scene we are reminded of the extended influence of western culture and the widening gap that has already affected each succeeding generation of Jola people. The subject of identity in this context reflects on a quality of 'blending' that allows for 'reflective qualities' that have transcendent implications. The re enactment of the Jola ritual initiation gives all of the citizens of the region to come back to the home territories. Identity in dressing style gives 'a reflection' of the experiences of its given people; from the young men who have had to move into the more dense urban areas in pursuit of work, or the senior members of the community who might wear tradition robes. And so it is from this most basic point that the subject of identity can be pursued, because the dynamics of African creativity seems to contain 1) the use of extreme color concepts 2) the use of extreme color combinations (including the use of no color and/or 'drab-like' materials' ) - in other words, anything can be used. The composite effects of a given event state in the opening video provides an environment context that contains a) isolated groups of people working together, b) groups of women working together c) groups of transient 'experiencers' who come in and out of given area-spaces ( in accordance to their own individual agendas). This is a state of multiple form that is constantly breathing and redefining itself. The phenomenon of identity in this context serves to focus more on the 'forms of qualities' rather than the particulars of a given stylistic decision. It is this aspect of Africa that is most mis-understood. In describing the phenomenon of African dressing style I could have very well been referring to the wonder of African music as well. The consideration of individual and group dress is important because it can be viewed from a concrete perspective that allows for a grounded bases to better understand the aesthetic implications of music in Af...
