of extended Jola form associations). In the second aspect of circle modeling in video tape number one can be viewed the circle dance of a group of initiates dancing around the tree locked arm in arm . In this example, the position of the tree has now taken the 'object-focus' of 'an enclosure'. The use of circle enclosure in this manor seems to be a kind of 'object-extraction' osmosis use of form that establishes a relationship between 'inside and outline' zones of consciousness ( and intention). To experience the circling of a tree in this manor is to really witness the ritual transferal of power from nature to the human community- that is, from the spirit world to the land of humans. The use of line formations- leading into circle chain like structures or the use of half circle formations ( when coming to the edge of the forest) can also be viewed as formal-indicators that shed insight into the structural imprint tendencies of the Jola people ( and as such, to Jola culture architectonic and symbolic tendencies- even the houses in the communities are built in circular shape formations- these concepts are not separate from present day perceptions of feminine deity formal/logo as a model of representation for spiritual/mystical recognition ). The use of multiple event action experiences in Jola initiation ceremony is consistent with the composite 'qualities' that are found in composite African creativity. To understand and experience the synergy relationship of local and expanded 'energies' in video tape number one is to notice that 1) there are no clear lines that marks stable and mutable logic separation in circle-logic parameters 2) that the actions in a given circle space makes full use of 'the creative spectra of possibilities' of a given situation, and 3) the vibrational and actual thrust of a given experience (or set of 'experiences') can be 'sensed' as an inductive synergy-force that allows for maximum correspondence and interpla...
