Although the rhetoric surrounding gwoka has emphasized a narrative of resistance and escape, the sounds of the music and the overall sociality that emerges around the drum, tell a different story. From the margins of the plantations to the margins of Europe, it is a story of conviviality, of finding ways to exist in a (post)colonial system that denies existence: the existence of its subaltern subjects but also its own enduring existence as an imperial nation-state. The drum makes audible what colonial histories and (post)colonial politics have tried to silence. Gwoka is a practice of fugitivity if we understand fugitivity not only as escape but as dwelling in movement and instability. Choreographer Lenablou has long argued through her work that gwoka dance captures a way of being-in-the-world that is specific to the Caribbean experience of French (post)coloniality. French (post)coloniality, for Blou, is captured in the bigidi, a stumbling gesture typical of the l踲z rhythm. Creolized Aurality concludes by proposing the bigidi as an embodiment of the d賯ur. In the bigidi, in the embodied experience of gwoka's aurality, the antinomies of Antillean (post)coloniality can be reconciled.
Keywords: fugitivity, detour, bigidi, Lena Blou, postcolonialism