhythmitization envisions the body as both a cultural archive and a vessel for expressing emotions and thoughts.
• Through dance, music, and performance, it transmits cultural memories, values, histories, feelings, and narratives.

2. Tonal Languages and Embodied Expression:

• Rooted in African languages' tonal nature, there's a deep connection between rhythm, gesture, voice intonation, emotion, and meaning.
• Movements, akin to visual tonality, are complemented by the auditory nuances of speech and together convey complex emotional narratives.

3. Improvisation as Cultural Memory and Anticipation:

• Performers weave emotions, memories, and hopes into their artistic renditions, spanning the past, present, and future.
• These improvisations are informed by ancestral traditions and, in turn, may shape these traditions for the next generation.

4. The Semiotics of Gesture:

• Gestures in GestoRhythmitization are symbols, rich with layered meanings similar to written language.
• Beyond mere movement, they encapsulate complex emotions and ideas, offering a canvas for internal processes to be articulated in physical form.

5. Intercultural Exchange:

• GestoRhythmitization serves as a reflection of diasporic cultures' adaptive nature and as a bridge for emotional and cognitive translations.
• As communities engage globally, gestures, and rhythms are influenced, transforming to reflect diverse cultural interactions.

6. Hip Hop Application:

• Hip Hop, rooted in African diaspora, is an arena where GestoRhythmitization thrives.
• From breakdancing to lyricism, it captures the ethos of channeling internal landscapes into rhythmic, physical expressions.

7. Community Building:

• GestoRhythmitization, with its shared practices, fosters deeper connections within communities, emphasizing common embodied experiences.
• It fortifies unity, cultural identity, and a sense of belonging among diaspora communities.

Overall, GestoRhythmitization magnifies the transformative power of the body to manifest emotional and cognitive processes into expressive art forms, creating a dynamic continuum between the inner self and the external world.

We have all heard much talk about African and African Diaspora oral traditions. African and African Diaspora culture and spirituality are often as much danced as they are spoken and sung. A significant part of the "archive" is therefore that of gestures. I call this archive and the practice of utilizing, codifying and decodifying this archive of gestures; Gesto-Rhythmitization. Gesto-Rhythmitization emphasizes the idea that gesture and rhythm both carry meaning and are signifiers and carriers of meaning in African diaspora art practices. The gestures can be seen as written hieroglyphs which carry cultural-specific meaning that can be written with the body, and altered by curvature, movement quality, rhythmicity, and a series of other elements.

In the context of Africana dance, improvisation is often used to call and respond to the audience in the present moment, unfolding a story and giving meaning through movement and sound. This process is highly social, interactive, and discursive, as the improvisation is a capacity capable of disseminating complex information which is deciphered by knowledgeable onlookers or active participators who participate in the real-time rhythmic gestural discourse. This highlights the highly intelligent approach to improvisation in Africana cultural forms, forms which, due to stereotyping, are all too often perceived to be simplistic, consisting of random movement or misconstrued through romantic concepts of "freedom of form".

Gesto-Rhythmitization crosses the lines of sacred and secular. The hand gestures of Shango, Eleggua, Ogun, and Oya that are strongly represented in Hip Hop and B-Boying carry much deeper meaning to the core cultures. In my research, it has fascinated me how movements that are associated with divinity and power, so often, through misappropriation, becomes misconstrued representations of "ghetto" qualities. Considering that Hip Hop could very much be viewed as a culture of resistance, one should not be surprised that the dances of protection, and preparation for war and the divine power of the four warriors Shango, Ogun, Eleggua, and the female Oya are called upon into the cypher.

Through gesto-rhythmitization, we are able to reclaim and celebrate the richness and diversity of Africana cultural traditions and practices, affirming the afrocentred practitioner and allowing them to draw on their cultural heritage and experiences to create art that is meaningful and relevant to their community, and that challenges and resists dominant paradigms of power and control.

Similar to the funeral dances of Bongo and the feminine power of both Oya and Oshun, are seen in the hand movements, duck walks, and dips of the queer Ballroom scene. Gesto-Rhythmitization allows Black queer, Caribbean, African American, and African Latinx to call upon divine femininity in the celebration and affirmation of their own divine feminine. It is links such as these that are often ignored in much scholarship on Black Dance, and especially American dances. In the Caribbean, the folk Dances hold a much larger space in people's consciousness and the common cultural archive, so the elements of Kumina that are twisted but present in the Dancehall is clear to everyone, while the constant consumerist packaging of Black creativity in the States always wants to pawn something off as "new", rather than a continuation of the Ancient Future. This can be seen in the way that gestures taken from the Orishas, West African gods, are finding their way into hip hop improvisation or how vernacular gestures and body language are finding their way into everything from ancestral dances to viral TikTok and Instagram videos

But known to the innovators or not, they are drawing upon the archive and engaging in both filial and ancestral dance, weaving a web of authenticity which allows for the idioming of our significant gestures and spirituality, updating and translating the language and adapting dance to have meaning for us in the present time, arming us to respond to the forces that play upon us and creating a respite from being defined and allowing a space where we, initially before appropriation, define the criteria for existence.  We adapt to our environment, our lives and our situations through rhythmic engagement. It is through rhythm that we acclimate to our environment with a certain flair. 

In my exploration of cultural practices within the African diaspora, I have introduced the concept of "Gesto-Rhythmitization" as a way to navigate the intricate web of gestures and rhythmic codes found in art forms like dance, music, and performance. This intentional approach to improvisation not only captures the spirit of the moment but also draws from ancestral knowledge and traditions, bridging the past, present, and future.

Within this context, I recognize that the symbols and expressions of identity lose their significance as they are detached from their original meanings. While they still unlock a wealth of cultural knowledge for those who understand, there's a growing challenge for the upcoming generation to distinguish between authentic sources and fabricated narratives. Dance, particularly its moves and gestures, serves as a roadmap of Black corporeality and an invaluable archive that encapsulates history, culture, and spirituality.

It's important to acknowledge that dance is more than mere movement; it's a repository of memories and experiences. As these memories are erased or overwritten, the library of cultural heritage is essentially burned. This act is an act of violence, a metaphorical burning of our real libraries and monuments. In the absence of documented stories and monuments, our bodies become the living monuments, storing, producing, and transmitting our cultural legacies. Protecting these archives becomes essential, and engaging with tradition and ancestral practices emerges as a contemporary act of preservation and empowerment.

Gesto-Rhythmitization amplifies the significance of rhythm, which operates as both code and language, carrying multigenerational narratives. Through rhythm, we can connect with our ancestors' movements, understanding how our predecessors danced through the rhythms they crafted. This engagement offers a tangible link to the past and allows us to negotiate the movement, adding our unique personalities and perspectives to the discourse.

"Dances of memory" are not static forms but living traditions that evolve over time. Each generation learns from its predecessors while infusing its own experiences, culture, and sensibilities. The result is a dynamic discourse that reflects the present while honoring the past. This concept challenges the notion that tradition inhibits progress; instead, it showcases how tradition is the very vehicle of the future.

Cultural misappropriation disrupts this narrative. When gestures, rhythms, and language are appropriated without understanding their interconnectedness, the archive fractures. Gestic and rhythmic traditions converge with oral traditions, enhancing the depth of meaning when read together. Appropriation, in this context, is akin to dismantling the archive, akin to burning a library. Many contemporary dance steps, like those in hip-hop, have deep roots in ancestral preparations for war, resistance, and spiritual practices that were preserved through slavery and continued in spaces like Hush Harbors. These spaces were vital for maintaining the ritual and sacred aspects of our culture, allowing us to remain connected to our heritage through rhythm, song, and dance.

As we engage with Gesto-Rhythmitization, we embody the proverbial role of carrying our own water, preserving and perpetuating the wisdom of our ancestors. Through our embodied expressions, we honor their memory and maintain a living connection to our heritage. Our movements, gestures, and rhythms become the vessels through which the archive is deciphered, sustained, and shared across generations.

PULLING THREADS: "GESTOKINETIC IDIOMIZATION"

Idiom refers to a specific phrase, expression, or linguistic construction that has a unique meaning within a particular language or community. It is characterized by its figurative or cultural significance, often understood by native speakers but not easily deducible from the individual words or components. Idioms contribute to the richness and nuance of language, reflecting the cultural, historical, and social context in which they originated. They serve as powerful tools for communication, conveying complex ideas, emotions, and experiences in a concise and distinctive manner.

"Gestokinetic idiomization" refers to the process by which specific gestural or kinetic movements within dance seek to become idioms within a cultural or subcultural context. It involves the transformation of these movements into recognizable and commonly understood symbols that carry cultural meaning and serve as a shared language of expression.

In the context of dance, Gestokinetic idiomization occurs when certain gestures, body movements, or sequences of kinetic actions gain significance and become emblematic of a particular culture or subculture. These movements acquire a symbolic value and convey messages, emotions, or social codes that are understood and appreciated by members of that community.

Similar to how idioms in language convey nuanced meanings that are specific to a particular group, Gestokinetic idioms in dance embody cultural values, aesthetics, and embodied experiences. They become a distinct vocabulary of movement that defines and reflects the identity, history, and social dynamics of the community.

The process of Gestokinetic idiomization involves the transmission and propagation of these movements within the community through observation, imitation, and participation. As they are practiced and shared, they become widely recognized and accepted as part of the cultural repertoire. They may also undergo variations, adaptations, and innovations over time, reflecting the evolving nature of the culture and its expressive forms.

Gestokinetic idiomization is a dynamic and organic process that occurs through the collective engagement and participation of individuals within the cultural or subcultural group. It contributes to the formation of a shared movement language, fostering a sense of belonging, cultural continuity, and the preservation of embodied knowledge within the community.

The drive towards Gestokinetic Idiomization is the driving force behind the widespread viral nature of Africana (African and African Diaspora) dance. Unlike the commercial aspect of going viral, the primary goal is not mere popularity or commercial success, but rather the aspiration to become an idiom—a distinct language that holds deep value and utility within its own community, shaping its habitus.

Africana dance has tapped into this inherent propensity for idiomization, where specific movements, gestures, and rhythmic patterns strive to become widely recognized and understood as part of a shared movement language. This process transcends mere entertainment, as it goes beyond the individual and serves the collective expression of a unique community. In this way, the language of dance itself becomes a powerful tool in forging connections and fostering a sense of belonging among its practitioners and enthusiasts.

While commercial forces have capitalized on the viral potential of Africana dance, the process of idiomization serves dual purposes. On one hand, it seeks fame and visibility, creating commercial opportunities for dancers and artists. On the other hand, it is a profound means of preserving and perpetuating the cultural heritage, as these idioms become the raw material from which the community can express and create, rooted in their own perspectives and experiences.

The language of dance not only unites individuals but also generates a vibrant and dynamic community. It shapes shared experiences, stories, and values, fostering cultural continuity and a sense of identity. As the idioms spread and gain recognition, the community grows, enriching its movement vocabulary and deepening its connection to its roots.

The viral nature of Africana dance is not solely driven by commercial motives but rather by the quest for Gestokinetic Idiomization—a desire to become a specific language that is relevant and meaningful to its community. In this way, the dance not only entertains but also empowers, nurtures cultural pride, and creates a sense of community that transcends borders and generations.

The drive towards Gestokinetic Idiomization is the powerful force that propels Africana (African and African Diaspora) dance to viral status. However, it is important to recognize that the goal of going viral is not merely for commercial success, but rather to become a specific language, deeply rooted in its community and imbued with cultural significance. Understanding rhythm and gesture as language, in alignment with the principles of Culturokinetics, Gestorhythmitization, and Gestokinetic Idiomization, highlights the centrality of communication with a specific perspective in all these aspects.

Gestokinetic Idiomization, when embraced, fosters a profound connection between movement and cultural expression. It recognizes that danced movements and gestokinetic idioms are not empty husks but embody layers of meaning, poesis, and fertility within their original context. They serve as vehicles of profound communication and hold the essence of Pwen, which is vital to their respective communities.

However, when these expressive movements are removed from their cultural context and repackaged without understanding their profound significance, they lose their depth and become mere repetitive trends or fads. This act of cultural appropriation perpetuates epistemicide, eroding the richness and authenticity of the original movements. The profound layers are flattened, and the embodied poesis and fertility are extinguished, leaving behind empty shells devoid of their inherent power to communicate and affect the world.

It is crucial to acknowledge the damage caused by removing these danced movements and gestokinetic idioms from their cultural roots. Such actions undermine the Pwen that sustains the community and perpetuate epistemicide, stripping away the profound and meaningful aspects of Africana dance. Instead, we must honor and respect the origins and intentions of these movements, ensuring that they are preserved as living languages of expression, capable of transmitting the essence of their communities.

PULLING THREADS: CORPOKINETIC LEXICAL IDIOMS AND GESTORHYTHMITIZATION

Corpokinetic Lexical Idioms and Gestorhythmitization are integral aspects of Africana (African and African Diaspora) dance practices that involve the embodiment of knowledge, life philosophies, psychology, and emotion. Africosmotic Dance, rooted in Africana perspectives, recognizes that knowledge can emanate not just from the mind but also from the body. Even spirits, ancestors, and deities demand the utilization of our bodies in these practices.

In the Euro-Western contemporary art world and academia, there has been a growing interest in embodiment as a valuable perspective and field of inquiry. This inclination often leads to the exploration of African Diaspora, indigenous, and Eastern perspectives, perhaps acknowledging the disembodied quality inherent in colonial and Euro-Western perspectives.

Corpokinetic Idioms refer to the vocabulary of the body in motion, comprising a diverse range of individualized options. In Africana perspectives, dance permeates all aspects of life, with a dance associated with nearly every life experience across various African and African Diaspora cultures. The vastness of the lexicon of meaningful gestures within Africana dance praxis and practice is often overlooked. Generations of artistic research have contributed to the creation of these dances, which explains their broad appeal.

These dances serve multiple purposes, such as increasing crop harvests, facilitating transitions into adulthood, celebrating marriages and births, aiding the deceased in their journey to becoming ancestors, educating, modeling behavior, teaching vocational skills, processing grief, and expressing joy. Some dances embody spirits, affirm history, and manifest the future. The commonality among Africana Dances is their inherent action and functionality. They possess both "Wanga" (a term denoting spiritual power) and "PWEN" (a term referring to the ability to manifest change or make things happen).

In the context of Archival Ancestral Dance, where dance has been practiced for an extended period and is part of a community's embodied archive, dance and identity are inseparable. Specific dances or the way one dances convey one's identity to the world, including age, gender, cultural affiliation, vocation, marital status, class, health, and social position. Current Ancestral Dance, which builds upon the aesthetic foundations, cultural aspects, and praxis of archival ancestral dance, includes genres like Hip Hop, House dance, Salsa, Samba, Bachata, Reggae, Dancehall, SoCa, Ballroom/Vogue, and many more. These genres continue to generate identity, foster a sense of belonging, and cultivate community. Creating community is a fundamental function of much Africana Dance, to the extent that it can be considered a defining pillar.

To categorize dance practices that produce a specific habitus and foster community, the term "Habitus Producing Dance" is introduced. Habitus refers to the way individuals perceive and respond to their social world through their habits, skills, and disposition. Engaging in dance forms such as Hip Hop often leads individuals to adopt the identity of "hiphoppers" and view their social world through this lens.

Gestorhythmitization captures the process of distilling emotion and cognition into physical and muscular components through embodiment. Throughout history, Africana dances have embodied discourses, and they continue to do so. Through the dancing body, these dances bring clarity to ambiguity, negotiate identity, confront internal and external oppressors, communicate pain, and reveal personal truths.

The principle of "We Move to Think!" encapsulates the concept of cognosomatics, which underscores the understanding that we feel and engage in cognitive processes through our bodies.

PULLING THREADS: AFRI-NOMADIC-MONUMENTALISM (PRESTØ)

As a member of the African Diaspora, my understanding of Afri-Nomadic-Monumentalism is both personal and reflective of a collective experience. In the face of historical dispossessions and the denial of building monumental structures to honor our ancestors, our resilience found expression through an alternative, profound form of commemoration.

Afri-Nomadic-Monumentalism is the practice of imbuing movement, gesture, and rhythm with meaning, transforming them into deposits of history and experience, and serving as archival storage units. This practice turns rhythm and dance into living, breathing monuments that carry our stories, struggles, and triumphs.

Core Elements:

1.     Embodied Archives: Movement, gesture, and rhythm become condensed texts holding historical and experiential meaning, decipherable through practice and embodiment. Each movement and gesture in dance holds layers of meaning and memory, transforming the body into a living archive.

2.     Cultural Technology: This practice acts as a complex technology where the movements themselves are both monuments and texts, legible to those within the cultural context. Our bodies become the canvases on which our tales are etched, making invisible histories visible through performance.

3.     Dynamic Memory: Through rhythm and gesture, history and narratives are actively remembered and perpetuated, creating living, breathing monuments. In the pulse of drums and the cadence of our steps, we find acts of reclamation and declaration. Our bodies, enacting rhythms and dances passed down through generations, transform into moving monuments.

Significance:

Afri-Nomadic-Monumentalism transforms bodily movements into powerful repositories of cultural memory. This practice ensures that the history and experiences of the African Diaspora are preserved, celebrated, and understood within the community, maintaining a vibrant and resilient cultural identity. It is a testament to how we use the fluidity of dance and the universality of rhythm to keep our history alive.

We, descendants of Africa scattered across the globe, often built monumental wealth and architecture for others, particularly in the Americas, without claim or credit. Despite these hardships and the lack of conventional avenues to celebrate our heritage, we developed a unique form of memorialization. Deprived of traditional monuments, we turned to rhythm and dance—technologies inherently ours. Rhythm evolved into a narrative vehicle carrying the stories, struggles, and triumphs of our ancestors, while dance became an embodied archive.

Through these acts, we do not merely remember our past; we invoke it, giving it life and presence. Each movement engages in a dialogue with those who came before us. In spaces where our narratives were marginalized, our bodies became canvases for our tales. In the arch of a back, the stomp of a foot, and the swing of an arm lies the resilience of generations, told in the bold language of movement and rhythm.

Our dances and rhythms are more than artistic expressions; they are living monuments to where we've been, what we've endured, and where we're going. They embody our connection to our past and our ongoing journey as a diaspora—each step a testament to survival, each beat a declaration of our unbroken spirit.

GATHERING THE WEB CORPOKINETIC EFFIGIZATION 

At its core, CorpoKinetic Effigization (Prestø) refers to the process and praxis wherein individuals transform their own bodies into living effigies, embodiments that engage with and confront systemic, historical, and personal traumas. It is the act of turning one's body into a kinetic monument, a living archive that revisits, recalls, and, ultimately, seeks to reshape narratives of oppression, marginalization, or societal challenges.

The practice is rooted deeply in the synthesis of kinetic movement (dance, gesture, and posture) and corporeal awareness, making the body both a vessel and a weapon. The "effigy" in this context is not a passive representation but an active conduit of memory, resistance, and transformation. It channels collective memory, past traumas, and aspirational futures, bringing them to life in the present moment.

Historical Context and Evolution The origins of CorpoKinetic Effigization are intertwined with the histories of oppressed groups. It is a culmination of practices where the body becomes the primary site of resistance. For the African Diaspora, especially during the eras of slavery and colonization, direct vocal resistance was often suppressed or fraught with danger. However, the body, through subtle gestures, dances, or coded movements, became a powerful medium to convey resistance, memory, and hope.

For instance, traditional African dances, which were performed during various rituals or ceremonies, were more than mere entertainment. They were stories, memories, and messages, often passed down through generations, preserving histories that were actively being erased or rewritten by oppressors.

The Mechanisms of CorpoKinetic Effigization Three primary mechanisms underscore this practice:

1. Embodiment: At the heart of CorpoKinetic Effigization lies embodiment. It is about internalizing narratives, memories, and traumas, making them a part of one's very being. This internalization is not passive; it's a conscious choice, a way to assert control over one's history and identity.
2. Performance: Once embodied, these narratives are brought to life through performance. Dance, theater, or even spontaneous public gestures become platforms to project, confront, and subvert dominant narratives. It's through these performances that the effigies come alive, engaging audiences in a dialogue that's both historical and immediate.
3. Transformation: Perhaps the most critical aspect is the transformative potential of the practice. It's not just about remembering or confronting; it's about changing narratives, reshaping perceptions, and reclaiming agency. The effigized body becomes a site of continuous evolution, redefining its own identity and the world around it.

Implications and Significance The implications of CorpoKinetic Effigization are vast. On a personal level, it allows individuals to connect with their histories, find strength in their roots, and chart their paths forward. On a collective level, it provides communities with a shared sense of identity, history, and purpose.

Moreover, it challenges dominant narratives, offering alternative perspectives that are rooted in lived experiences rather than imposed definitions. In the age of globalization, where identities are constantly in flux, practices like CorpoKinetic Effigization anchor individuals and communities, giving them a sense of self that's both deeply historical and dynamically future-oriented.

Ole Mas and its Resonance with CorpoKinetic Effigization

The vibrant traditions of ole mas and minstrel shows offer a lens into how the African Diaspora has historically harnessed performance to challenge, ridicule, and redefine power structures, notably through the practice of CorpoKinetic Effigization. Let's delve into this rich tapestry and explore the confluence of these art forms.

Ole Mas: An Overview Originating in the Caribbean, particularly in Trinidad and Tobago, ole mas is a form of street theater that has deep roots in the history of slavery and emancipation. During the era of slavery, plantation masters celebrated Carnival with grandeur, indulging in lavish balls and masquerades that lasted until dawn. Enslaved, confined to their yards, would mimic and mock these extravagant displays, transforming them into satirical performances that commented on their own lived realities.

Post-emancipation, this mimicry evolved into a full-blown Carnival tradition. Freed Africans, drawing from their own experiences and observations, took to the streets to lampoon their former masters. A striking embodiment of this was the jab molassie—a masquerader painted with molasses. The symbolism is profound; molasses, a byproduct of the sugar industry that enslaved them, became the very medium through which they ridiculed the system and its enforcers.

CorpoKinetic Effigization: The Living Effigy CorpoKinetic Effigization is the embodiment of historical traumas, systemic oppressions, and personal narratives, bringing them to life through performance. It's a transformative practice, turning the body into a kinetic canvas that tells stories, challenges narratives, and sparks dialogues.

The Intersection: Ole Mas & CorpoKinetic Effigization The practices within ole mas can be viewed as early incarnations of CorpoKinetic Effigization. Here's how:

1. Embodiment of History: Just as CorpoKinetic Effigization internalizes narratives, the jab molassie in ole mas embodies the traumas and indignities of slavery. The act of painting oneself with molasses is not just a cosmetic choice—it's a poignant reflection on the chains of the sugar industry and an assertion of agency over that painful history.
2. Performance as Resistance: Ole mas, in its essence, is performative resistance. By mocking their masters, the enslaved were not just indulging in humor—they were challenging power dynamics, asserting their own narratives, and reclaiming a sense of dignity. This mirrors the principles of CorpoKinetic Effigization, which uses the body as a vessel for resistance and reclamation.
3. Transformation through Satire: The evolution of ole mas post-emancipation, especially the characterizations of former masters as devils from hell, is a testament to the transformative power of satire. This aligns with the transformative ethos of CorpoKinetic Effigization, where performance is not an end but a means—a catalyst for change.

Minstrel Shows: A Double-Edged Sword Minstrel shows, while often rooted in racist caricatures, also became platforms for Black performers to navigate and subvert these derogatory images. They engaged in a complex dance of embodying the stereotypes while also providing commentary on them. This duality—of performing oppression while signaling resistance—is akin to the principles of CorpoKinetic Effigization. However, it's crucial to note the controversial nature of minstrelsy and the inherent dangers of perpetuating harmful stereotypes, even when subverted.

ADDITIONAL INFO/CONTEXT ON OLE MAS

During the period of enslavery, Carnival was a duality of celebrations. The masters reveled in lavish Eyes Wide Shut masquerade balls, dancing luxuriously into the early hours. Simultaneously, enslaved Africans, confined to their yards, developed their own version, mimicking and mocking their oppressors' revelries. This parallel Carnival became an act of resistance and satire. The masters' celebration was emulated and exaggerated, a defiant subversion of power dynamics.

Upon emancipation, the newly freed Africans took their mas out of the yards and onto the streets, a continuation of celebration and resistance. From dancing in their own secluded spaces, they moved to the very streets of the cities, undeterred by the late or early hours. This evolution birthed J'Ouvert and ole mas. The jab molassie became emblematic of these festivities, a figure painted with molasses, a material deeply tied to the exploitation of enslaved labor. Today, the tradition has evolved to use oil and mud, yet the historical resonance remains potent.

Ole mas, akin to parliamentary privilege, provided a shielded platform to taunt and critique the former masters. The roots of this tradition trace back to the enslaved Africans' theatrical endeavors, lampooning the plantocracy with their own renditions like the negre jardin. Satirical theatre emerged as a means of resistance, evolving from the kamboulay (or cannes brulees - 'burning canes'). Initially a mimicry, it transformed into a powerful instrument of satire and resistance.

Moreover, this satirical essence is deeply rooted in African traditions brought during the harrowing Middle Passage. As the enslaved integrated these satirical performances into resistance strategies against the oppressors, it also seeped into popular entertainment forms in the Caribbean. Vaudeville shows, bearing both English and local influences, included the Christmas Morning concerts in Jamaica and performances in cinema houses, with renowned Caribbean performers such as Bim and Bam, Ed ‘Bim’ Lewis, Ranny Williams, Louise Bennett, Paul Keens-Douglas, Bello, Blacka, and more. These performances, laden with double entendre, topical references, and satirical quips, played pivotal roles in continuing the tradition of resistance and lampoonery.

From the Jamaica Pantomime, an amalgamation of English pantomimes and Jamaican folklore, to contemporary productions like Laff It Off in Barbados and the works of Raymond Choo Kong and Penelope Spencer in Trinidad and Tobago, the Caribbean has witnessed a long-standing tradition of satire as a means of resistance, recollection, and celebration.

With CorpoKinetic Effigization, this becomes even more pronounced. Our bodies don't just remember; they confront, engage, and transform. They are not mere carriers of history but active agents in its making and remaking. Just as the enslaved took control through satire during Carnival, we continue to harness the power of our bodies to confront historical traumas, dismantle oppressive structures, and rewrite our narratives. The Carnival, with its rich history and evolving practices, stands testament to this journey, embodying the dynamic interplay between Afri-Nomadic-Monumentalism and CorpoKinetic Effigization.

SENSING THE WEB: UBUNTU- *WE ARE WHAT WE ARE TOGETHER

Carrying this thought further Into the realm of rhythm and rhythmic acumen. Acumen is the ability to make good choices, quickly.  The rhythm, representing life, and life many pathways and choices, the dancer and the lead drummer (usually) are demonstrating the ability to navigate life, and where there are a multitude of choices, to vibrate together to such an extent that excellent choices are made together in conjunction, and with expediency. It is the symbolic reenactment of cooperation through negotiation and communication. It is interinfluencing it is the simultaneous erasure and affirmation of self aka constant remanifestation, because the self is considered to be relational. Relationships must then be investigated in order to pinpoint self. 

Often we translate Ubuntu (an Bantu African philosophy of the nature of human beingness and personhood)to “I am because we are”.  I believe, however, it could be reformulated to “I am what we are together” or “I am what I am with you”. This also flows from the body to the space. A Site in this context could be perceived to be dictated by the body or its activity. The site is what it is together with our bodies. Hence a parking lot becomes a Dancehall, because that is what it is together with our bodies. Not what it is on paper. This “body first” logic has allowed us to create sacred groves, to raise churches in moments, to turn streets into clubs, and entire cities into moving artworks like Carnival. These sites are what they are together with our bodies. 

UBUNTU AND COLLECTIVE INDIVIDUALITY

Collaborative Competition

• Competing against eachother to “one up” yet in perfect collaboration rhythmically and in relation to the call and response and experience of the audience. 

Collective Individuality

• Practices which affirm membership to a community at the same time as it differentiates and affirms the individual. 

COLLABORATIVE COMPETITION:

Collaborative Competition refers to a dynamic and intricate interaction within artistic and performance contexts where participants engage in a simultaneous pursuit of excellence while cooperating harmoniously. It involves competing against each other with the shared goal of pushing boundaries, showcasing skill, and elevating the performance collectively. This phenomenon is often seen in artistic practices like dance, music, and sports, where individuals strive to outdo each other while maintaining a cohesive and synchronized group dynamic.

At its core, Collaborative Competition is about the synergy between participants that is fueled by a desire for excellence. As artists engage in a friendly rivalry to "one up" each other, they do so within the framework of mutual respect and collaboration. This interplay adds depth and complexity to the performance, creating an electric atmosphere of artistic tension. The rhythm of competition is not isolated; it intertwines with the rhythm of call and response, amplifying the dialogue between performers and the audience. The audience becomes an active participant, responding to each artist's contribution and propelling the collaborative energy forward.

This concept embodies a unique paradox: the act of competing against each other ultimately leads to the elevation of the entire artistic experience. The push and pull between participants generate a captivating narrative that resonates on multiple levels, from individual achievement to collective artistic brilliance.

COLLABORATIVE COMPETITION: AN EMBODIED APPROACH TO CONFLICT RESOLUTION

In the realm of competition, it is often assumed that individuals are in opposition to one another, working towards their own individual goals. However, there is a form of competition that challenges this notion - Collaborative Competition. Collaborative Competition refers to a form of competition where individuals work together to outdo one another, all the while remaining in perfect rhythmical collaboration with one another and engaging in a call-and-response relationship with the audience to enhance their shared experience.

The power of rhythm lies at the core of Collaborative Competition. Through the use of polyrhythm, individuals learn to tolerate one another and work together towards a common goal. Rhythm acts as a propulsive force, pushing individuals forward both physically and mentally. It is a relational concept, encompassing space, time, and distance, and is capable of resolving conflicts within communities.

In hip hop culture, for example, crews resolve their differences through entering the cypher. The cypher, along with rap battles and Vogue ballroom competitions, are all examples of how differences can be resolved through rhythm. In these collaborative competitions, the act of competing also establishes individuals as collaborators and members of the same community of practice. As differences play out, similarities are consolidated and community is strengthened.

Improvisation plays a crucial role in Collaborative Competition, serving as a means of highlighting emotions and emphasizing catharsis. With a single rule - that it cannot stop, like life - improvisation allows for the constant breaking of patterns, the creation of new patterns, and the instant adaptation to change. This is the essence of the call-and-response dynamic, where musicians engage in a conversational relationship with themselves and their instruments.

The centrality of call and response underscores the inseparable nature of Collaborative Competition. It is through this dynamic that individuals transfer energy and maintain balance, always pushing forward. Art and the transfer of energy are intimately connected, and it is through the give-and-take of call and response that individuals are able to create and sustain community. The saying "Ubuntu Sankofa" encapsulates this idea – WE ARE WHO WE ARE TOGETHER - reminding us that it is only through collaboration that we are able to fully realize our potential and become the best version of ourselves.

COLLECTIVE INDIVIDUALITY:

Collective Individuality is a concept that encapsulates the intricate balance between affirming one's individuality within the context of a larger community. It refers to artistic and cultural practices that enable individuals to assert their unique identities while simultaneously celebrating their belonging to a shared cultural group. This concept highlights the multifaceted nature of identity and the dynamic relationship between the individual and the community.

In cultural and artistic expressions, Collective Individuality allows individuals to express their personal experiences, perspectives, and creativity while remaining rooted in the collective cultural narrative. This affirmation of individuality enhances the richness and diversity of the overall cultural tapestry. These practices acknowledge that each person's journey and contribution are significant, and their uniqueness adds depth to the collective identity.

This concept challenges the notion that individuality and community are opposing forces. Instead, it emphasizes that individual expression is not a departure from but a contribution to the community's cultural fabric. The recognition and celebration of diverse individual identities enrich the overall community experience, fostering a sense of inclusivity, acceptance, and mutual understanding.

Collaborative Competition and Collective Individuality represent the intricate and nuanced dynamics within artistic and cultural practices. Collaborative Competition showcases the art of competing while maintaining collaboration, while Collective Individuality underscores the importance of embracing personal identity within a collective context. Both concepts contribute to the vibrancy and depth of cultural and artistic expressions, fostering a sense of unity and shared creativity.

In the Ivory Coast many ethnic groups do not carry the baby attached to the front of the mother or father. This is because the baby should be raised as an independent spirit. So, they can discover the world from their own perspective and their own perch. When carried in front the mother becomes all encompassing. They can not take inn the surrounding world. When carried on the back, even when still communially attached to the mother, they experience and perceive independetly and extrovertly with and through the mother or father or extended family. Being part of and independent at the same time. Ubuntu. This perspective ofcourse carries over into aesthetic and aesthesis expressions and is part of the reason for the focus on groove, individuality, style, feeling, that you find in African based dance styles even when they are performed in groups. 

Collaborative Competition and Collective Individuality are two terms which are usefull in order to describe this. Much colonised dance, favours a ability to replicate and “sameness”. Group dancing often erases the individual, and one would have to solo in order to stand out. As such a hierarchy is firmly established. A break away from hierarchy could therefore be a way to deal with colonial retentions, however not all hierarchies are problematic or violent, and position is often earned not just randomly given. As mentioned before the Africana way is often acknowledgment through initiation and rites of passage, which in turn points to a progression, effort, standards, examination, evaluation and acceptance. 

PULLING THREADS: KINETIC POLYQUALITY

Kinetic poly-quality represents a complex embodiment of diverse movement attributes simultaneously present within a single part of the body or spread throughout the body. It is an intricate interplay of dynamic rhythms, textures, and patterns that converge on the dancer's physique, transforming it into a multifaceted instrument of expression. For instance, the shoulders may serve as a site of convergence for various tempos and tensions; they might exhibit swift, percussive ticks in contrast to a slow, undulating roll, with an underlying tremor or pulsation adding further depth and dimension. These simultaneous qualities of movement create a rich tapestry of kinetic expression, engaging the observer on multiple sensory and perceptual levels.

By intertwining poly-quality with poly-movements, which refer to multiple and often contrasting movements occurring in different parts of the body, along with poly-centric movements that originate from various focal points, a dancer can manifest the complex nature of poly-rhythms and poly-meters physically. Each body part may operate in accordance with its rhythm and trajectory, yet in concert with the whole, reflecting a harmonious embodiment of diversity in unity.

The shoulders, in this instance, become an exemplar of the concept, illustrating how one body part can become the canvas for a variety of rhythmic expressions, each with its distinct quality yet contributing to an overarching aesthetic and experiential effect. The poly-quality approach is not merely a physical or technical endeavor; it also encapsulates a profound engagement with the embodied knowledge and cultural resonances that inform such movements.

Moreover, kinetic poly-quality is a testament to the dancer's control, awareness, and fluidity in navigating between different movement qualities. It requires acute kinesthetic sensitivity and the ability to oscillate between states of motion with precision and grace. This kind of movement exploration expands the boundaries of dance, allowing for a more nuanced and textured portrayal of human experience and emotion. The dancer becomes a living mosaic of motion, offering a vivid and visceral reflection of the multifarious nature of existence.

SENSING THE WEB: TERRARHYTHMOKINETIC PROPULSION (PRestø) AND KINETIC SELFPOLYFICATION (Prestø))

CorpoRhythmokinetic: Derived from "Corpo" (body), "Rhythmo" (rhythmic movement), and "Kinetic" (movement energy), this term emphasizes the science and art of harnessing rhythm to boost the body's movement efficiency. In essence, it's about channeling rhythmic patterns to enhance movement propulsion and qualities. Just like in music, where the rhythm ensures different notes harmonize instead of clashing, in movement, rhythm ensures that various motions complement each other. This allows for the seamless layering of one movement over another, ensuring they work in harmony rather than cancelling each other out. Through this synchronization, each movement can fluidly transition into the next, or even coexist simultaneously without conflict.

Kinetic Movement: refers to the principles and dynamics governing bodies in motion. Derived from the Greek word "kinesis," meaning "movement" or "motion," kinetic movement encompasses a vast range of physical phenomena. In a general sense, anything that moves possesses kinetic energy, which is the energy an object has due to its motion.

In the context of dance or human physiology, kinetic movement involves the study of how muscles, tendons, and bones interact to produce motion. It examines the forces exerted by muscles and the resulting motions of the skeletal structures. This understanding is crucial for dancers, athletes, physical therapists, and others interested in optimal human movement.

Kinetic movement isn't just about motion for motion's sake; it's about understanding the forces, energy, and dynamics involved in moving bodies, whether they be inanimate objects or complex organisms like humans.

Kinetic Selfpolyfication is the outcome of employing Polycentric Movement and Dutticiousness, a dynamic process in which dancers multiply themselves through movement, shape, form, and energy, without ever canceling any aspect of themselves. As Thomas Talawa Prestø profoundly expressed, "Polycentric movement, Kinetic Selfpolyfication is about multiplying yourself without ever cancelling yourself out, it allows for a full kinetic co-existence of the community of self."

Together, these concepts are a specifying of the elusive quality often referred to as "grounding." They enable dancers to juxtapose and embody contrast, discord, and disharmony while paradoxically maintaining a sense of balance and wholeness. Just as nature maintains equilibrium through ebb and flow, rise and fall, push and pull, action and reaction, TerraKinetic Propulsion and Kinetic Selfpolyfication facilitate a dynamic equilibrium that is not mere harmony, but a balance achieved through continuous shifts.

These dance philosophies are deeply linked to polyrhythmic practices, reflecting a constantly shifting equilibrium akin to juxtaposed contrast. They allow dancers to embody both groove and polycentric movement, encapsulating the essence of African dance's vibrant spirit. The intricate rhythm of movement resonates with the rhythm of life itself, embodying the constant dance of change and adaptation.

In its essence, the marriage of TerraKinetic Propulsion and Kinetic Selfpolyfication gives rise to a dance philosophy deeply intertwined with history, culture, and human expression. This dance philosophy reveres the earth, reverberates with the core, and weaves together the intricate tapestry of selfhood. With Dutticiousness as the foundation, dancers tap into the earth's fertile energy, infusing their movement with an organic, visceral quality. The outcome of Kinetic Selfpolyfication is a testament to the dancer's ability to seamlessly manifest a multiplicity of movements, embodying a rich mosaic of shapes, forms, and energies in a dynamically balanced interplay. This dance is a perpetual journey of becoming, an ever-evolving reflection of both the ancient and the contemporary, rooted in the magnetic embrace of the earth's energy.

WRAPPED IN SILK: EMBODIED DESCRIPTION OF SELFPOLYFICATION

In my practice of dance, I oscillate between aesthetic binaries—the beautiful intermingled with the ugly. These are not conflicting elements but synergistic energies that weave the narrative of my performance. In the rippling movements common to African diaspora dances like Kumina, I move from graceful, statuesque poses to contorted shapes that draw upon the essence of struggle. What might conventionally be considered 'ugly' gains a transcendent beauty within the context of the dance. Here, the African concept of "Sankofa" comes alive: by embracing both the painful past and the aspirational future, the dance unfolds as a holistic tapestry that neither shuns the 'ugly' nor glorifies only the 'beautiful.'

Navigating Contrast and Paradox

As I embody the concept of Kinetic Selfpolyfication, I dwell in multiple experiential realms simultaneously. The dance provides me with the opportunity to be both the hunter and the hunted, the gentle breeze and the tumultuous storm. In one fluid moment, I am airborne and light; in the next, I am grounded, knees deeply bent in a posture that draws energy from the Earth. In the Calinda, the ferocious martial dance of the Caribbean, there's an intrinsic play of paradox—attack and retreat, vigor and subtlety. This dance thrives on contrast, and through it, I navigate the many paradoxes that encapsulate the complexity of human existence.

Completeness and Compartmentalization

Within the space of the dance floor, I am a manifold entity. Each aspect of my identity—the disciplined technician and the spontaneous improviser—finds expression. In a typical sequence, I transition from a structured "wheel and turn" to an uninhibited series of shimmies. These compartmentalized selves unite to form a more composite identity, much like the West African "Hwemudua" symbol—a divided yet unified Siamese crocodile—illustrating the multifaceted yet integrated nature of human existence.

Overcoming Strengths and Weaknesses

In the corporeal dialogue that is dance, my strengths and weaknesses engage in a spirited exchange. Take, for instance, the fluid hips often seen in Samba. This ability to sway may be considered a strength, yet it could undermine the groundedness needed for other dance elements. Through the practice of Kinetic Selfpolyfication, I play between these dynamics. A controlled "wheel and turn" transforms into an ecstatic, uncontrolled spin, each feeding off the other's momentum. Strength morphs into vulnerability and vice versa, leading to a new amalgamation—a dance embodiment of "Kuumba," or creative transformation, which is a core principle of Kwanzaa.

The Evolution to Something New

Each dance performance is an evolutionary journey. The person I am as I take my first step is not the same as the one who takes the final bow; I have morphed into a new version of myself. Kinetic Selfpolyfication resonates with Afrofuturistic ideals, casting the self into a spectrum of potential futures. Through my body's movements, I become a living channel for both ancestral wisdom and future possibilities, continually recombining these elements in each undulation and footfall.

Kinetic Selfpolyfication isn't merely theoretical; it's a phenomenologically lived experience that can be academically framed as a method for traversing dualities and complexities. It serves as a potent conceptual instrument for not just understanding the technical and aesthetic dimensions of African diaspora dance, such as Kumina or Calinda, but also for delving into its deeply embodied philosophies and epistemologies.

SENSING THE WEB: REVITALIZING THE EXHAUSTED BODY (Prestø)

Throughout the annals of dance scholarship, an enduring thesis recurrently associates the labor inherent in art production, and especially dance, to mechanisms akin to the industrial complex. Within the context of Black dance and African diaspora, this discourse ventures further, drawing parallels to the shadows of the plantation era. A predominant assertion suggests that the pronounced physicality observed in styles, such as Caribbean dance, is inextricably linked to the plantation paradigm, implying that the Black body, conditioned for labor under colonial dominion, inevitably expresses this laborious legacy in its artistic manifestations.

However, my focal research trajectory, anchored in the ritualistic, spiritual, and FUBU (For Us, By Us) dance modalities, prompts a critical interrogation of this prevailing narrative. Can it truly be postulated that the distinct physicality and fervor, manifested after exhaustive days of toil, are solely residues of a colonial past? The richness of my observations led to the conceptualization of processes that I denominate as "revitalizing the exhausted body" and the intricacies of jocundity.

The process of revitalization underscores the symbiotic relationship between rhythm, polyspirit practices (the simultaneous channeling of multiple spirits), and jocundity, intertwined with grounded movement, all of which collectively confer a therapeutic and restorative salve to the dancer's being—mentally, physically, and metaphysically.

Jocundity, a nuanced concept within Black art forms and collective activities, epitomizes the deliberate fostering and celebration of joy. This multifaceted embodiment is not merely an ephemeral emotion but represents a deliberate collective commitment to elevate joy as a potent counterforce to systemic adversities. By intentionally imbricating joy into their artistic lexicon, individuals and communities assert agency, challenging and reframing hegemonic discourses.

In ritualistic contexts, this nexus between jocundity and the revitalization of the body elucidates a nuanced understanding of labor, eschewing reductionist interpretations. The invocation of spirits, the mutual spiritual elevations within communal settings, and the collective savoring of joy necessitate a committed physical engagement. Yet, this engagement is not tethered to external impositions, neither the colonial overseer nor the voyeuristic tourist. It emerges organically from intra-community bonds, a shared recognition that healing and joy are somatic experiences, necessitating physicality.

Consequently, it is imperative to recalibrate our perceptions of African diaspora dance, liberating it from reductive associations with historical subjugations. Instead, it merits recognition as an eloquent articulation of community, resilience, and the intrinsic bond between joy, healing, and embodiment. Through the language of dance, histories, aspirations, joys, and traumas are expressed, evoking a communal ethos dedicated to rejuvenation, resistance, and restorative engagements.

SENSING THE WEB: THE CORPOREAL LOCUS OF JOY: EMBRACING THE EMBODIED NATURE OF HAPPINESS

The corporeal locus of joy (Prestø) represents the understanding that joy is inherently connected to the physical body and manifests through embodied experiences. It acknowledges that joy is not solely an abstract or intellectual concept but a deeply felt sensation that arises within the physical realm.

This concept emphasizes that the experience of joy is rooted in our bodies, engaging our senses, movements, and physical sensations. It recognizes that joy can be felt as a visceral response, stirring emotions and energizing the entire being. From the exhilaration of dance to the warm embrace of laughter, joy permeates our bodies, awakening a sense of aliveness and vitality.

The corporeal locus of joy also underscores the importance of being attuned to our bodies in order to fully embrace and experience joy. It recognizes that physical well-being, self-care, and embodiment practices play a significant role in enhancing our capacity for joy. Whether through mindful movement, exercise, or engaging in activities that bring us pleasure, we cultivate a deeper connection to our bodies, creating a fertile ground for joy to flourish.

Furthermore, this concept acknowledges the interplay between the body and external factors in shaping our experiences of joy. It recognizes that our physical surroundings, the presence of others, and the cultural context we inhabit can influence the ways in which joy is expressed and experienced. It highlights the significance of communal joy, where shared celebrations and collective expressions of happiness amplify the corporeal locus of joy, fostering a sense of belonging and interconnectedness.

By embracing the corporeal locus of joy, we recognize that happiness is not solely an individual pursuit but a shared and embodied experience. It invites us to honor our bodies as vessels of joy, to listen to their wisdom, and to engage in practices that nourish and uplift our physical selves. In doing so, we deepen our understanding of joy as a transformative force that can bring about personal well-being, connection, and a greater sense of vitality in our lives.

SENSING THE WEB: FULLJOYMENT PRAXIS JOCUNDITY AND FETELETICS

Fulljoyment Praxis (Prestø) is a holistic framework that encompasses both the mental and physical preparation and engagement necessary to intentionally cultivate and sustain communal joy. It integrates the ideological commitments of jocundity, which focuses on the collective ethos of joy as a form of empowerment and resistance, with the practical regimen of Feteletics (Prestø), a targeted physical training program designed to equip individuals with the stamina and physical readiness required for active participation in joyous communal activities. Together, these elements aim to make joy both an achievable and sustainable experience in the face of systemic challenges and individual limitations.

JOCUNDITY (Prestø)

Jocundity is a multifaceted concept that embodies the intentional cultivation and celebration of joy within Black art forms and social activities. It encompasses the collective agreement and unity to prioritize joy as a transformative and empowering force. Jocundity involves a conscious choice to embrace joy, especially in the face of systemic oppression and adversity, allowing individuals and communities to reclaim agency and resist dominant narratives. It recognizes the dynamic interplay of call and response, where the shared energy and participation amplify the communal experience of joy. Jocundity serves as a testament to the resilience, creativity, and cultural interconnectedness within Black communities, fostering a sense of belonging and collective upliftment.

Jocundity, a term coined by merging the concepts of "jocund" and "solidarity," encapsulates the essence of mutual agreement and unity within Black art forms and social activities to cultivate and facilitate joyous expressions and feelings. Rooted in the etymological roots of "jocund" an adjective used to describe a mood, atmosphere, or person that is cheerful, light-hearted, and full of high spirits. It implies not just happiness, but often a sense of ease and carefree enjoyment. The term is often used in literary contexts and is considered somewhat formal or old-fashioned in modern everyday language. It suggests a type of joy that is both hearty and shared, often radiating to people around the person or environment described as jocund. Jocundity alsodraws upon the definition of solidarity as unity and mutual support within a group, jocundity signifies a deliberate and communal dedication to joy.

In addition, jocundity acknowledges an "in spite of" element, recognizing that it arises as a joint effort by communities that have endured traumatic events, experienced marginalization, racial oppression, or gender/identity oppression. It is a conscious choosing of joy, especially for communities who may have reasons to lean towards sadness, anger, or disavowment. Instead, they engage with agency through joy. This intentional embracing of joy becomes an act of resistance and liberation.

Call and response plays a vital role in the energy of jocundity, further contributing to the joint effort. The dynamic exchange of voices, rhythms, and energies in call and response creates a participatory and inclusive environment where joy is shared and amplified. It becomes a communal conversation, a dialogue of celebration and affirmation, fostering a sense of togetherness and solidarity among participants. Call and response adds an interactive and collaborative dimension to jocundity, enhancing the collective experience of joy and reinforcing the bonds within the community.

Within the context of this discussion, jocundity specifically refers to the embodied experiences and expressions found within Black communities, where there exists a shared understanding and commitment to consecrate moments and spaces to the cultivation of joy. It encompasses a communal sense of ease that allows individuals to transition into a state of joy together, guided by mutual agreement and purpose.

Jocundity recognizes that joy and vibrancy are not solely individual experiences but can be nurtured and shared within a group or community. It acknowledges the power of Black art forms and social activities in creating spaces that prioritize joy as a crucial element of cultural preservation, resistance, and resilience. Through jocundity, Black individuals come together, united by a common interest, to support one another and celebrate the inherent vitality and life force within their shared cultural heritage.

From an academic standpoint, jocundity delves into the socio-cultural dynamics at play, acknowledging the historical and contemporary contexts that have shaped Black art forms and social activities. It recognizes the impact of colonial impositions and systemic oppressions, while highlighting the agency and autonomy of Black communities in defining and reclaiming spaces of joy. Jocundity situates itself within a broader discourse on cultural interconnectedness, emphasizing the enduring relevance and vitality of Black traditions in the face of adversity.

Embodied in nature, jocundity goes beyond theoretical frameworks and engages the physicality and lived experiences of individuals. It manifests through intentional cultivation of joy expressed through movement, music, visual arts, and other creative practices. Call and response, as a dynamic element, amplifies the energy and participation in jocundity, enhancing the collective experience and reinforcing the sense of unity. Jocundity, as an embodied concept, recognizes the transformative power of joy and its ability to uplift and empower communities, fostering resilience, resistance, and liberation.

Feting and Jocundity: Celebrating Joy in Communal Rhythms

Feting and jocundity intertwine as vibrant threads in the tapestry of celebration and joy within Caribbean culture. Feting, the art of embracing and reveling in lively social gatherings, converges with jocundity, a profound dedication to shared expressions of joy and unity.

Feting encapsulates the essence of Caribbean festivities, where music, dance, and exuberant interactions converge to create a spirited and pulsating atmosphere. It is a communal endeavor that invites individuals to immerse themselves in the rhythms of life, transcending individual boundaries to participate in a collective expression of joy. Feting is an embodiment of the jocundity ethos, as it consciously chooses and cultivates joy as a central element of cultural identity and resilience.

Jocundity, in turn, serves as the guiding principle underlying the feting experience. It represents a deliberate commitment to joy, particularly in the face of adversity and marginalization. It is an act of agency and resistance for communities who have endured the weight of colonialism, enslavement, and displacement. Jocundity acknowledges the power of joy as a transformative force, offering a counterpoint to narratives of sadness, anger, or disavowal. Through feting, individuals and communities reclaim their agency, celebrating their cultural heritage with unabashed enthusiasm and pride.

Feting and jocundity go hand in hand, fostering a sense of togetherness and camaraderie. The lively rhythms, infectious melodies, and pulsating energy of feting create an immersive experience that unifies participants in a shared celebration of life. Call and response, a vital component of Caribbean music and dance, adds an extra layer to the jocundity of feting, amplifying the joint effort and collective engagement. It encourages mutual support, upliftment, and the creation of joyous spaces where all can fully participate.

PULLING THREADS: FETELETICS AND FULLJOYMENT PRAXIS: THE LONG HAUL TO COMMUNAL JOY

-A modern concept as the very physical work and activity in the Caribbean before meant the population were already fit enough for the dance activities. 

In the expansive tapestry of collective well-being and happiness, two intertwined practices stand out: jocundity and Feteletics. Both situated under the overarching framework of Fulljoyment, these praxes represent the dual commitment to joy—mental and physical, ideological and practical.

Feteletics: The Preparation for Communal Celebrations

Feteletics is not merely a concept but a committed lifestyle of long-term preparation. It is the months of gym workouts from June to February (in the case of Trinidad & Tobago), rigorously designed to prep the body for the high-octane energy of Caribbean carnivals. It's the year-round jogs around the Savannah and the miles clocked on the treadmill, all with a singular goal—to be physically prepared to engage in collective activities that involve physical exuberance, rhythmic coordination, and a fair share of ecstatic dance moves.

Commitment to Physical Readiness

Feteletics is more than casual exercise; it’s a targeted regimen aimed specifically at achieving the stamina and physical resilience needed to fully experience the joys of communal festivities. The practice acknowledges that joy, especially in the context of community celebrations like carnivals and fetes, requires physical effort and endurance. By training with a purpose, practitioners of Feteletics prepare themselves to not just participate but to last the distance, amplifying their own joy and contributing to the collective energy.

Symbiosis with Jocundity

While jocundity supplies the conceptual and ideological bedrock that champions the communal ethos of joy, Feteletics acts as the operational wing. It offers the physical preparation that enables individuals to manifest jocundity's high ideals. In a symbiotic relationship, jocundity sets the stage for the intentional celebration of joy as a collective act, while Feteletics ensures that individuals are physically equipped to play their parts passionately and enduringly.

The Community Catalyst

Beyond the individual, a community where Feteletics is practiced is a community optimized for collective joy. Imagine a carnival where every participant has trained for months, ensuring they can dance through the night without fatigue, elevating the group's energy and sustaining the joyful atmosphere. This deliberate amplification of physical capacity not only enhances personal experience but also contributes to a more vibrant, sustained collective celebration.

Beyond the Event: The Culture of Fulljoyment

Together, jocundity and Feteletics form the two pillars of Fulljoyment praxis, offering a holistic approach to joy that transcends the fleeting moments of actual events. Fulljoyment is not just about a day or a season; it's a cultural commitment. It recognizes joy as both a spiritual endeavor and a physical undertaking, as a purpose in itself and as a practice requiring rigorous preparation.

In the pursuit of Fulljoyment, jocundity provides the philosophical framework for intentionally cultivating joy as an act of collective empowerment and resistance. Feteletics complements this by being the physical training program designed to prepare individuals for the tangible, corporeal aspects of such joy. Whether it's months spent lifting weights or running laps, the idea is clear: Preparation today enables the celebration of tomorrow, making joy not just an aspiration but an attainable, sustainable reality.

COMMITTOGRAPHY

Committography (Prestø) is a term I developed as part of my research project, ANANSI’S WEB, which combines “committee work”, “geography” and “choreography” to suggest an engagement with and mapping of the structural and systemic elements of the artistic field. This includes its actions, politics, and self-identity. 

Committography is a practice that aims to understand and shape the conditions of artistic creation and the artistic landscape. By involving oneself in boards and committees, individuals engage in a process of strategic analysis and intervention, where they can reveal, understand, and shape the conditions that shape the artistic landscape. 

Committography combines choreographic thinking at its core, understanding that choreography «imposes»order on the performance, within the three dimensions of space, the fourth dimension of time and the capabilities of the human body. It also applies this thinking to understand and create a form of order or structure to how we understand diversity, inclusion, plurality, and ourselves as an arts field which must be able to cater to and include the previously marginalized (and currently marginalized). 

This artistic strategic practice, combines the investigative and analytical approach of “geography” with the active, proactive and creative approach of “choreography” to create a powerful tool for artists and art practitioners to understand and influence the conditions of artistic creation, and also to shape a more inclusive and diverse artistic field.

As a marginalized Africana artist, my engagement with Committography through my involvement in various boards and committees has provided me with a unique perspective on the field of art and culture. Through my participation in these committees, I have gained a deeper understanding of the structural and systemic elements that shape the artistic landscape and how to navigate and intervene in these conditions to create more inclusive and equitable spaces.

Committography, as a practice, allows me to actively shape and influence the conditions of the artistic field towards greater inclusivity and diversity. By involving myself in these spaces and using choreographic thinking to understand and shape the structures of the field, I am able to work towards a more equitable and representative artistic landscape.

Furthermore, my engagement with Committography also aligns with my research on ChoreoNommo,which explores the intersection of choreography and political power and how the two can be used to resist and challenge dominant paradigms of power and control. Through Committography, I am able to apply this understanding to the structural and systemic elements of the artistic field and work towards creating a more inclusive and equitable landscape for marginalized artists.

My research project, ANANSI'S WEB, delves into the ways in which the African diaspora body navigates and adapts to new environments and situations through embodied experiential knowledge, a process I have coined as Rhythmoenvironmental Acclimation. Committography as a practice, allows for a deeper understanding, navigation and hopefully influencing of the conditions that shape the artistic landscape, which is crucial for marginalized Africana artists like myself.

By understanding and engaging with Committography, Rhythmoenvironmental Acclimation, and ChoreoNommo, I am able to create a holistic approach to understanding and navigating the artistic field as a marginalized Africana artist. This allows for the creation of art that challenges and resists dominant paradigms of power and control, while still embracing the ancestral philosophy and aesthetic elements that are central to the African diaspora body.

Being a minority in boards and committees within the arts field can be a challenging and complex experience. The concept of power in these spaces is multifaceted, as inclusivity can sometimes be used as a tool for maintaining dominance and control. As a critical voice within these contexts, one may find more power when opposing the status quo rather than being part of the establishment.

Once one becomes a member of a board or committee, there is often an expectation of confidentiality and limited public discourse. Speaking publicly about internal matters can be discouraged, and being overly critical afterward may be seen as unprofessional. This can create a sense of constraint and limit the ability to openly address issues and advocate for change.

Furthermore, being the only representative of a particular identity or marginalized group in a board or committee does not necessarily translate to actual power or influence. For example, being the only woman in a board dominated by misogynistic men may result in marginalization and an inability to exert meaningful influence. These spaces can be hostile, and power dynamics heavily influenced by existing hierarchies and prejudices.

Navigating these power dynamics and understanding the lay of the land becomes crucial. Choreography, in a broader sense, involves understanding the dynamics of the artistic field, including conversations to engage in and those to avoid, knowing whom to approach and engage with. This applies not only to the artistic aspect but also to the administrative and institutional aspects.

In the context of running a dance company, validating the professional qualifications of dancers within the company becomes essential. As many of the dancers may have been trained within the company itself, finding ways to validate their credentials and qualifications becomes a choreographic task. This validation is necessary for them to qualify for stipends, subsidized support, and opportunities such as travel, rehearsal space, and stage performances.

Additionally, the choreography extends to the framing and discourse surrounding the art itself. Committography involves creating and influencing the discourse and framing of the art within institutional contexts. In countries like Norway, where institutional recognition plays a significant role in defining what is considered art, engaging with institutions becomes essential for funding and support. Committography serves as a means to encourage institutions to broaden their definition of art and support a more diverse range of artistic practices.

In summary, being a minority in boards and committees within the arts field can be a challenging experience due to power dynamics, limited public discourse, and the hostile environments that minority voices often face. Understanding the choreography of these spaces, including navigating power dynamics and influencing discourse, becomes crucial in creating change and expanding opportunities for marginalized artists. Committography serves as a tool for shaping and affecting the institutional landscape, allowing for greater inclusivity, validation, and support for diverse artistic practices.

Committography: Unveiling the Power Dynamics of Boards and Committees and its Material Significance in Artistic Practice

Introduction: Boards and committees hold considerable power and influence within the arts field, playing a pivotal role in decision-making, resource allocation, and shaping institutional frameworks. The recognition of this power asymmetry has led to the emergence of the concept of committography, which aims to explore the reciprocal relationship between artistic practice and active participation in these structures.

Power Dynamics of Boards and Committees: Committography unveils the intricate power dynamics at play within boards and committees. As a critical voice within these spaces, one often possesses more power when positioned in opposition rather than from within. Public silence becomes a necessary consequence of board membership, stifling the ability to voice dissenting opinions. Additionally, excessive criticism after one's tenure is viewed unfavorably, as it is considered unprofessional. These power dynamics contribute to a culture of conformity and hinder the exploration of alternative perspectives.

Minority Representation and Hostile Environments: Being a minority within boards and committees in the arts field presents unique challenges. Merely holding a position does not guarantee power, particularly when operating within contexts marked by prejudice and misogyny. The experience of being the only woman in a male-dominated board, for instance, highlights how limited power is conferred, despite nominal titles. These hostile environments place significant strain on individuals, necessitating the constant negotiation of liveability politics. The exhaustion stemming from navigating such spaces underscores the urgency for change.

Committography as Integration of Artistic Practice: Committography serves as a means to integrate committee work into the fabric of artistic practice. It recognizes the knowledge gained from active participation and imports it into the artistic process. By perceiving committee engagement as inseparable from art making, a richer tapestry of possibilities unfolds. It expands the scope of what constitutes artistic material, encompassing insights, experiences, and institutional dynamics. Through committography, artists leverage their involvement in committees to shape the discourse surrounding their work and influence the very institutions that define and support art.

Economic Considerations and Sustainability: The separation of the economy from art within Norway's art field has resulted in an unsustainable model that prioritizes art as a philanthropic pursuit rather than a viable livelihood. Committography challenges this dichotomy by emphasizing the interdependence of art and economic realities. It advocates for the recognition and support of artists' financial needs within institutional frameworks, fostering a sustainable environment where art can thrive without compromising the artist's well-being.

Broadening Artistic Possibilities: By integrating committography into the artistic discourse, new avenues of exploration and artistic possibilities emerge. It enables artists to navigate conversations, identify collaborations, validate professional qualifications, and secure essential resources such as rehearsal and stage space. This expanded purview of choreography acknowledges its role in framing artistic practice beyond physical movement. Committography empowers artists to shape the discourse around their work, challenging preconceived notions of what is deemed art and expanding the horizons of artistic creation.

Conclusion: Committography offers a critical lens to examine the power dynamics of boards and committees while advocating for the integration of this engagement into artistic practice. By embracing committography, the arts field can foster