https://korjaal-ing.space korjaal-ing space Mon, 01 Mar 2021 23:44:44 +0000 https://korjaal-ing.space en https://korjaal-ing.space/Home Thu, 07 Jan 2021 15:38:43 +0000 korjaal-ing space https://korjaal-ing.space/Home A public journal exploring the culture of making and building in, around and in association with water. korjaal-ing space is part of a research exercise by architect Sean Leonard, responding to the notion of architecture as register, with a focus on the Ndyuka Maroons of Suriname and their relationship with the Tapanahoni River. https://korjaal-ing.space/Het-Nieuwe-Instituut-Research-Fellowship Mon, 01 Mar 2021 23:44:44 +0000 korjaal-ing space https://korjaal-ing.space/Het-Nieuwe-Instituut-Research-Fellowship On 18 February 2021, architect Sean Leonard, the recipient of the first Tilting Axis/Het Nieuwe Instituut Research Fellowship, will present his research project on the relationship between architecture and water.Register here to join the event: https://bit.ly/3pPVBjRSince the start of the fellowship, Leonard has kept a public journal exploring the culture of making and building in, around and in association with water, or what he describes as korjaal-ing.space. This practice, which Leonard explores through conversations and sonic, written and pictorial landscapes, is at the core of the Ndyuka Maroons’ relationship with the Tapanahoni River in Suriname. For this event, joining Leonard in the conversation will be Andrea Andersson, founding director and chief curator of Rivers Institute for Contemporary Art &amp; Thought, and Dirk Sijmons, co-founder of H+N+S Landscape architects. The evening will be moderated by Erik Wong, designer, editor and co-curator of Het Nieuwe Instituut’s Travelling Academy.Research Fellowship ProgrammeHet Nieuwe Instituut and Tilting Axis have joined forces to set up a fellowship programme for applicants based in the Caribbean. This programme aims to develop, stimulate and visualise curatorial, design and artistic realities coming from the Caribbean region and enhance knowledge exchange and collaboration with a cross-section of Dutch cultural institutions.The fellowship is supported by Het Nieuwe Instituut as lead partner and host, and will include collaborations with Kunstinstituut Melly, De Appel, Amsterdam Museum and The Black Archives. A new iteration of the fellowship will be launched in spring 2021.Tilting AxisTilting Axis is a sustained arts platform for, from, across, and through the Caribbean. It is a call to action to rethink the position and conditions of contemporary art practices in the region. Its perspective, informed by artist-led initiatives within the archipelago, recognises this space as central rather than peripheral and is fed by multi-generational voices. Tilting Axis wants to build infrastructure which supports and sustains contemporary art practitioners in the region, and serves as a catalyst for creative projects and collaborations. Tilting Axis was co-founded in 2014 by Annalee Davis and Holly Bynoe.Register here to join the event: https://bit.ly/3pPVBjR See les https://korjaal-ing.space/Milli-on-the-Marow Fri, 26 Feb 2021 16:34:32 +0000 korjaal-ing space https://korjaal-ing.space/Milli-on-the-Marow Milli on the Marow In a desire to test through staging in the Netherlands, some of the insights and sensibilities gained in Suriname related to making with reference to water, 'Milli on the Marow' is presented as a conceptual space which attempts to straddle and cross-pollinate the cultural perspectives of these two locations, and their respective relationship with nature. It examines the possible results of this cross-pollination through a manipulation of the idea of 'Resort' and more specifically in the context of this research; the 'Nature Resort'. It looks at placing Millingerwaard on the Marowijne. <img width="3034" height="2236" width_o="3034" height_o="2236" data-src="https://freight.cargo.site/t/original/i/82c4ef0530a573ca1706f24e463b35e6e0cebcb1a7771b04fac6ce614fafdde4/-Milli--on-the--Marow----Image.jpg" data-mid="100253637" border="0" src="https://freight.cargo.site/w/1000/i/82c4ef0530a573ca1706f24e463b35e6e0cebcb1a7771b04fac6ce614fafdde4/-Milli--on-the--Marow----Image.jpg" /> https://korjaal-ing.space/Marcel-Pinas-part-1 Wed, 06 Jan 2021 04:21:38 +0000 korjaal-ing space https://korjaal-ing.space/Marcel-Pinas-part-1 Interview w/ Marcel Pinas (visual artist and community activist) - part 1 <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/b54607e4f749d6fd21f3666446dcef2e1a31fd0f7e7177dee271b6a895267337/_MG_2455.jpg" data-mid="94101384" border="0" src="https://freight.cargo.site/w/1000/i/b54607e4f749d6fd21f3666446dcef2e1a31fd0f7e7177dee271b6a895267337/_MG_2455.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/ea5191f4345d80894269485635781ef2478a018b0a2eded82a8d84ce0740aa71/Road-to-Moengo.jpg" data-mid="94282542" border="0" alt="Road to Moengo" data-caption="Road to Moengo" src="https://freight.cargo.site/w/1000/i/ea5191f4345d80894269485635781ef2478a018b0a2eded82a8d84ce0740aa71/Road-to-Moengo.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/0cbe03dd7f4ab4b5c45e8dcbf059c0147aca14d181f915dc86da93d120d201e7/House-in-Albina-on-the-Marowijne.jpg" data-mid="94282544" border="0" alt="House in Albina on the Marowijne" data-caption="House in Albina on the Marowijne" src="https://freight.cargo.site/w/1000/i/0cbe03dd7f4ab4b5c45e8dcbf059c0147aca14d181f915dc86da93d120d201e7/House-in-Albina-on-the-Marowijne.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/ec847cba0818e3625815b6d8486caaa94ee956fd1155e51b5ec461694949276e/Public-Work-on-the-Julianaweg-Weyneweg-to-Moengo.jpg" data-mid="94282545" border="0" alt="Public Work on the Julianaweg-Weyneweg to Moengo" data-caption="Public Work on the Julianaweg-Weyneweg to Moengo" src="https://freight.cargo.site/w/1000/i/ec847cba0818e3625815b6d8486caaa94ee956fd1155e51b5ec461694949276e/Public-Work-on-the-Julianaweg-Weyneweg-to-Moengo.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/32c2660e9f8654f7695be35bbabb60bd699df945facdee5e1ff65fa66925ee4f/Moiwana-Monument-by-Marcel-Pinas.jpg" data-mid="94282546" border="0" alt="Moiwana Monument" data-caption="Moiwana Monument" src="https://freight.cargo.site/w/1000/i/32c2660e9f8654f7695be35bbabb60bd699df945facdee5e1ff65fa66925ee4f/Moiwana-Monument-by-Marcel-Pinas.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/aa725a40644ed8e8302723947afccbc3de70381cf2fa0e01399983a3a24e0c1e/MarcelPinas_01.jpg" data-mid="94282547" border="0" src="https://freight.cargo.site/w/1000/i/aa725a40644ed8e8302723947afccbc3de70381cf2fa0e01399983a3a24e0c1e/MarcelPinas_01.jpg" /> 1. On Being You see, living in the forest . . . That was my world It was very important to grow up in forest, Going to plant, we swim, we go to hunt You (learn) how to build things . . . I was part of it (the forest) I think that (was) very important for me as a human (being); (In leading) to the things that I am doing todayI (would) go to school by canoe . . . every morning. Discrimination . . . Stigmatisation . . . (That) maroons are uneducated You are not part of the system People decide for you what will happen and how Everything that is bad is the Maroon . . . And then We had the civil war People lose faith in themselves People don’t have things to hold on (to). 'Suralco' has been working here for 100 years What is left for the local community? The poisoning or the dumping of the chemicals (in the river) You do (economic) activities in that area, The monies you don't spend in that area You spend it in Paramaribo. 2. On Shaping and Reshaping By doing things you find yourself I think that's a very nice process Sometimes it's like you (do) not know what you want It's the process (that) leads you to what you have to do That is something that I follow always. Can art and culture help support; . . . Help influence the way how people think? It (could be) a very interesting process. I would like to have (a) Moengo University based on traditional maroon knowledge You can (have it for developing) different fields, So) then we would (be preserving) traditional knowledge. We have the ingredients We should challenge ourselves to develop new things that (are) at another level. 3. On Communing, Communication and Community I have to be in the community to get inspired by the community To do the things; To express myself about certain situations. I used to question myself as a maroon because (we had a lot of problems) Then I (realised) that the best thing to do is to express myself . . . How I am feeling (Firstly) for my own people And then for the people outside I am still doing that It's (my) inspiration resource. It is important to communicate with my own people How will I do that? I did the first art object Then the second art object at Moiwana, dealing with the problem of the community This work will deal with their suffering This work will deal with the process of their struggle. I was listening to the struggle In every village that you go (to), people are talking about it (1986 Moiwana massacre). Then I understood that this is something that is bothering these people If we do something about it, To make it visible . . . for these people, It (would be) very important (in moving on) . . . to tell the story Then you know that someone is listening to you. It is a way of letting things go and continuing (on). It (the memory of the 1986 Moiwana massacre) was there but it was not there. They don’t know where they buried . . . All these innocent people The bodies . . . And (for them) having this space is like a connection with their relatives who died. Communication is very important . . . ︎︎︎ Previous Next&nbsp;︎︎︎ https://korjaal-ing.space/Marcel-Pinas-part-2 Thu, 07 Jan 2021 18:29:16 +0000 korjaal-ing space https://korjaal-ing.space/Marcel-Pinas-part-2 Interview w/ Marcel Pinas (visual artist and community activist) - part 2 <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/b54607e4f749d6fd21f3666446dcef2e1a31fd0f7e7177dee271b6a895267337/_MG_2455.jpg" data-mid="94299772" border="0" src="https://freight.cargo.site/w/1000/i/b54607e4f749d6fd21f3666446dcef2e1a31fd0f7e7177dee271b6a895267337/_MG_2455.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/ea5191f4345d80894269485635781ef2478a018b0a2eded82a8d84ce0740aa71/Road-to-Moengo.jpg" data-mid="94299773" border="0" src="https://freight.cargo.site/w/1000/i/ea5191f4345d80894269485635781ef2478a018b0a2eded82a8d84ce0740aa71/Road-to-Moengo.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/0cbe03dd7f4ab4b5c45e8dcbf059c0147aca14d181f915dc86da93d120d201e7/House-in-Albina-on-the-Marowijne.jpg" data-mid="94299774" border="0" src="https://freight.cargo.site/w/1000/i/0cbe03dd7f4ab4b5c45e8dcbf059c0147aca14d181f915dc86da93d120d201e7/House-in-Albina-on-the-Marowijne.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/ec847cba0818e3625815b6d8486caaa94ee956fd1155e51b5ec461694949276e/Public-Work-on-the-Julianaweg-Weyneweg-to-Moengo.jpg" data-mid="94299775" border="0" src="https://freight.cargo.site/w/1000/i/ec847cba0818e3625815b6d8486caaa94ee956fd1155e51b5ec461694949276e/Public-Work-on-the-Julianaweg-Weyneweg-to-Moengo.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/32c2660e9f8654f7695be35bbabb60bd699df945facdee5e1ff65fa66925ee4f/Moiwana-Monument-by-Marcel-Pinas.jpg" data-mid="94299776" border="0" src="https://freight.cargo.site/w/1000/i/32c2660e9f8654f7695be35bbabb60bd699df945facdee5e1ff65fa66925ee4f/Moiwana-Monument-by-Marcel-Pinas.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/aa725a40644ed8e8302723947afccbc3de70381cf2fa0e01399983a3a24e0c1e/MarcelPinas_01.jpg" data-mid="94299777" border="0" src="https://freight.cargo.site/w/1000/i/aa725a40644ed8e8302723947afccbc3de70381cf2fa0e01399983a3a24e0c1e/MarcelPinas_01.jpg" /> 1. On Self, Selves and the World What can my role be in the world? In the case of my community, How do I help them? I am an artist So I have to do it through art.&nbsp; . . . And being part of the process together, we reach somewhere Can it work? . . . I (want) to make my own people aware of the value of themselves and I want 'outside' people to understand that it does not matter who we are, Everybody is special Everybody has something that the world needs. Suralco' has been working here for 100 years . . . What is left for the local community? The poisoning or the dumping of the chemicals (in the river). You do (economic) activities in that area . . . the monies you don't spend in that area; You spend it in Paramaribo. 2. On Kibii and Community We started the art park; Artists come They work with the local community. Together they work on (an) art object I wanted (their sense of) ownership; (Their being) part of, So it's not anymore something alien coming here They are part of the process. At least we could create a platform for them to perform It was unbelievable for them to be there; They came, They said: Wow! This is for us to perform on; For us to perform?" You work on the profiling of them; That they are special. You see the change So if I could answer the question: Can art and culture help change or influence the community? Yes, It can. 3. On Knowledge Creation and Knowledge Transference No . . . You have to be you, You are maroon You have something special That's why it is very important to document our culture; To present it (to) them, so (that) they can read about it; (So that) they can listen We will focus more on (the) visual and (on) voice. They (will grow up) with part of their culture . . . I went after two years It was these kids who explained to me about the museum; (About) what is art. So I try to get them involved in a playful way; To make them think about developing what is in them; To take the culture with them in their future, In whatever they want to do. We would like to express (ourselves) in different ways about maroon culture in relation (to) . . . Maroon culture in relation (to) architecture; Maroon culture in relation (to) fashion; Maroon culture in relation (to) education We are thinking a Moengo University based on traditional Maroon knowledge, To share this (knowledge) with the world We have expertise that the world needs. It's unbelievable . . . They were able to create their own script They could (now) teach each other how to write and to communicate That's something special Imagine (trying) to survive in the rainforest (and) then in the rainforest you are able to create; . . . to think about aesthetics; . . . to think about beautiful things. These spoons (are) part of the culture That's what I caught, The spoons with all the symbols inside It is very important to preserve it; catch it; to preserve it Every spoon has a symbol That means it's a knowledge Everybody has knowledge We have to share that knowledge with each other That's what we have to catch. And then there will be a language That's what we want; To create a language that leads back to our community. 4. On Childhood River Vignettes The fight between the anaconda and the alligator; That (could) last for days It was always interesting to see that part When they hear the engine, you start to see them moving until one of them dies It was something magical to see. Seeing these wild boar swimming . . . You know wild boar, they walk in groups (of) hundreds Then they, crossing the river Woh! What magical moments. Passing the villages, most of the time early in the morning, You see children, women, men going to the river to take a bath, To do the dishwashing or sitting and fishing Most times when the kids hear the boats coming, They go (onto) the shore Then they run! They jump! . . . into the water Yes, those were special moments. There is a special fruit that (grows along) the river And when it's ripe It's ready to eat It falls in the water It's (an) orange fruit moving besides the boat You try to catch as much as you can to eat You see, These are special things. Some parts of the river, You don't want to look that way, Where we have the cemetery. Every morning we pass this space, But then it's (like ) a dark hole in the forest. As a kid you don't want to look that way. . . . Yes, those are special moments. 5. On Burying No, no, no . . . that's a whole ceremony, That's a whole ceremony Where as kids, you are not part of You have a lot of ceremony before taking (someone's body) to the burial ground A lot of ceremony. When someone dies the men go to the forest They get wood to prepare the food The wood is loaded (onto) the canoe(s) They go with four or five canoes and then the canoes are decorated. With drum(s) . . . with (gunshots), The men coming from forest; a ceremony on the water, Dancing, shooting With drum . . . with drum, From one village to the other village you hear the drum, then you know Oh! Something('s) happened They tell stories with the drum . . . Then there were special songs, Special music type, drum type for burial (and) for after the burial. 6. On Birthing and Becoming They take care of the woman and the baby The baby (has) to stay inside After eight days the baby can come outside To come outside, they have to do (a) ritual; Communicate with the ancestor(s) They have to take goods, Pangi's for the kids They let the child sit on the ground, On the soil That's also a special ceremony. A child is born (If) a family member (dies) around that time, Then they are connected (in one way or another) If the child gets frequently sick; Gets ill Then they have to communicate with that person who died. [No text] 7. On Sociological Frames The river is part of all The entire life of the maroon, The river is very, very, very important (We can do nothing) without (the) river; Without water. You have to adopt other things The rules that are in the village (Are) not the same rules of the little town, (Are) not the same rules in Paramaribo, (Are) not the same as those in Holland. You can see that the war destroyed a lot, A lot, really a lot Recently people started to do that again; (To wear) the pangi, the camisa The war has destroyed a lot of our culture. As a boy you had to know how they make (a) canoe When they (made) their canoe(s) you had to be there You had to go help search for the wood You had to be there to dig the hole You had to be there (for) the burning process, All the process(es) It's like every man has to have his own canoe. Most of the time the canoe of the man is the small one; For one or two person(s) The woman one is the big one, With all the kids; All the goods. So they placed boarding schools in important locations where people can go If not, Then they have boats, Special school boats that bring kids to school. So it's like you change the role These people want to educate you all the time They are the educators, But now they have to change I am the educator. Then I ask myself: What is education? You talk about educating Is education the western standard? (Is) what my grandfather also taught me About the canoe; Is that not education? It is the education we need (in order) to survive. There are a lot more similarities between the groups, than differences Some of the tradition has been developing while living; While doing things It's like doing by learning; Changing through the environment, With the environment. ︎︎︎ Previous Next&nbsp;︎︎︎ https://korjaal-ing.space/Tolin-Alexander Thu, 07 Jan 2021 13:53:47 +0000 korjaal-ing space https://korjaal-ing.space/Tolin-Alexander Interview w/ Tolin Alexander (writer, film &amp; stage director, and storyteller) 1. On Descent, ‘Marronage’ and Settlement I (am a) descendant of the people who ‘freed’ themselves ... I don’t say ‘runaway’; (Who) built their society far away in the interior That is more the upper Suriname; That is more at the end of the river where there are (many) waterfalls. After slavery people who freed themselves, told stories to their own children, Of where they came from And so for many of (the children), there was the wish to go to that place Where they were as slaves. (And so), 200 years ago a lot of maroons moved from the upper Tapanahoni River Back to the 'Kotika’ area, Where there were the sugar plantations; the coffee plantations. And that is my family story, I was born in the ‘Kotika’ in 1971. 2. On Ancestral Space and Ancestral Legacy Each holiday vacation we went with them into the interior, To the village where my mother (originally) lived That was Wanhati. The other name of Wanhati is Agiti Ondoo. We had a strong bond with the village of my mother Wanhati is one of the (culturally) strong villages; A strong culture in (religion), in plays, in dance and music. Here was the place where you also had what we call the Oracle; the Gaan Gadu; The great god (from whom they sought) counsel Many people from many other villages (would) come and they (would) stay Wanhati had a strong culture That’s why Wanhati, the village of my mother, Became the centre of the maroon people of the ‘Kotika’. My mother, born and raised in Wanhati, is in her eighties She is a great dancer; An Awasa dancerMy uncle in his eighties, still plays the talking drumMy grandfather was also a talking drum playerMy father was what we call a ‘Kabiten'; that is the chief (of) his villageHis father was (the) chief of his villageLet me say ... I (grew up) with the cultureAs a young child,I had a lot of ideas to do things with the culture. What I liked most was storytelling. 3. On Storytelling I started the storytelling in a ‘mato’ form The ‘mato’ is a kind of storytelling with music things In oral traditions, you pass (on your) knowledge through your children; (Through) relatives, (Who) you know have the capacity (to carry) what (we know as)heritage. (Through) a lot of stories in my family, religious stories (and those of) special things, I (get) a kind of initiation. You know ... Maroon society is oral based and some stories you don’t tell everyone; Even if they are your children They have to pass through some kind of initiation to pass (on) your story. (Onto) me, they have passed (on) a lot of family stories (Onto) one my brother(s), they passed on their knowledge (about) herbs Some stories I can tell Some, I have to lay back and not talk too much about (them). 4. On Messaging in Song and Dance That song called Agaankoi; That’s a kind of song that older people sing with a lot of sayings Its (like) a sort of battle So when people have trouble with each other they sing Agaankoi It’s a battle ... but in an artful way The women do the movement of the Agaankoi, which is (like) a fish It is a type of song and dance Awasa is also (another type) ... Agaankoi is more smooth ... more slow; More (graceful) movements. Awasa is very quick (Drumming) the Agaankoi beat is (slower). 5. On the Ordering Oracle All authentic Maroon villages have one or more Oracle(s) The oracles you consult; (You) walk with it and (It) tell(s) you stories... about you If your (passed relatives) worry about you or mother earth is worried about you, You can go (for) counsel (from) the Oracle; (The Oracle) is (an) object It’s an object, but is a kind of ... in my language we say .... ’a sacral’ It has power They (invest it with) the power, They libate, They pray and ask (the) ancestors to pass their knowledge to that object They (can) ask the ancestor to appear in that object. Most Oracles are not made now, they (were) made many years (ago) Some of the Oracles are (of) the time (that) the people freed themselves. An Oracle is not a thing you go and build ... it becomes a sacral thing You have to have the knowledge to handle it; To treat (with) it People take care of the Gaan Gadu It is a prestigious (role) to be one of the Gadu man. One of the great oracles is the Gaan Gadu; Great God That Oracle can speak justice Some ... if they become (chiefs), have to swear to that Oracle It becomes a kind of institution, To keep the society in balance. 6. On Walking the Oracle Always when I walk with it, they feel ... this must be something Once we walk (with) it, people always feel something … We never mention what it is. 7. On Community and Economy It (is) not an (individualistic) community It (is) a collective community If you go to sell wood ... that means you earn money, You have to share with other family members; Other villages Individualism ... (Not) in the Maroon society. It is not possible to earn money alone You have to share ... with the whole village. Notes: 'Kotika' is a variant spelling, as articulated by Tolin Alexander, of the region which is commonly spelt 'Cottica'.'Kabiten' is the Ndyuka language variant of 'Kapitein'.The spelling of 'mato' is undetermined. ︎︎︎ Previous Next&nbsp;︎︎︎ https://korjaal-ing.space/Remy-Jungerman Thu, 18 Feb 2021 07:22:27 +0000 korjaal-ing space https://korjaal-ing.space/Remy-Jungerman Interview w/ Remy Jungerman (visual artist) 1. On the Village of Ships in the Rainforest I was born in Moengo My dad was working (at) Suralco, The aluminium company mining bauxite, So I grew in a (village ... actually in the midst of the rainforest, (Where) a lot of people were of different backgrounds (So) as a kid, I was always kind of taken by (the) sort of cultural thing (that was happening); That was happening around us So the river was important. As a young boy I was always interested in the other culture We had (that) opportunity in Moengo, Because the aluminium company ships would come These ships were coming from Colombia, Jamaica, The United States So the people we had; (That) I kind of (knew), (Were) actually already international. But at that time I did not notice How important … how important that would befor my research as a grown up man, (And) looking back at things, Maybe (the) aesthetics that (have) influenced my life;Influenced my way of looking. So I grew up as this boy in a family of seven kids, Who was actually always curious; (Curious) about what was going on outside (Here), We were actually making everything, You were Surrounded by the rainforest. 2. On Winti in Village Practice and in Art Practice Winti was forbidden to practice in public, It was something (covert) I call it like a backyard religion, We were practicing it in the backyard (As then), Most black people were practicing Winti Nobody knew (about the) other (Whether) they were practicing Winti I think people would notice it, but (were) not speaking (of it) They were respecting it, But not speaking about (it) Mom was actually very much into Winti practice So yes, I grew up with a very strong Winti connection Mom knew ...&nbsp; She knew quite (a lot about) herbal medicine She was (therefore) kind of known, But at the same time a very simple loving woman (Winti) was part of your system Spiritually I was there. I try to get inspired from a certain knowledge; A certain aesthetic, Using the materials of Winti, Creating work that (has) the ability to tell stories; That (has) the ability to get people into different stories; Into different narratives, Other than only a West European narrative I think it's (Winti) there It's the way I kind of communicate with myself, In my space. Scratching ... the top surface of the clay on the textile, By carving the grid lines over again I think that is a ritualistic practice What I (often) say (is), If the studio practice is the ritual, Then the art piece is actually the residue of that ritual. And in there, Getting Winti happens … you get Winti You get into a transcendental situation when the context is created for that situation If I go into a ritual, I will have my Kabra Tafra, My special set table of things I like There will be drums It's a special moment It's an extraordinary moment ....and so that's Winti. 3. On the signification of the Toad and the River In my childhood, The toad was actually a very special animal (It was said of) the 'Hindustanis' doing great business, That they were ‘obeying’ snakes or toads(A) story (that) was all over the place; All the time The whole idea of the toad, (It referenced this) narrative of my youth If I have (a) chance to create a monument, I would like to create that monument,(That monument) of the Forest God that is returnedThe Forest God is symbolised by these twenty-one toads. Man, the river was the main source&nbsp; The river was the main thing you know All the time you are at the river&nbsp;&nbsp; The river was the connection to the other side;&nbsp; The other side of the river, We've been fishing in the river, I am a Cottica child That's the importance of the river Even though I am not from the Ndyuka tribe, (The river) is the close connection I have with this tribe;&nbsp; Of being part of this space. The river is connected to the water pantheon The ritual connected to the river; It is very much connected to the native Surinamese people (For) a ritual that is (connected) to water, The red white will play an important role The colours red white are connected to the (indigenous) peoples I think that the river is the main inspiration If I am in Moengo, I will just go and sit there for hours; Just sit there and watch the river; Watch the tide changing. ︎︎︎ Previous Next&nbsp;︎︎︎ https://korjaal-ing.space/Taki-Mix Mon, 01 Feb 2021 04:15:36 +0000 korjaal-ing space https://korjaal-ing.space/Taki-Mix Taki Mix 'Taki Mix' experiments with a more playful approach to transcription, as it attempts to register the role of music in oral cultural traditions by exploring the sensibility of music genres, such as Trinidadian rapso (like American rap), where 'music' and 'message' are in inseparable interplay. Rapso is a Trinidadian contemporary musical form, structured through a proclaimed ethos of "de power of de word in the riddim of de word", which focuses on the enunciation of potent messages through a rhythmic play of the phonic and phonetic character of selected words which are relevant to the message. 'Taki Mix' extracts its messaging content from recorded interviews with Marcel Pinas and Tolin Alexander, both of Ndyuka Maroon heritage and whose interviews provided the foundational field research material. It also enjoys the challenge of editing and mixing the cadence of the abstracted bits of narration to create rhythm; to create a rhythm with a message and to salute the aesthetic dimension of oral traditions. In the language of the Ndyuka, 'taki' means 'talk'. Taki Map 'Taki Map' presents two systems of representation by overlaying the 56 symbols of the Afaka syllabary on the cartography of a 1905 map of the Tapanahoni River. Like the map of the Tapanahoni River, the Afaka syllabic script of the Ndyuka in the early 20th century and is the only creole language form with a dedicated script system. 'Taki Map' suggests that in addition to the physical features of an environment, the sounds derived from human communication (vocal and instrumental) play a role in our spatial assimilation and rendering of that environment. On cutting through both systems of representation, the collage reveals an underlying layer of river water; a reference to the line in the 'Taki Mix': "You know the river is part of all, ah" <img width="2778" height="894" width_o="2778" height_o="894" data-src="https://freight.cargo.site/t/original/i/12f2a5a6d4547cc0d564e152132f2e0a6f6a46163adc4044d63de9b494751a48/Taki-Map---Image.jpg" data-mid="97289752" border="0" src="https://freight.cargo.site/w/1000/i/12f2a5a6d4547cc0d564e152132f2e0a6f6a46163adc4044d63de9b494751a48/Taki-Map---Image.jpg" /> ︎︎︎ Previous Next&nbsp;︎︎︎ https://korjaal-ing.space/Energy-Harvesting Sun, 10 Jan 2021 16:12:33 +0000 korjaal-ing space https://korjaal-ing.space/Energy-Harvesting <img width="1700" height="2200" width_o="1700" height_o="2200" data-src="https://freight.cargo.site/t/original/i/eaaa29467c4d21c2b508c093d569864480ea5be1b0ff7ef3539a374e1cf646d6/Graphic-Note---Energy-Harvesting.jpg" data-mid="94567979" border="0" src="https://freight.cargo.site/w/1000/i/eaaa29467c4d21c2b508c093d569864480ea5be1b0ff7ef3539a374e1cf646d6/Graphic-Note---Energy-Harvesting.jpg" /> Energy Harvesting This note initiates a study of a micro-hydropower unit for generating and storing electricity, by harvesting the kinetic energy inherent in the flow or tidal changes of the river. By virtue of its discrete scale and form, these units can be easily and strategically located in groups in the river, without deleteriously affecting its natural flow or prohibiting navigation around them. The units feature a solar light beacon at the top of pole-mounted (covered) battery receptacles. This main structural pole fits into a powered base sleeve, centred within a floating skirt. The base sleeve is powered by two tri-blade (vertical axis) Darrieus hydrokinetic turbines, which are&nbsp; activated by the flow of the water and whose orientation relative to that flow is adjusted for maximum harvesting by a fixed rudder-like fin mounted on their single rigid hanging armature. The batteries can be taken from their receptacles off the main pole for use as required, in anticipation of a targeted generation per unit of approximately 2KWH/day from a water flow rate of 10km/hr. ︎︎︎ Previous Next&nbsp;︎︎︎ https://korjaal-ing.space/Buoyancy Wed, 06 Jan 2021 04:04:47 +0000 korjaal-ing space https://korjaal-ing.space/Buoyancy <img width="2200" height="1700" width_o="2200" height_o="1700" data-src="https://freight.cargo.site/t/original/i/c7b106eb0314873aa3fc90ac0385a2300ae44f8d1ad81ab57be3595f65b1afc7/Graphic-Note---Buoyancy.jpg" data-mid="94099617" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/c7b106eb0314873aa3fc90ac0385a2300ae44f8d1ad81ab57be3595f65b1afc7/Graphic-Note---Buoyancy.jpg" /> Buoyancy This note initiates the possible re-articulation of the traditional ‘korjaal’ as pontoons for physically supporting new occupiable platforms which float above the water surface. It is projected that these new planes of occupation can provide new options for light, discrete and moving interaction with the river. Through co-option, it acknowledges the value of traditional technologies and material knowledge, while expanding the possibilities of their application. The scale and engineering of this re-articulation should also facilitate the dismantling of the platforms and reversion of the ‘korjaal’ to its traditional uses. ︎︎︎ Previous Next&nbsp;︎︎︎