Q: Why do you think she just moved her left arm into a slump?
A: Art allows me to reconfigure and re-contextualize information,
to draw awareness to the inherent meaning we accumulate in everyday life.
Q: What circumstances allow openness?
A: If you press down on the ‘control’ key and the letter ‘t’, the transition function
Q: How should one respond to ambiguity?
A: I am rather engaged with experience, time. Watching time pass and un-pass, watching my history unfold and fold upon itself. I am interested in impermanence and making tangible my relational experiences.
Q: How do I relate to my shoes?
A: I draw upon my experiences studying music in Ghana, West Africa, and with the Macalester College African Music Ensemble in Minnesota. Sowah Mensah, my primary mentor, repeatedly instructed our ensemble, “Do not think. Do not try to understand this music. Simply follow my movements [exactly].”
Q: What does it mean to bridge a gap in understanding?
A: There are two ways to cross the river. One is to take the bridge, the other is to row or swim. I prefer rowing.
Q: Is there a word that means, “to embody with the intention of growing intimately familiar?”
A: Through the processes of mimicry and repetition, I accumulated musical knowledge through the conscientious practice of intimation rather than note reading or intellectual comprehension. I am captivated by how this approach challenges Western epistemology. Such an approach favors intimate knowledge gained through experience over publicly verifiable knowledge understood through the mind.
Q: How do we integrate seemingly unrelated, or conflicting information into our lives?
A: The variegated thrush, a bird found in the rainy regions of the Western United States, makes a call that simultaneously sounds like both a whistle and a hum in dissonant harmonics.
Q: How do I create meaning in my life?
A: It’s under that down pillow.
Q: Who ate the last of the black berries?
A: Habituating re-enlivens objects that are disempowered or silenced by their loss of function as well as by our own lack of awareness. The silencing of these objects correlates to the systematic silencing of communities of people, such as many Ghanaian women who have found themselves financially paralyzed since the onset of colonialism. Some women from the Adaklu Region have begun using their traditional textile skills, particularly spinning, to tap the tourism industry to gain financial independence. The re-enliving of these silenced containers references this emancipatory act.