This year, my guiding word has been "abundance," and it has manifested in numerous ways: abundant love, life, health, travel, and a wide array of opportunities to break free from binary perspectives. I faced the discomfort, challenging my own limiting beliefs and, as a result, created opportunities for deep reflection, enabling me to uncover the invaluable insights and lessons learnt.
A few weeks ago I had the opportunity to design and run a workshop on sound art for a South African online program created by Yolanda Methvin aimed at young female animators. My journey into sound art is relatively new, and what started as a mere exploration of techniques soon transformed into a profound adventure of self-discovery. This experience opened the door not only to refining my craft but also to a deeper understanding of my neurodivergent brain, its connection to my somatic experiences, all within the context of my ancestral identity.
I've always felt a deep connection with sound. I grew up in an African-Caribbean household filled with the vibrancy of sound - laughter, music, and multiple voices all speaking at once, yet somehow, each conversation distinct and intelligible. Our home was a lively hub of multi-dimensional sensory experiences. The music and energy resonated with my ancestral cultures and ways of life. Memories of visits to Lagos and Enugu, my father's village, or fleeting recollections of an early childhood trip to Georgetown Guyana, my mother's homeland, all contributed to this rich tapestry of intergenerational knowledge. These echoes of their rich heritages continue to shape both my work and my personal narrative.
As I painstakingly documented every aspect of my creative process, from mind mapping and research to visualising the intended environment, I began to truly value the animistic qualities inherent in my work. Animism, the belief in the unique spiritual essence of objects, places, and creatures, deeply aligns with my approach to sound art. It's not merely about crafting music or soundscapes; it's about recognising and respecting the spirit within each sound and rhythm. This animistic perspective has brought a new dimension to my work. I see each sound as a living entity, each rhythm as a breath of life. This has led me to approach my art with a sense of reverence and connectivity.
This had me thinking about the Entangled Imaginations project that I’m working on with Friends of the Earth. This first stage of the project is to co-create a sound art prototype with my local community on the borders of the London boroughs of Greenwich and Deptford. When exploring my own creative process I realised that there are three ‘tools’ that I engage in. A deep connection with poly-phonic rhythms, a visceral connection with ‘frisson’ and I have a form of ‘synaesthesia’.Â
Polyphonic music is synonymous with African Music. It represents the harmonious interplay of voices, each weaving its unique melody into a rich, textured soundscape. It transcends being just a musical technique; it's an ancestral recall of our lived experiences and cultural expressions. It mirrors the interconnectedness of individuals within a community and stands as a living archive of our cultural heritage, such as my childhood memories of home and my time with extended family.
"Frisson" is a term frequently linked with an abrupt thrill or shiver down the spine. To me, it represents a somatic experience, a physical sensation within the body - one of the myriad ways our bodies react to and process various situations and emotions. It embodies the essence of music transcending mere auditory perception to reach the depths of our existence. It's the seduction that unfolds when sound becomes a dance partner for our emotions, leading us on a sonic voyage that stirs our very souls. It's about tapping into how different sounds resonate within me, both physically and emotionally. This process isn't just about creating sound; it's an exploration of emotional landscapes, a journey into the depths of our being. Each piece I create aims to not just engage the ears but also to touch the heart, invoking a visceral response that transcends mere listening. On this occasion it was about bringing to life the stories and spirits of my African ancestors through polyphonic rhythms. The frisson was like conversations with these ancestral spirits, a tangible expression of their presence and wisdom.
Then comes synaesthesia, my radical presence in the moment. This unique sensory fusion serves as my guiding star in the vast sea of sounds. It directs me in selecting and arranging these auditory components, resulting in art that seamlessly melds sound and colour into a vibrant tapestry. My synesthetic approach transcends mere technique; it's a revelry in the here and now, similar to crafting a perfect meal with just the right spices and ingredients to create a once-in-a-lifetime meal in that present time, place, and space. Through embracing synaesthesia, I'm not merely blending the senses; I'm venerating the innate spirit within every sensory encounter, their respective vitality and animism. This liberation from the usual predetermined rules of music and sound creation empowers me to craft soundscapes that are more than just heard; they are felt, enveloping the audience in an immersive, spiritual embrace. This realisation of animism in my work has been transformative, deepening my connection to my ancestry, art, and the world. I will continue to create with the awareness of engaging in an ancient, spiritual practice that transcends time and space.
Reflecting on this journey has been illuminating. Designing for the African Indignity program revealed my profound relationship with senses and the undeniable link to intergenerational wisdom. My art isn't just personal expression but a conduit connecting ancestral past with the tangible present, where history, emotion, and sensory experiences converge. As I continue on this path, I am more aware of my role not just as an artist but as a storyteller, a custodian of history, and an explorer of the sensory world. My journey in sound art is an ongoing dialogue with my roots, an ever-evolving dance with my sensory perceptions, and a tribute to the ancestral voices that guide me. I also now understand why I dance the way that I do, and why I can sometimes dance myself into a trance.
This deeper understanding of my work and the connection to animism will undoubtedly enrich and inform my participation in the Friends of the Earth's 'Entangled Imaginations' project. It's a project that resonates with the very essence of my art, bridging the past and present, inviting us to explore our interconnectedness with the natural world, and offering a platform to convey stories that transcend time and speak to the soul. I look forward to using my curious perspective and experiences to this beautiful endeavour, creating sonic narratives that evoke a sense of wonder, reverence, and unity with the Earth and all its living beings.
As a gift to you, dear reader, and to enrich your understanding and connection with the ideas in this post, I am sharing the playlist for the African Indigeneity Program. The playlist is open, inviting the course participants to contribute music that helps them delve deeper into their understanding and connection with the three ancestral tools of sound art creation that I have shared with them, and now with you: polyphonic music, frisson, and synaesthesia.Â
I close with the words of Sun Ra, a jazz visionary and Afrofuturist pioneer who transcended music and culture's boundaries.
"The possible has been tried and failed. Now it's time to try the impossible."