d 'quality') that is separate from the influences of the modern era. To experience the procession of events in video tape number one immediately notices: 1) the spectra of old and modern practices co-existing in the composite community, 2) the 'terms of balance' that allows for cultural interaction dynamics, and 3) the vibrational 'blending' of the composite community. The aesthetic 'disposition' of the opening ceremonial preparations opens to a community of people that quickly establishes the 'weight of the community' rather that the individual- while at the same time there is a kind of 'community-fluidity' that allows for a kind of interaction blending that reflects on a unique family communal environment dynamic. In some ways the very opening moments of Professor Marks video tape establishes the genesis formal construct of and African nuclear formal synergy that I am looking for. This is so because the energy flow of the opening video opens to a community of relationships that are constantly in motion- that also allows for internal individual particular interactions and finally that allows for transient occurrences that redirects the 'flow of cultural energy' throughout the composite environmental time-space. The effect of trans-temporal identities in the opening Jola preparation ceremonies (and dancing practices) can be seen in the clothing of the people and the role of creative dressing in the composite festival space. The folkloric festival of Casamance is an occasion for the composite Senegalese people to come together to re enact their original customs and practices- and in doing so, to keep their traditions alive and relevant for the future. The opening scene quickly establishes a spectrum of community dressing styles that range all the way from a) modern western dress and pants to b) traditional tribal styles to c) isolated individual attire. In seeking to understand the range of dressing style approaches in the opening video ...
