Dancing with the Dead No.10: Montserrat

She was just about to continue on to the bathroom, when a tall cadaverous gentleman approached her with his hands held out towards her. In a trance, she stepped into the drawing room and her small hands were lost in his large hands. As she had often done with her grandfather, and as so many children do when dancing with an adult, she put her bare feet on the top of gentleman’s shoes. He spun her around into a whirl of dancing, drawing her further and further into the crowd of partygoers. The music played on.

Dancing with the Dead No.8: Grenada (1951 – 1955) No. 3

For years I puzzled as to why our house roof remained intact and I finally asked Mammy. It was not by chance or good fortune she said. Through the years she had learned to open one window on the lee side of the storm, and when the eye passes over, during the lull, close that window and open a window on the opposite side of the house. In doing that, the build-up of pressure in the house is released and so the roof stays on. Of course this would not work if a hurricane-spawned tornado struck, but it did not happen to us, thank God!

Allow me to set the stage…

And while the argument can be made that comparable methods are employed in many ceramic settings worldwide, at times the hand and body movements of the African potters (not to mention the familiar sound of ‘sucking the teeth’ for emphasis) were simply identical. In particular, watching the pounding of the wet clay prior to use with a wide-based wooden pestle convinced me that heritage practices can be retained within the physical memory of the human body, and have been transmitted from mother to daughter across time and space.

Social Media Auto Publish Powered By : XYZScripts.com