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SANTAINIA

An 11 minute music presentation designed to be performed live with an accompanying video projection. The piece is composed for septet, featuring Trumpet, Flugelhorn, Soprano Saxophone, Hammond Organ, Moog Synthesizer, Electric Guitar, Electric Bass, and Drum Set.'

THESIS STATEMENT

When tracking the movement of culture in the African Diaspora, one can easily pigeonhole themselves into searching for carbon copies, or direct equivalents. In an effort to be unusually meticulous, SANTAINIA provides an analysis of indirect equivalents. The plight of African people, particularly in the Americas, called for cultural disguise on many levels; one of these disguises was of Fighting Traditions. A HUMBAL PROPOSAL: Traditional fighting styles took a secondary form. Traditional fighting styles were transformed into music. African Martial Arts ceased to be a demonstration of toe-to-toe physicality, but rather, toe-to-toe musicality. This provided active and passive resistance, shouting coded messages and violently lashing out against the foot soldiers of Death, with positivity.

The following is a performance excerpt, a performance introduction.

"SANTAINIA is a simultaneous representation of the historical and present-day developments of black people’s culture. Tonight we are pulling from DNA, Documents, and Aural history. This presentation shines a spotlight on the relationship between African martial-arts and African Diaspora music. The rhythm of fists thrown by Sugar Ray Robinson is found in the pulse of shoes worn by the Nicholas Brothers. Likewise, Turf dances in the West glisten with the sweat of Jack Johnson’s inward closed palms. Defiance music rises out of the dust, at all times, barking secret codes at those who listen. Survival and prosperity come through adaptation and spontaneity.

Music is the new combat art tradition."