Antonio Jose Guzman

From Masquerades to Cultural Resistance. The Black Atlantic is the last performance from The Supreme Exodus Trilogy - Opening of Framer Framed Amsterdam.

Spatial Sonic Structures, Genetic Textiles and Body Movements. Biomodulator units of pilgrimages, processions, temporary gatherings and journeys between the tangible and intangible, through the archaeology of Havana, Groningen and Amsterdam.

A performance by Antonio Jose Guzman - Opening of Framer Framed’s: Elsewheres Within Here - Curated by Jo-Lene Ong. Elsewheres Within Here investigates what we welcome, refuse, or overlook in marking the boundaries of spaces we call ‘home’–our bodies, houses, and countries.

Composed and choreographed by Antonio Jose Guzman

Costumes in collaboration with Iva Jankovic

Concert Band Score in collaboration with Alejandro Matamala

Music: Transillumination #1 Bayefall Lukumi

Musicians: Alejandro Matamala, Michiel Brinkmann, Cheikh Andji, Pape Assane Sow, Moussa Ndiaye, Ndeye Sonko, Ibou Ndong, Djembefola African Dance and Percussion

Description: Originally composed in 2015 and included in the exhibition El Organo Oriental during the Havana Biennial with a bold barrel organ instrumentation, Guzman later scored the work for full orchestra at the Museum of Contemporary Art in Panama City.

This piece is designed to create the impression of a hybrid yoruba, catholic, Buddhist procession band passing by during a parade. As the piece begins, the DNA sequencing is chant with percussion and as the band approaches, more instruments can be heard until the moment the band passes by water and the entire band is playing. The piece ends as it began, with instruments heard sporadically as the percussion fades away.

Based on a series of performances at Detras Del Muro, 13th Havana Biennial, Cuba 2019 Curated by Juanito Delgado & Loliett Marrero Delachaux and 22th Bienal de Arte Paiz, Guatemala - 2020 Curated by Alexia Tala and Gabriel Rodríguez.

Textiles and accessories in partnership with students from Minerva Art Academy, Frank Mohr Institute, Groningen, The Netherlands, Hanze University of Applied Sciences, Tomato Fabric Store, Tokyo, Japan and Arts & Crafts markets in Dakar, Senegal.

Dedicated to the loving memory of Journalist and arts curator Alanna Lockward, The mother of decolonial aesthetics.

Processional Order - Performance:

Initial intro GATC genetic chanting - practice of social transformation.

1. Prayer to Yemaya and Elegua - peace - social change

2. Chanting - drum ensamble

3. Water crossing - Diasporic Bodies : Shango and Obatala

4. Water crossing traverse - journey to the divine, spaces of cultural encounter, - diasporic yearning.

5. Waterways of Amsterdam - highly charged spaces of national and diasporic identity, of forced colonial colonial powers and exilic departures.

6. Chanting of DNA ancestry - transatlantic space of cultural collision.

7. Baye Fall drumming and chanting - Rap genetic battle with Sufi Muslim dancers. - rhythmic drumming and chanting.

8. Buddhist act undertaken to provide a basis for Nibbana, release from the cycle of becoming (samsara).

9. Chanting Ritual Acts directed towards entering the space to be securing worldly prosperity and averting calamities through unseen forces of evil, spirit chanting, bodhi-puja, to chase away the old ghosts belonging to former inhabitants of space.

10. Vindicate The four elements: Mother-earth, water fire and air .

11. Circle space, invoking the power of the Buddha and the Three Refuges — the Buddha, Dhamma and Sangha — as a whole.

12. Matsuri ceremony - the shrine of Shintō. The solemn ritual of worship, followed by a joyous celebration.

13. Dance free interventions used as a means of social strength and identity creating a vocabulary and style of diasporic movement influenced by the rhythmic-movement exercises of Senegalese Xambalac and Panamanian indigenous dance.

14. Developing movements into phrases as a series of movements bound together by a physical impulse or line of energy. to make the spectator perceive a series of movements as a sonic phrase.

15. Shango Rhythm movements linked by a recognisable pattern of sonic accents. A movement’s accent is measured by its force and duration; with different numbers at different speeds, with different styles of movement. The music determines the structure of a dance work.

16. Space is open and organic; contrasting sections of movement (a section of fast, energetic dancing followed by a slow, meditative passage), the deployment of different numbers and configurations of dancers (a solo followed by an ensemble and so on).

17. End thanks - Baye Fall - Sheikh Ibrahima Fall praying thanks