This blog is a part of the NYC Arts in Education Roundtable’s new blog series, “Teaching Artists Speak Out: Blogs from Quarantine.” As schools remain closed, we’ve invited some “Teaching Artists of the Roundtable” to help us curate a series of blog posts written for and by NYC teaching artists. We’ll be posting new blogs each Tuesday and Thursday for the next several weeks.
if as the older i get the more wisdom i gain– wisdom defined as the acquiring of information that is grounded, ancient– then isn’t time going backwards?
in “Dismantling the Master(s) Clockwork Universe)” Rasheedah Phillips shares that “early recordings of an abstract sense of time as a continuous duration arose in the 14th century, while the word ‘time’ itself derives from the word ‘tide’ or ‘tidz.’…”
this written work continues on to explain that before the establishment of the western world and its technological, political, and religious shifts that stressed a linear sense of time which finishes in a “chaotic end,” there were other ways that people conceptualized and interacted with “time.” so the re-imagining of it’s structure that my opening sentence does is in reality, nothing new. the fluidity of time can be seen in how, depending on where you are in the world, it might be a completely different “time”/season right now. or you might use a different calendar system, like the U.S. and China.
the truth is,those who work with and are connected to the land have always known about this expansive nature of time. and they have used it wisely –take the Africans who fought for and won their freedom in the most successful emancipatory uprising in human history as an example– the Haitan Revolutionaries. they won this war because they were connected to their ancestral religions of ancient wisdom, and hence did not believe in linear time – they fought utilizing gorilla warfare tactics based on their knowledge of the land, and were fueled by a fearlessness of death that came from understanding that existence did not end with physical life on earth; there are other timelines where our spirits go and roam. so maybe, COVID-19s ability to bring everything to a halt with quarantine isn’t some unique, inaccessible magic after all.
i say all of this to propose: maybe we have been able to time travel all along. haven’t you felt it?
when you meditate, and are able to see “past” versions of yourself, or scenarios which have not yet existed (in this timeline). the nostalgia in singing a song. the distortion of experience in the dreamworld. i’d argue that the healing we are capable of unlocking in those moments is proof that these are not imaginary trips. we’ve just been so trained to perceive this one pattern of numbers as our main orientation and organization of life flow that perhaps we invalidate the legitimacy of these experiences in other realms.
taking all of this into consideration, i propose my second point: to perform is to set an intention. a prayer, a ritual.
to say: “i will walk over there,” and then walk.
to say: “i will imagine a new world,” and then create it.
to say: “i will revisit this occurrence of the past,” and then recreate it.
performance is also time travel. time travel that uses our body as a vehicle. amend it all. create it all.
through being intentional with this time travel, we can bring so much healing to our communities and ourselves. when we do it alone, it is a private ceremony. but when we do it for others, perhaps its true purpose is to be a culturally/genealogically informed ritual that considers the positionality of the audience. this is what separates it from just “healing.”
the courageous will ask themselves: “who is my audience and why do i want them to witness my time travel? what truths do i need to reveal to them, and from where can i access these truths? where should they be positioned in relation to my trip?”
*uses this clarity to set up the camera phone*
*commencing ig live in “3.. 2..”*
Moréna Espiritual is a cuir Afro-Taíno teaching artist, performer, and organizer based in NYC. Their work focuses on ancestral healing, re-imagining societal structures to create black/brown utopias, & inquiring about all emotional bodies that can live through the “self.”