Totem Taboo’s work is very close to music. Not only for being strongly influenced by musical references and its aesthetics but for loving recreating creators’s universes on stage, embracing fashion and sceneography, bringing their creation to a visual concept which is inseparable of any good performance art in this trascendent and cathartic live art birth realm to provide an entire world to cross through. I feel drown to artists that have reached to express their soul in this whole conceptuality which marries all artistic languages possible around their music in a way we can only get inspired from. Though it’s true Totem Taboo musical DNA is embedded in all kinds of Black music as a big multibranched tree as I already paid tribute with Funktopia Collection,  it is also true in regards to this whole artistic conceptuality Totem Taboo really drinks from Spiritual Jazz, as a like – minded energy blending spirituality and multicultural awareness through other language of expression, the one of sound, and since the only thing that matched the cosmic intensity of the Jazz being made in the 60’s and 70’s were the aesthetics in form of graphics and fashion that came with.

Spiritual Jazz is a style of Avant-Garde Jazz music which emerged in the 1960s. It is closely associated with the musical and spiritual philosophy developed by John Coltrane in the mid-1960s (manifested as early as his seminal A Love Supreme album) which was passed on to his collaborators Alice Coltrane and Pharoah Sanders.

Stylistically, Spiritual Jazz is marked by a mixture of Jazz with approximations of ethnic music styles (often a blend of styles evocative of African, Indian, and East Asian musical traditions), religious music of non-Christian traditions, and the ecstatic, transcendental aspects of Free Jazz. This radical style was closely linked to various African-American political and spiritual movements, such as the Nation of Islam and Afro-Centrism, the introduction of Zen philosophy and yoga in America, a resurgence of Egyptology, as well as the Civil Rights and Black Power movements.

This deep spiritual path transitioning multicultural and political ideas, experiences and insights translated into art, sending whole vibes of a conscious enriched universe, not being an exclusive favourite style in the above mentioned tree at all, it does feel somehow like a strong part of the tree’s root and it does resonate as what it is definitely Totem Taboo’s essence and purpose soundtrack. I hope you leave uplifted drinking from that legacy too.

by Cristina Morales

Cristina Morales (MA) is a transdisciplinary cultural practitioner who works as a researcher, writer, curator, speaker, critical pedagogue and artist at the intersection of art and politics. She has worked internationally since 2002 and is currently based in London, UK. She holds a Master in Cultural Production from the Open University of Catalonia, and a Bachelor in Sociocultural Anthropology from the University of Barcelona, Spain. Known for her creative and holistic approach to activism, Cristina is currently the founding curator of the first decolonial thinktank mapping and exploring Cultural Activism worldwide, Counterspace. The founding artist of the Situationist brand of political designs and performances Totem Taboo. And she writes periodically in English, French and Spanish on Decoloniality, on personal and community development through art, and on African and African diaspora arts & culture, published by national, international and specialised media such as the London Institute of Contemporary Arts (London); El Mundo (Madrid); Humanities, Arts & Society (Paris); A Beautiful Resistance (Seattle); Inhabit (Global); Ouvrage (Montreal); Wiriko (Barcelona); and Radio Africa (Barcelona) |