Eternal Itenerant

2025

This video emerged in the aftermath of a performance I presented at the Metropolitan Museum of Art in 2024, as part of Flight to Egypt in the Performance Pyramid with Black Myths. While it began as an imagined continuation—the video I would have made if time had been expansive rather than compressed—it quickly revealed itself as its own autonomous work, with its own questions, movement, and internal logic.

The piece feels, to me, like a birth.

At the time of its making, I was deeply engaged in studying Kemetic culture and the long history of fascination with ancient Egypt—particularly how that fascination has been racialized. On one axis, there is the European obsession with Egypt as phenomenon: an enduring fixation on the “how.” How were these structures built? How was this knowledge achieved? How was such mathematical, architectural, and cosmological precision possible? While this scientific inquiry is not inherently problematic, it often becomes stuck in a posture that treats Egypt as anomaly—as something exceptional, mysterious, even freakish—rather than as a culture grounded in rigorous, embodied knowledge systems.

On another axis, there is the way ancient Egyptian mythology has been taken up within the American Black community as a site of spiritual inheritance: a reclaiming of royal lineage, mysticism, mathematics, and cosmic intelligence as a counterweight to histories of erasure. This orientation often emphasizes the symbolic, metaphysical, and spiritual dimensions of Egypt as a source of empowerment and belonging.

What interested me was not choosing between these positions, but tracing a line that runs through both.

At the center of this work is the scientific and cosmological truth embedded in Kemetic knowledge: a coherence between mathematics, the body, nature, and the cosmos. Rather than situating Egypt as either anomaly or myth, I focused on how its intelligence organizes relationships across scale—how movement, proportion, and rhythm connect the cellular body to planetary motion, and planetary motion to the larger cosmic field.

This video is an attempt to stay with that continuity.

The choreography is not symbolic representation, but a practice of alignment: moving through the body as a site where multiple systems meet. The work traces an arc from cell to body, body to earth, earth to cosmos—an unbroken chain of movement and relation. What emerges is an attention to eternal motion: a dance that is not personal expression, but participation in a larger, ongoing rhythm.

In this sense, the work is less about Egypt as image or history and more about Egypt as methodology—a way of organizing perception that refuses separation between human, planetary, and astral life. The video proposes movement as a technology of connection, one that allows us to sense ourselves not only in relation to each other or to the natural world, but to the wider cosmological forces that shape time, matter, and becoming.

What results is a work that holds multiple temporalities at once: ancestral memory, present embodiment, and cosmic duration. Rather than offering resolution, the video invites viewers into a state of attunement—one where the body becomes a listening instrument for forces that exceed it, and where movement becomes a way of remembering what has always been in motion.