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.
- 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.
- 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.
- 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.
- 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.
- 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”:
- 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.
- RhythMo: This pulsating core of our philosophy embraces the polyrhythmic symphony of the body, intertwined with each dancer’s distinct rhythmic persona.
- 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.
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.
- 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.
- 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.
- 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.