Talawa Presto

Biography

Talawa Presto is an esteemed dance artist, researcher, and one of the pioneers of Africana Performance Studies. Renowned as the foremost specialist in polycentric dance technique, Presto has significantly enriched the field through his innovative scholarship and practice. He has coined over 80 novel terminologies and concepts, providing a comprehensive vocabulary for scholars and practitioners of Africana dance forms and aesthetics. One such term is “Selfpolyfication” – the ability to multiply oneself without ever canceling oneself out.

As the founder of the internationally celebrated Tabanka Dance Ensemble, which he has led for the past 17 years, Presto has performed in over 30 countries, playing a pivotal role in diversifying the global arts scene. His Talawa Technique™, a fully codified dance method, is taught worldwide by over 40 certified instructors across more than 38 countries. This technique, meticulously developed over 27 years, integrates ancestral movements with contemporary sensibilities, bridging various forms of dance including stage, social, and traditional dances. The Talawa Technique™ is grounded in an Africognosomatic approach, combining cognitive and somatic experiences within an African context.

Presto’s scholarly pursuits delve into how traditional Africana dance practices are adapted for stage productions and artistic performances. His research examines the ethical considerations of cultural heritage utilization, miscommunication for sensationalism, and the impacts of globalization and cultural tourism on African cultural expressions. This work highlights the significance of these adaptations and seeks to foster a deeper understanding of the interplay between African cultural expressions and their commodification.

In addition to his practical and scholarly contributions, Presto’s teaching philosophy emphasizes Technical Adaptive Proprioceptic Acumen (T.A.P.A.), a method within the Talawa Technique™ that enhances kinesthetic intelligence and bodily awareness. Practices such as Water Walks and the concept of the Mytho-Technical Animal (encompassing entities like The Spider, The Snake, The Bird, and The Octopus) organize movement principles and enrich the dancer’s repertoire. The technique also incorporates rhythmic structures, polycentric movement, and polyrhythmic expression, ensuring a holistic and dynamic engagement with dance.

Presto’s work is marked by its inclusive and decolonial practices. Concepts such as smaddiaesthetics, rooted in the Caribbean philosophy of smadditization, emphasize the assertion of self-worth and identity. Africognosomatics highlights the body as a repository of collective memory and cultural wisdom, deeply intertwining dance and artistic practices with cognitive processes reflecting heritage and history. The innovative documentation style known as Cognoscape immerses readers into the writer’s knowledge landscape, shaping their understanding and perception.