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Lawonn and Bigidi: a Mawonaj of Caribbean Thought, the Circularity of the Caribbean World, and Techni’ka

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Lawonn and Bigidi: a Mawonaj of Caribbean Thought, the Circularity of the Caribbean World, and Techni’ka

In French and English

 

Cie Trilogie Lēnablou, Le Sacre du sucre (2022). Photo: Alexandre Boissot. Courtesy of the artist

Choreographer, dance pedagogue, and scholar Lēnablou shares her decades long research on Caribbean dance in a two part movement lecture. Comprised by a theoretical breakdown of how dance plays an integral part in social and organizational aspect of communities in the region, the movement lecture is followed by a practical workshop of the Techni’ka principles, her self-conceived dance technology based on her twenty years of research on gwoka dance. 

In the first part of the movement lecture, Lēnablou expands on some of gwoka’s cultural components. She refers to the Guadeloupean embodied philosophy of resistance, bigidi mé pa tombé, that finds its meaning through imbalance, that is, to stumble without falling. Bigidi reflects the resilient adaptation to the unpredictability of things, beings, events, and nature, in response to the manifestations of the continuum of colonial history. The dance forms and rituals found in Guadeloupean swaré-léwòz, Martinican swaré-bèlè, Guyanese bal konvwé, Brazilian roda, or Haitian Vodou all come to life in the ephemeral space of the lawonn, where gwoka is practised. A protective, unifying, social, and creative place where Afro-descendants establish their codes and symbols, the lawonn is conceived of on a metaphysical level as a ‘society’ in connection with their own cultures.

In the second part, Lēnablou facilitates Techni’ka, a movement language that promotes ancestral cultural codes and offers transversal Caribbean tools for transmission and contemporary creation. It favours the bigidi gesture and the subsequent bigidant body state as it respects the expression of each person’s movements and physical aptitude. Techni'ka is supported by the rèpriz, the tree of life that evokes notions of adaptation, harmony, and balance, as well as by the art of fap-fap, that is the ability to make something out of the present moment, an aspect that constitutes the emotional and mental freedom of the dancer. In a double axiom of control and lack thereof, Techni'ka promotes creation and re-creation, while preserving the fundamentals of gwoka dance.

Accompanied by the live drumming of Félix Flauzin and Allan Blou.

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