y between given individual and/or group participation. In the first category the phenomenon of multiple experiences serves as a backdrop to a) multiple exchanges of dialogue b) no separation between the observer and the observed c) the emergence of a 'vibrational field of continuity' that serves as a kind of image/vibrational/sonic curtain that frames all perceptual events in a 'state of motion' outside of a single structural domain (or focus). The experience of this 'vibrational quilt' of activity gives a sense of communal interaction that is extreme by western standards. It could be somewhat difficult for a person who seeks an individual 'experience'- (which of course describes the work of the Griot musicians tradition completely; but this is a separate subject with its own special dynamics and will be introduced later on in this paper). The dynamic reality of the Jola initiation ritual establishes a spatial environment that allows for the co-existence of many different realities; like the use of isolated flute ensemble interaction experiences in the beginning and end of the video tape, or the 'sudden forming' of a given group to sing a known verse or song between themselves. The phenomenon of multiple event strategies, as a fundamental axiom of Jola formal dynamics can be seen by how easily disrupted group of wanderers are absorbed into the composite 'flow of event' in the festival ceremony. This is a concept of creative postulation that doesn't separate composite creative functions in a way that is separate from the person experiencing the postulation. I am particular fascinated by the co-existence of different areas of the arts in one area-space; including the different 'levels' of dialogue interaction experiences from musicians, poets, dancers. The use of parade formation in Jola ritual ceremony gives one an opportunity to reexamine present day formal documentation. This is true because 1) the use of Jola formal ceremonial parade ...
