eral different levels and/or 'planes of communication' (some of which might involve you, but not necessarily everything- it just depends on the particulars of the moment . Dr David Conrad made a point of mentioning, in his guest lecture (on 4/10/ 96 at Wesleyan) that 'secrecy in Mande society is very important'. And in that same lecture he listed; a) the concept of power space 'locations b) the use of secret locations c) the phenomenon of 'the chain of burial' and related 'associations' d) the concept of spirits that dwell in the water e) the use of charismatic individuals f) the use of scocery ( and the special position of power that Mande women have- especially Professor Conrad's mention that the Mande men view their women as more fearful- I can relate to that idea!). (but what can I say when Dr. Conrad also acknowledges that the women are also the best musician and singers- I can also relate to that!). The concept of power locations can also be extended into the domain of repetitive logic music 'sound fields', as a forum that allows for the use of trance music strategies and extended time-space experiences. From a tri-centric perspective that seeks to 'sense' the genesis aesthetic 'qualities' of African culture ( and for this paper, the creativity of the Jola men's initiation ritual) it could be written that the discipline of music, and indeed, composite African invention dynamics, involves a recognition of the occult areas of a) a postulation b) an occupation c) a variation (from a given identity target) History* The first recorded history of Senegal begins in the 8th century when Ghana ruled part of Senegal. It stayed a part of the Ghanaian empire until the 11th century. * The remainder of the country was ruled by the Tekrour empire beginning in the 9th century. It soon turned to Islam after the Almoravide raids from Morocco. * The two kingdoms occupying what we now call Senegal became weaker, but a new kingdom 'the Djolof' arose d...
