It was one of those ‘why didn’t I think of that?’ moments. Julia Adzuki had taken the concept of lukasa and danced her own direction.
It was a very excited few hours over lunch when Julia, visiting from Sweden, demonstrated her unique take on the memory boards of the West African Luba people. Known as lukasa (plural nkasa), these boards had delighted me for their beauty and astounded me for their efficacy ever since I first heard of them a decade ago. I use my Victorian Birds lukasa all the time, but know it so well that I don’t need it physically with me.
Above: Julia Aduki (centre), Alice Steele (right) and me at lunch with our versions of traditional West African nkasa and other memory devices.
Alice has been making nkasa in various forms for well over a year now. She even has her three year-old son learning his acacia species with them. It is so cute when he says the scientific names for the plants, pointing to the bead on a little board.
Having learned of lukasa from The Memory Code, Julia has developed a set of 15 boards which fitted magically inside a wooden box. She designed these nkasa to help her when she was training as a teacher of the 15 introductory classes of the Skinner Releasing Technique. [link to http://www.skinnerreleasing.com] This dance pedagogy uses guided imagery as an impulse for movement, particularly for dancers. Each class follows a script which types up to over 10 pages.
Photos: Julia with her 15 nkasa and their box (click on images to see details).
Julia first encoded the 15 classes in a landscape memory palace.
She had trained in the technique in Turkey together with her friend, Deniz Soyarslan. As many of the images which are used within the dance classes make a reference to the landscape, the friends decided to practice the actual technique in the landscape near Tekirova. She and Deniz made cards of notes for all the aspects of each class they needed to remember in sequence.
When Julia and Deniz started the landscape journey, they knew the content of the 15 classes, but could not recall what happened where or the sequence within each of the classes. Julia described what happened when they created a memory palace with a location for each of the classes in the Turkish landscape:
‘When we planted the memory trail, we couldn’t remember the sequence or the correlations between different parts of the pedagogy. We couldn’t place the images. But as soon as we had planted the sequence, it was like a 3D embodied mapping process. The progressions and correlations kind of popped out of the landscape. That was the moment I said to myself: this works.”
“What really excites me about this memory method is the possibility of repair, of embodied relational connection. Making memory trails offers the possibility of deepening human relationships within the environment.”
For Julia, the movements will always have a home in that precious Turkish landscape.
‘I made nkasa back in Sweden because I couldn’t take the landscape with me. I made them in the memory of the landscape, imagining the landscape. The strongest memory of all is still those places on the memory trail.’
‘I had shells and other bits and pieces collected in Turkey which I could use to make them. The nkasa enable me to add detail to each landscape location.’
Above: Julia describes seventh lukasa in the sequence. ‘In this class, there is a movement study about the whole body curling and uncurling. At this location in landscape there were poppies. Their movement as the stems uncurl was so appropriate. I added the curl to the board which reminds me directly of the landscape. I chose the red bead because it reminded me of the poppies.’
Above: Nkasa 4 and 14. These two boards both have shells from the Turkish beach with the centre exposed. Julia chose these as they create an image of the spine for two movements which relate directly to the skeleton.
Born in Australia, but having lived in a range of countries overseas, Julia described how her understanding of Aboriginal relationships to the landscape has changed since using the landscape is a memory palace.
“I love that landscape in Turkey. I loved it before but it is a part of me now. Planting memory in the landscape is also a process of the landscape taking root in oneself. That was a real eye-opener. I have a tiny little inkling now of indigenous connection to Country. It’s just a sprouting seed of understanding, not an ancient forest.”