Arriving on Action (Together)

Arriving on Action: Manifesting Future Intended Movements and Rhythms

Definition

Arriving on Action: This concept captures the timeless aesthetic core in Africana dance and drum where dancer and drummer synchronize their intentions. The dancer manifests the future intended rhythms of the drummer, and the drummer manifests the future intended movements of the dancer. Together, they arrive at the future, unfolding the artistic expression wrapped in their joint intentions and inspirations.

Context

Africana dance is not about following each other’s actions in the moment. It’s about the dancer manifesting the drummer’s future rhythms, and the drummer manifesting the dancer’s future movements. This practice demands both to “arrive on action” together, where movement and sound appear to unfold as one. This convergence is not just technical prowess; it’s aesthetic virtuosity, embodying Ubuntu, highlighting unity and shared intention.

Theoretical Framework: “Arriving on Action” (Prestø)

Coined by Thomas Talawa Prestø, “Arriving on Action” redefines the relationship between movement and sound in Africana dance. This is not about traditional synchronization; it’s about a fluid, anticipatory dynamic that embodies a futuristic artistic practice.

Understanding “Arriving on Action”

“Arriving on Action” is when dancer and drummer are deeply attuned to each other’s future actions and intentions. This dynamic interplay involves:

The Dancer’s Role: Moving in alignment with the future rhythms the drummer will play. This requires a keen awareness and an intuitive grasp of the drummer’s intent.
The Drummer’s Role: Playing with an understanding of the dancer’s future movements, enabling rhythms that resonate with the dancer’s imminent actions.

This is not just action; it’s profound communication transcending the present. It demands extraordinary skill, intuition, and mutual trust, as each must predict and align with the other’s future intentions.

Analysis in Africana Performance Studies

In the context of Africana Performance Studies, Arriving on Action is not a new praxis but an aesthetic core deeply embedded in traditional practices. Often, what happens in the classroom today is that teachers and drummers have locked the rhythm and teach it to the dancers in a fixed form. The dancers are then trained to hit the rhythm and follow it, even in forms where the rhythm is supposed to be co-created with the drummers or where part of the polyrhythmic structure is derived from drummers following the dancers. This classroom form misrepresents the actual African or African Diaspora practice, reducing the cultural depth and dynamism.

Arriving on Action reveals the core of this co-creative practice, centering the real practice and praxis deeply rooted in polycentric thinking. Polycentrism is about multiple centers acting simultaneously. In a polyrhythmic dance, both dancers and drummers influence the rhythmic composition simultaneously.

Creating the Moment of Convergence

The essence of “Arriving on Action” is the simultaneous convergence of movement and sound. Here, dancer and drummer meet at a precise point of action, creating the illusion that movement and music are unfolding as one, erasing perceived boundaries and resulting in a singular expression of artistic virtuosity.

By manifesting future rhythms and movements, dancer and drummer engage in a sophisticated dance of foresight and alignment. This is not reaction; it’s proactive and co-creative, where both continuously shape and reshape the performance in real-time.

Aesthetic Virtuosity and Ubuntu

Achieving this synchronization reflects a deep philosophical underpinning rooted in Ubuntu, emphasizing interconnectedness, community, and shared humanity. Ubuntu in this context manifests as mutual understanding and cooperation between dancer and drummer, fostering unity and collective creation.

Ubuntu, a Nguni Bantu term often translated as “I am because we are,” encapsulates the interconnectedness and collective identity of the community. In “Arriving on Action,” this philosophy is embodied through the collaborative and anticipatory relationship between the dancer and drummer. Their performance becomes a living expression of Ubuntu, where individual actions are inextricably linked to the intentions and actions of the other, creating a unified artistic expression.

The Futuristic and Poetic Dimensions

“Arriving on Action” is futuristic, challenging conventional boundaries and inviting participants into a risky yet rewarding process. It requires both dancer and drummer to go beyond traditional roles, engaging in creative symbiosis, making “Arriving on Action” groundbreaking.

The futuristic aspect lies in its anticipatory nature, not bound by the immediate present but constantly reaching forward, creating a dynamic and evolving performance. This aligns with Afrofuturism, merging African culture with futuristic themes to reimagine and transform contemporary realities.

RhythmoKinetic Extemporation

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 principle extends into the realm of dance, proposing RhythmoKinetic Extemporation as a mode of kinetic communication that is socially interactive and discursive in nature, and seamlessly integrates into the concept of Arriving on Action.

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:

Topical Relevance: Movements are inspired by contemporary issues, social contexts, or immediate environments, making the dance meaningful and resonant with the audience.
Spontaneity: Dancers create movements in real-time, reacting to the music, spatial environment, and audience responses, showcasing their creativity and quick thinking.
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.
Audience Interaction: Performances engage with the audience, responding to their reactions and sometimes incorporating them into the performance, creating a dynamic and immersive experience.
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

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.
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.
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.
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.

Embodying Future Intentions: Afrifuturism in Motion

Living Fantasies and Collective Embodiment

“Arriving on Action” emphasizes manifesting shared imagination, where dancer and drummer shape each other’s inner and outer reality. They don’t merely react; they anticipate and manifest each other’s dreams and desires, embodying the future together.

This collective embodiment of future intentions creates a powerful, transformative performance, dissolving the boundaries between individual and collective expression. By manifesting their shared fantasies, dancer and drummer create a new reality greater than its parts, exploring the possibilities of Afrifuturism, reimagining and transforming traditional African cultural elements through futuristic practices.

Aesthetic Reverberations

“Arriving on Action” aesthetics are deeply rooted in clarity and purpose. RhythmoKinetic Extemporation, while dynamic, is anchored by intentionality, ensuring that spontaneous expressions lack neither direction nor meaning. This practice emphasizes the ability to create in the present, drawing from intention and anticipation, achieving the intentional manifestation of futurity.

“Arriving on Action” aesthetics are characterized by fluidity and coherence, where every movement and rhythm is infused with purpose and meaning. This intentionality creates a powerful and resonant performance, where dancer and drummer are in constant dialogue, shaping and reshaping artistic expression in real-time.

Examples from Africana Dance Forms

Bomba Dance

In Puerto Rican Bomba, dancer and drummer engage in dynamic interplay where the dancer’s movements command the drum’s rhythm. The drummer manifests the dancer’s future intended movements, responding instantaneously to every gesture. This requires acute sensitivity to the dancer’s intent, creating a dialogue where movement and rhythm converge seamlessly.

Bomba dance is characterized by its improvisational nature, where dancer and drummer continuously adapt and respond to each other’s actions. The dancer initiates movements that the drummer must follow and interpret, creating a complex and dynamic performance. This interplay is a vivid example of “Arriving on Action,” where both participants are deeply attuned to each other’s future intentions.

Gwoka Dance

Guadeloupe’s Gwoka dance involves similar interaction where dancers and drummers communicate through complex rhythmic patterns. The dancer manifests the future intended rhythms of the drummer, moving with an understanding of the forthcoming beats. The drummer, in turn, manifests the dancer’s future movements, playing rhythms that align with the dancer’s anticipated actions, fostering a profound sense of unity.

Gwoka dance, like Bomba, thrives on the principle of mutual anticipation. The dancer and drummer are engaged in a continuous feedback loop, where the dancer’s movements influence the drumming and vice versa. This dance form exemplifies “Arriving on Action,” highlighting the deep connection and mutual anticipation that define this practice.

Tambo Bambu

In Tambo Bambu, a traditional Venezuelan dance, the dancer and drummer’s interaction exemplifies “Arriving on Action.” The dancer moves in anticipation of the rhythms yet to be played, while the drummer listens and adapts to the dancer’s forthcoming steps. This mutual manifestation of intent creates a powerful, unified performance.

Tambo Bambu showcases the dynamic and collaborative nature of “Arriving on Action,” where dancer and drummer continuously shape and reshape the performance through their anticipatory actions. This dance form illustrates the profound connection and creative synergy that define “Arriving on Action.”

Sabar Dance

Senegalese Sabar is a prime example where the dancer’s movements are in constant conversation with the drummer’s rhythms. The dancer manifests the drummer’s future intended rhythms by interpreting the expected drum patterns, and the drummer manifests the dancer’s future movements by playing in sync with the dancer’s anticipated steps. This synchronicity embodies the essence of “Arriving on Action,” highlighting the intricate balance of collaboration and competition.

In Sabar dance, the interaction is highly energetic and improvisational, demanding both dancer and drummer to be acutely aware of each other’s intentions. The dancer’s gestures and the drummer’s beats are inextricably linked, creating a performance that is both spontaneous and meticulously coordinated.

Capoeira

Capoeira, an Afro-Brazilian martial art that combines elements of dance, acrobatics, and music, also exemplifies “Arriving on Action.” In Capoeira, the participants, known as capoeiristas, engage in a rhythmic dialogue through movements and music. The berimbau player, the lead instrument in Capoeira music, sets the rhythm that guides the movements of the capoeiristas. The players anticipate each other’s movements and respond with complementary actions, creating a dynamic flow that is both competitive and cooperative.

Capoeira rodas (circles) serve as the space where these interactions occur, with each player manifesting the future intentions of their partner and the musicians. This practice of anticipation and adaptation is a core aspect of “Arriving on Action,” where the rhythm and movement are co-created in real-time.

Cuban Rumba

Afro-Cuban Rumba, particularly the Guaguancó style, involves a complex interaction between dancer and drummer. The dancer’s movements are closely linked to the drum patterns, with both parties anticipating and responding to each other’s actions. This creates a dynamic and fluid performance where the dancer often initiates movements that the drummer accentuates, and the drummer sets rhythms that the dancer interprets.

Djembe and Dundunba Dances from Mali

In traditional Malian dance forms like the Djembe and Dundunba, the relationship between the dancer and the drummer is fundamental. The drummers lead with intricate rhythms that the dancers follow, yet there is constant interplay where dancers influence the drumming. This mutual responsiveness and anticipation are core to “Arriving on Action,” with both dancer and drummer co-creating the rhythmic landscape.

South African Gumboot Dance

Gumboot dancing, originally performed by miners in South Africa, is another example where the interaction between rhythm and movement is paramount. The dancers use their boots to create complex rhythms that are both a form of communication and an artistic expression. The dancers anticipate each other’s movements and rhythms, creating a synchronized and powerful performance.

Jamaican Dancehall

In Dancehall, the DJ and the dancers engage in a rhythmic and communicative exchange. The DJ sets the rhythm, and the dancers respond with movements that reflect and anticipate the musical beats. This interaction exemplifies “Arriving on Action,” where both the musical rhythm and the dance movements are co-created in real-time, reflecting a deep cultural connection.

Ethiopian Eskista

Eskista, a traditional Ethiopian dance characterized by intricate shoulder movements, involves a strong connection between the dancer and the accompanying musicians. The dancers’ movements are often in anticipation of the music, creating a harmonious blend of rhythm and motion. This anticipatory interaction aligns with the principles of “Arriving on Action,” showcasing the seamless integration of movement and rhythm.

Traditional African Dances

In many traditional African dances, such as the Malian djembe dances or Ghanaian kpanlogo, the relationship between dancer and drummer is deeply symbiotic. The dancer often leads the rhythm, and the drummer follows, or vice versa, creating a fluid exchange of intentions. These dances are performed in communal settings where the interaction between dancer and drummer is not just a performance but a conversation that involves the entire community.

The drummers watch the dancers closely, interpreting their movements and responding with corresponding rhythms. This mutual awareness and responsiveness exemplify “Arriving on Action,” where the future rhythms and movements are constantly being anticipated and manifested.

Integrating RhythmoKinetic Extemporation with Arriving on Action

Introduction

The concept of RhythmoKinetic Extemporation, which emphasizes spontaneous, topical, and rhythmic movement, integrates seamlessly with “Arriving on Action.” Both concepts highlight the importance of real-time creation and the dynamic interaction between performer and environment.

Defining RhythmoKinetic Extemporation

RhythmoKinetic Extemporation is a dynamic form of dance improvisation involving:

Topical Relevance: Movements inspired by contemporary issues and social contexts.
Spontaneity: Real-time creation reacting to music, space, and audience.
Wit and Satire: Using humor and critique in bodily expressions.
Audience Interaction: Engaging with and incorporating audience reactions.
Rhythmic and Melodic Adaptability: Adapting movements to fit musical rhythms and melodies.

Gestorhythmitization in RhythmoKinetic Extemporation

Central to RhythmoKinetic Extemporation is gestorhythmitization, the process by which rhythm and movement are imbued with gestural content, creating a new form of embodied communication. This process emphasizes creating gestural rhythms that transcend traditional musical rhythm, extending into the realm of movement and gesture. Dancers infuse their movements with meaning, using gestures to tell stories, convey emotions, and communicate complex ideas.

Components of RhythmoKinetic Extemporation

Rhythmic Syncopation: Utilizing off-beat rhythms for dynamic and unexpected movements.
Dancing of Rhythmical Breaks: Highlighting breaks in the rhythm with specific movements.
Social and Interactive Nature: Performing as a conversation with the audience and environment.
Discursive Nature: Using movements as a form of discourse, conveying messages and emotions.

Embodying Future Intentions: Afrifuturism in Motion

Living Fantasies and Collective Embodiment

Aesthetic Reverberations