03/31/2026
Onè all. As a Design Science Studio fellow for Cohort 4, I found it necessary to share my findings and/or connections during today's session. We are now in Holon 3.
Picture one is one of the slides shared by the presenter, Bony DeVarco. During the course of presentation which was on Leonardo Da Vinci and Bucky theory on geometric design to human nature experiences. I shared this in the chat as responses or a moment of reflection (clarity).
African knowledge on aspects of geometric/geometry as they relate to human: Spiritual geometry in the Congo cosmogram uses cross-in-circle shape to map the humans' souls journey (reincarnation). Hence a representation of the four elements (air, water, earth and sun). Mathematical designs/symbolism go back to West African Sona (sand drawring - Angola) dated back to the 1900. Presently in the Haitian folk or vodún (Fón) I trust the spiritual drawings called vèvè (sacred markings) to elicit specific Devinities energies call "lwa" are very much like Congo cosmogram.
I further commented that in Adinka, symbols represented complex mathematical concepts like symmetry and recursion. This brings us to why the need for DaVinci to decode or (attempted to) decode i.e. intricate hair braiding or textile that were (still do) use as maps and codes. The more intricate denotes social status, cultural ties and messages. Then during the breakout session, someone shared this picture (Pic 2). I immediately, of course, connect it to the Danbala vèvè. It is one of the many Kaluga symbols {or images- some are of the virgin Mary- what we know as the Madonnas | Èzilis | Czechoslovakia (Black Madonna)}.
Fast forward to my current work in progress via dance, using the body as a vessel and a primary archives of memories (water - fluidity, medicinal, life) and emotions. I was glad to have had the opportunity to briefly spoke of this when partaking in the discussion for "The Called to Dance: Haitian Dance, Migration and Memory in the U.S." at the Hemispheric Institute at NYU, a Nadege Green residency archival work. I wore a skirt with a Danbala vèvè, made by from Haiti (Pic 3).
Giving thanks for more opportunities to expand
