rican culture. The subject of concrete identities, as a means to better understand the subject of abstract modeling in African ritual music (postulation) can also be used to consider the subject of spatial location and extended form. This is so because the experience of video tape number one details a constantly reshifting area-space that allows for the establishment of a) central activities that are defined and time-space relevant to the given defined subject/event at hand b) secondary activities which supports and expand the objective focus of the time-space event and c) interjection events that are sometimes in opposition to the task/focuses at hand ( but are in fact connected). To understand this category of identity is to view the multi-layedness of African culture as not separate from the genesis 'qualities' of an area-space (leading to a continental space). In looking at this subject we are in fact looking at a giant family gathering that contains many different focuses (activities) going on simultaneously. Suddenly there is a group of mothers working together in concert..., suddenly we are given an opportunity to see the young men initiates practice their dancing in preparation for the symbolic ritual re enactment ( notice the women playing music for the young men to warm up on- everyone is aware of the challenge of the ritual structure and works to advance the proceedings). The use of color in Jola ritual ceremony, as this subject applies to social dressing and the concept of style, gives an clue into the subject of identity and creative integration. For color in this video tape is not used as the beginning and/or end of a ritual statement or theme that is isolated from the composite event-state, but rather the phenomenon of color-invention is used as a backdrop consideration that reflects the 'blending' of a composite state. In this example, as in the later musical examples that I will use in this paper, the phenomenon of Afri...
