The one thing that has turned me, now, into word is the inability to bear it within me. It had no name, no shape, and recognizing its presence was hard. Recognizing its existence was hard. They were the Voices. While I engaged in battle with the invisible, they clashed to become language. At that time, I gave myself to the quest of explaining meaning-meaning until I understood that they were no more than my body’s manifestation and defense, in reaction to my excessive exposure to the struggle. Therefore, the taking of consciousness.
From a disturbing process of expansion of what laid behind my eyes, and in between them, I began having constant lapses during which I forgot about reality. I became invisible, like the shockwave of a lightening, one step forward and one back, never here. When my memory started to fade, I learned the value of writing. I noticed that writing myself was the only way of bringing me back from this gaseous and faraway place in which I always got lost.
There, time was suspended, without order, with no beginning and no end. A space where everything clusters and comes together. Where the times run parallel, and where I became a zombie.
It is necessary above all to create a magnetized space where it is possible to safely travel between times.
This is a text in transit; the only possible way of writing about a terminology that in itself, in theory and practice, is in constant motion.
AfroTranscendence was born in 2015 as an immersion program of creative processes to promote contemporary African-Brazilian culture.
Its trilogy coming to an end in 2017, it also takes the shape of a concept and a practice for the creation of a space-time.
A practice that constantly experiments in the construction of a transitory space and concept for immersion between times.
Time, as a unit that connects to historic revision, to colonial traumas and to epistemicide, to the gathering of knowledge and technology, to ancestral legacy, to vital energy, to the spiritual, to critical thinking and to the production of knowledge.
Space, as creative processes and collective learning, experimental methodologies, rites and passages to connect with memories; of exchange, of affection and crossroads; of expanding consciousness and exercising imagination, producing meaning, ruptures and projections of the future.
And in so being, the Afro Transcendences may be thought of as an immersion movement between times in search of connection to present knowledge, in both individual and collective memories, with the intent of expanding consciousness, developing critical thinking and expressing it with creative acts.
Creating temporary communities, 20 people are selected in an open call in each edition, hailing from different artistic practices and joining experts, masters, researchers and artists in a program composed of speeches, readings, interventions, performance-lectures, video conferences and laboratories. By crossing these different archival research and reference knowledges, the creation of an expanded transdisciplinary experience is proposed, using as its medium the word, the body, the sound, the image and the technology.
And how best to capture the resonance of this movement? Thus, our approach to film is born.
A language that enables the articulation of these many spaces and times. That reactivates memory, the events of the past and updates them to other, in the present. By pairing different times through image and sound, it recreates the experience of immersion and leads us towards being outside of the world, together. A motion to transcend and to live, collectively, a Healing Time.
A film by Ana Paula Mathias
Diane Lima is the curator and creative director. Master in Communications and Semiotics at PUC-SP, her work focuses on experimenting with artistic practices and multidisciplinary curatorships, developing devices for collective learning with special attention to creative processes and production of knowledge. In her interventions she discusses topics such as ancestral memories, liminal spaces, symbolic violences, production of meaning, epistemic justice, ethics and aesthetics of resistance and the decolonization of affections and institutions. Her most recent projects include the immersion in creative processes AfroTranscendence, which happens annually at the Red Bull Station; the Silicon Valley African Film Festival; the racial awareness program A.Gentes and the curatorship of Diálogos Ausentes, both sponsored by Itaú Cultural. Write about art and culture at Bravo! Magazine