Innovating Africana Dance Through Gestorhythmitization and Polycentric Movement

Thomas Talawa Prestø

Introduction

This research project aims to explore and innovate Africana dance practices through the introduction and application of unique terminologies and methodologies. Emphasizing the performativity of words as an aspect of ChoreoNommo, this “mock” dissertation takes several creative liberties, aligning with decolonial actions and artistic research practices. This work is designed to “choreograph for the page,” integrating theory and practice to expand the field of Africana dance and choreography.

Research Objectives

1. To Investigate Gestorhythmitization: Gestorhythmitization explores how rhythm and movement are imbued with gestural content, creating a new form of embodied communication. This research will delve into how dancers incorporate gestures into their movements, transforming rhythm into a narrative tool.
2. To Examine Rhythmomodular Synaesthesia: Rhythmomodular Synaesthesia refers to the phenomenon where multiple sensory rhythms—corpokinetic, optic, sonic, tactile, and ethero—converge and combine, allowing one aspect of rhythm to be experienced as another. This study aims to understand how this synesthetic perception enhances the depth and complexity of dance performances.
3. To Explore CorpoKinetic Effigization: CorpoKinetic Effigization involves the creation of kinetic “effigies” through dance movements, where the body becomes a dynamic representation of cultural and historical narratives. This research will investigate how dancers use their bodies to embody and convey these narratives.
4. To Develop Polycentric Movement (Selfpolification): Polycentric Movement, or Selfpolification, refers to the dynamic process where dancers multiply themselves through movement, shape, form, and energy without canceling any aspect of themselves. This concept will be explored to understand how dancers navigate and express multiple identities and narratives simultaneously.
5. To Implement Polyethnorhythmokinetic Choreography: Polyethnorhythmokinetic Choreography integrates multiple rhythmic and cultural influences into a cohesive dance practice. This research will explore how choreographers can create performances that reflect the diverse and interconnected nature of Africana dance traditions.
6. To Utilize Endogenic Research: Endogenic Research emphasizes the insider perspective, where the researcher is an erudite practitioner of the praxis being studied. This approach will be used to uncover the internal cultural forces that shape Africana dance practices and their contemporary relevance.

Key Concepts and Their Impact

1. Gestorhythmitization:
   • Definition and Context: Gestorhythmitization is the process by which rhythm and movement are imbued with gestural content, creating a new form of embodied communication. This concept highlights how dancers use gestures to transform rhythm into a narrative tool.
   • Impact: This concept enriches the expressive potential of dance by incorporating gestures into rhythmic movements. It provides dancers with tools for creating more nuanced and meaningful performances that convey complex narratives through embodied gestures.
2. Rhythmomodular Synaesthesia:
   • Definition and Context: Rhythmomodular Synaesthesia refers to the phenomenon where multiple sensory rhythms—corpokinetic, optic, sonic, tactile, and ethero—converge and combine, allowing one aspect of rhythm to be experienced as another. This synesthetic perception enhances the depth and complexity of dance performances.
   • Impact: Understanding this concept enhances the sensory richness of dance performances, allowing dancers and audiences to experience rhythm in a more holistic and immersive way. It provides choreographers with new tools for creating multi-sensory performances that engage audiences on multiple levels.
3. CorpoKinetic Effigization:
   • Definition and Context: CorpoKinetic Effigization involves the creation of kinetic “effigies” through dance movements, where the body becomes a dynamic representation of cultural and historical narratives. This concept explores how dancers use their bodies to embody and convey these narratives.
   • Impact: This concept emphasizes the role of the body as a storytelling tool, allowing dancers to convey cultural and historical narratives through their movements. It provides dancers and choreographers with tools for creating performances that are deeply rooted in cultural heritage and historical context.
4. Polycentric Movement (Selfpolification):
   • Definition and Context: Polycentric Movement, or Selfpolification, refers to the dynamic process where dancers multiply themselves through movement, shape, form, and energy without canceling any aspect of themselves. This concept explores how dancers navigate and express multiple identities and narratives simultaneously.
   • Impact: This concept enhances the versatility and expressiveness of dancers, allowing them to embody and convey multiple identities and narratives simultaneously. It provides choreographers with tools for creating performances that reflect the complexity and richness of Africana dance traditions.
5. Polyethnorhythmokinetic Choreography:
   • Definition and Context: Polyethnorhythmokinetic Choreography integrates multiple rhythmic and cultural influences into a cohesive dance practice. This concept explores how choreographers can create performances that reflect the diverse and interconnected nature of Africana dance traditions.
   • Impact: This concept fosters a more inclusive and interconnected approach to choreography, allowing choreographers to draw on a wide range of rhythmic and cultural influences. It provides dancers and audiences with performances that celebrate the diversity and richness of Africana dance traditions.
6. Endogenic Research:
   • Definition and Context: Endogenic Research emphasizes the insider perspective, where the researcher is an erudite practitioner of the praxis being studied. This approach uncovers the internal cultural forces that shape Africana dance practices and their contemporary relevance.
   • Impact: This approach provides a richer, more nuanced understanding of Africana dance practices by prioritizing the insider perspective. It offers scholars and practitioners tools for uncovering the cultural, historical, and cosmological factors that inform these practices, enriching the field of Africana studies.

Practical Applications

1. For Dancers: Concepts like Gestorhythmitization and Polycentric Movement offer dancers new techniques for enhancing their performance and deepening their connection to the cultural roots of their art form. These tools help dancers to embody their identity and express their narratives more powerfully.
2. For Musicians/Percussionists: Musicians and percussionists can benefit from understanding the principles of Rhythmomodular Synaesthesia and Polyethnorhythmokinetic Choreography, gaining insights into how their synchronization and harmonization can enhance the overall performance. This knowledge fosters a deeper connection between music and dance, creating more cohesive and dynamic performances.
3. For African Dance Scholars: The introduction of frameworks like Endogenic Research and CorpoKinetic Effigization provides scholars with innovative tools for studying and analyzing Africana dance. These methodologies prioritize cultural specificity and embodied knowledge, offering richer, more nuanced insights into Africana dance practices.
4. For Choreographers: Choreographers can use concepts like Gestorhythmitization and Polycentric Movement to inspire and inform their creative processes. These tools offer new ways of thinking about choreography, emphasizing the importance of cultural integrity, rhythmic synchronization, and the dynamic interplay between tradition and innovation.

Institutional Impact

1. For Institutions and Conservatories: The introduction of these new theoretical frameworks and methodologies can help institutions and conservatories to develop more culturally responsive and inclusive curricula. By incorporating concepts like Endogenic Research and Polyethnorhythmokinetic Choreography, these institutions can provide students with a deeper understanding of Africana dance and its cultural significance.
2. Potential for Multiple Academic Papers: The innovative concepts and methodologies developed through this research have the potential to generate multiple academic papers, contributing to the ongoing discourse in Africana dance studies. These papers can offer new insights into the cultural, historical, and cosmological factors that shape Africana dance, enriching the field with fresh perspectives.
3. Contribution to an Undertheorized Field: This research represents a significant contribution to the field of Africana dance studies, which has been historically undertheorized. By introducing new terminologies and methodologies, this work helps to fill critical gaps in the literature, offering a more comprehensive and nuanced understanding of Africana dance practices.

Conclusion

My research aims to redefine and expand the understanding of Africana dance practices through the introduction of unique terminologies and methodologies that capture the essence of these rich cultural expressions. By embracing an artistic and decolonial approach to scholarship, this work challenges conventional academic boundaries and offers new ways of thinking about Africana dance. Through the development of innovative concepts like Gestorhythmitization, Rhythmomodular Synaesthesia, CorpoKinetic Effigization, Polycentric Movement, and Polyethnorhythmokinetic Choreography, my research provides dancers, musicians, scholars, and institutions with new tools for understanding and engaging with Africana dance, ensuring its preservation and continued evolution.