When traveling, you get the opportunity to experience the artistry of colors. How colors dance! How colors flow! How they move when humanity intertwines within them! How they color other nations! Colors are life! On another scale, they give us the power to leave traces of our footprints in our walk through Earth’s spacing. Do you want to go deeper? Come closer. A little closer. Colors have the power to heal!
The performance of travel gives us the ability to witness colors. They provide us with the air of life’s comfort. Jump into them! Give them the ability to move you into different fantasies and experiences. That’s one of the miracles of color. They awaken travel to an intrinsic journey for the a human experience. Through color, you come to view yourself as doing more than going on vacation. In fact, travel allows you to experience reality in a fictional gaze. When you have truly traveled, and traveled. . .well, a great mystery moves you through the lands. You don’t simply go as an Expat-one remaining in the confines of a familiar spacing, within a greater foreign landscape. Consistently, you are immersed with the people of that land; allowing you to find fulfillment, and exploration of self, within that contextual spacing. Travel becomes more than being an Expat, who has gotten away from their own land, for whatever reason that may be. Running away from one’s home, as an escape, without having nourished home before departure, only results in a faux experience. Eventually, you will end up coming right back home, but in a way that is violent, and not a harmonic experience of the travel domain. Real travelers, real explorers do not travel for the sake of fleeing, who they are. On the contrary, they travel because they are aware of the power, and Spirit of movement. They travel because they are part of that travel wellness, and it gives them an awakening into our very domain of self. They travel because they understand just how intertwined travel is to home. That is the very method of travel, and its reasoning for movement. We move across geographical spacing, in order to find meaning for why we have moved from the very beginning.
There are certain songs, videos, and picturesque moments in digital artistry, which comes to highlight the memory of travel. In fact, they come to highlight the very artistry and spiritual awakening of travel. Its not about going somewhere, only for the sake of saying that you are overseas. Furthermore, it is not only about using travel for self idolatry, the ego, and vanity. It is an awakening of self, and the seeing of self among people of distant lands. That’s the very essence of it all. In addition, a person is being moved through the very gaze of the spiritual movements of travel. An awakening occurs, and you are made to feel that awakening among other people and Beings. Life becomes just more colorful, when you move through this way.
As we move into the world of R&B, one perfume in Black America’s gardens, we are poised to see how the manner of movement is being designed, channeled, and made into an art, through the lens of travel! One of such artistry is the video, “Colors Of Love,” by legendary R&B group. . .
Boyz II Men
The video starts of with the men being in four different, cultural locations. Their presence is metaphorical, as it relates to the traces of movement for those particular tales of travel. For starters, their very identity, centers them. Much of that centering relates to being rooted in the gardens of Black American soiling. They are sons of Black America-with a Philly twist, of course. Their womenfolk are those of Black American maidens, mothers, an elders. In their travels, they have carried the essence of their cultural Maidens with them. Their feminine essence guides them; meaning they are not detached from their feminine, or Mother images.
Puerto Rico. Japan. India. Ghana. Four nations for the four men of Black America’s soiling. Isn’t it fascinating our very connection to land, and how our music and culture, has also led us to distant lands? Observing them and learning what it means to view our very presence in foreign spacing. Experiencing ourselves in the wonders of difference; another context, and its ability to co-exist with the myriad realities, placating the Earth. There is something about it. It is fascinating, delightful, and introspective. When you observe yourself in a different arena, an unusual vibe, you come to witness the falsehoods of oppression. You realize that subordination is rooted in another’s plans, to remove you from your greatness, and knowledge of self. One of the fascinations, in having been to another sphere on Earth’s planes, is the audacity for others to observe, and experience, different movements within certain landscapes and paintings.
When the song, “The Colors Of Love,” initially plays, we witness particular elements of moving through different portrayals and arenas of love, nourishment, healing, and nurture. There are certain elements, concerning such momentum. For Black American Her/History, land is an intriguing pattern in our tales of migration, within the United States, and throughout our travel tales. Certain delights have given us incite into how we are meant to move through versatile domains. One of the very blessings and incites into this phenomenon were part of that euphoria of gracing through the elements of love and nurture. There are particular elements, arising from travel; and its passion and beauty from, within.
Through each of the nations, in which the 4 members of the group venture to, the audience observes an array of colors. The performance of people in color is a wonder. Some of the characters, within these digital paintings, have positioned themselves in stillness. Yet, even then, you can observe how movement is forcing these stories to be told. A level of richness occurs, even when there is stillness. Its a perfect lesson to be learned. Even in stillness, there is a plethora of adventures.
“I know the Color of Love (And it lives inside of you); I know the color of truth (Its in the image of you); If it comes for the heart, then you know that its true; It will color your soul, like a rainbow (Like a rainbow); and the color of love, is in you.”Boyz-II-Men-Lyrics From “The Color Of Love”
The video goes to the earlier scene. The visit to Ghana was more than profound. Visiting the El Emina slave castle was a pivotal point in the video. It was a distant memory for the explanation of Black America’s current reality. Never should we forget. And, we should always remember. Such a visual took me back to my own memory at El Emina slave castle, during an earlier visit to Ghana. It was the very first nation I visited on the African Continent. There is a pivotal moment in singer, Nathan Morris’ cameo in Ghana, West Africa. Not only does he visit this sacred spacing, but he highlights the power of stillness. Standing there inside of the El Emina slave castle, he reads those sacred words; which reminds Black America of the price that was paid. Morris’ presence within that particular arena was a blessing to our foremothers and forefathers-those who survived and those who transitioned. Singing within that presence, the hearing of Black America’s sound through peculiar spacing, was a point of victory. For the descendants of the “lost ones” to have returned, was affirmation that we had overcame. It was an honor to our foremothers and forefathers, that we, children of Black American soiling, continued to push through into our destiny. We were adamant in existing. Nathan Morris’ standing in the El Emina slave castle was the living proof of our miracle. Of course, we cannot forget about the magic of Ghanaian school children, in their uniforms. There is simply something about their presence, which represents everlasting hope and the continuation of a people in their authentic presence and existence.
Moving to the island nation of Puerto Rico, colorful residency allows us to maneuver in a way, where color enriches the very Soul of a residential spacing. Wanya Morris has taken us onto a journey, where water is intertwined with the spiritual element of Madonna and Child; of course, through a Puerto Rican interpretation. Walking from what is perceived to be a fortress, there are different scenes, where he sits to observe the movement of children’s exploration with the Earth; through their frolicking with the sand, and running through it. Different points of his journey shows him, observing particular spaces of human interaction with water. The fascination of Morris’ recording is that he shows the form of liberation, of human interaction with water. When we honor her spacing, water has the power to liberate humanity from rigidity’s constraints. What further strengthens his segment is that of Madonna and Child. The depiction of a Puerto Rican mother and child is more than a representation of the mother image for a nation. Simultaneously, it is also a reflection, and reminder, to his own Madonna and Child image. This time its through the Black American persuasion. In whatever nation that we travel to, Black American travelers always maintain the sway of our own cultural and motherly figure. Those women with a touch of Soul, who have the ability to create familiar longevity in foreign spacing. Such is the way of our peculiar, Madonna and Child.
On another note, water also guides him, throughout the island. There is a great energy, when it comes to the oasis and particularities of, water. If we decide to rush, water has a way of slowing us down. She does not allow any disruptions, when getting us to connect to her tune. If our movement patterns are unnatural, you better believe that interesting pictures and scenery, within her midst, will incite any wandering traveler to stop. Soaking in the richness of beauty and nurture, being available to see what blooms into fruition, when being among the comforts of water’s haven. Even when you look into the eyes of Wanya Morris, during these particular shots, a certain desire arises in you wanting to know the very coloring of his Soul. You can’t help, but to wonder!
Into the urban sector we go, with Shawn Stockman. “Like a bridge over troubled, troubled water, you stood beside me, stood beside me, and your love did not alter. . .” Water and love! It is an enriching experience, is it not? Water is the embodiment of love. In fact, it is one embodiment of love! Who would have ever known that such provides a comforting example for the very dynamics of emotion and nature? Stockman’s singing of this very phrase into a spacing of heavy and swift movement entails a level of wealth. For the most part, it ensures that no matter how “busy” humanity may be, in working, there will always be a level of exploration found in some of the most rigid of places. Darkness blankets herself over Tokyo, during this particular scene. Yes! The mystery of Tokyo is brought forth. It is illuminated, within certain arenas, and we are forced to experience it, within a certain contextualization of time. Daylight comes and he has found himself within a stroll through the gardens. Its another fascinating tale. Its an additional reminder that no matter how far humanity strays from our intimacy, reflections, and vibe with Mother Nature, we will always return back. Physically, mentally, and emotionally we are naturally wired to crave her protection, and there is no escaping of that.
Another sacred tracing of Shawn Stockman’s presence in the video is his bypassing of Bhuddists monks and nuns, and the protestors, who are marching for peace. They are wearing the whispers of yellow coloring. Moving forward, he comes across the statues of Bhudda and again, he is awakened in stillness” comfort. A butterfly finds rest in the palm of his hand, and he is reminded that even the smallest of life forms are worthy of tenderness. The way he looks towards a Bhuddist statue, with the camera showcasing the opening of his hands, indicates there being that silent connection, in realizing what the human experience is all about.
“I was lonely; I needed someone, to see me through; I was at the, end of my rope; I needed someone, to cut me lose”Boyz-II-Men-Lyrics From “The Color Of Love”
Transitioning into India, the cyclic rhythms of orange, begin to twirl. Young, Indian maidens swirl in the rhythms of Earth’s soiling. They twirl in order to channel their feminine artistry, within the spacing. In that way, there is harmony and balance within the land. A young, Indian boy imitates the movement of an elephant. An adult man journeys on with a real one. Our beloved bass vocalist, and the heartbeat of the group, Michael McCary, has journeyed his way into India’s gardens. As he glides through the streets, in rider and carriage, a group of children run alongside his transporting device. The magic of play is ecstatic. One of them even blesses him, and runs a little long, with clasped hands of, namaste. Walking through the local market, the imagery of Madonna and Child, arises. Balance is prevalent in the area. This time, she is of the Indian persuasion, and its a wonderful thing! Other children gather to record themselves in the camera. Wanting their presence to be documented, they squeeze together, so that their Being makes it to US soiling.
And loe, my Darlings, we cannot forget the temples. We can’t forget the Hindu temples of monks and nuns, who live in the way of Universal exploration. From how they pray, to how they sit, and even the welcoming of the rhesus macaques species of monkeys. Michael McCary allows them to eat from his hand. Again the walls of animals’ hierarchy have been broken-even if it is for a temporary moment. For another time, the scent of yellow and orange, permeates the spacing. Indian women wearing the diversity of blue, decorate the water with floras. It is another means to bless the liquid mirrors. Turning around, McCary stands back to observe. Reversing his posture, he is meditating on his Being in this unfamiliar surrounding. It is one of the most enchanting things he has done for his journey, and time, there.
And so, they return. . .
Back into the Big Apple, they travel back home. In this venture, travel was a collection of knowledge, and color, for their eventual return. It may not have been Philly, but New York City would have to do, for now. They are 4, and must convene, as one. It doesn’t matter the different paths, or routes, they have taken. They started as four,and they will end as four. Nothing will change that. Such is the living momentum of that journey. Riding in the taxi. Walking the city pavement. Sitting in Central Park. Enjoying the Subway’s bliss. They are moving into the route in their centering back together. It is more than dynamic. Different faces of the city, and the architecture supporting them, is met with hidden blessings. One by one they show up in the comforts of night. Staying next to the railing for support, they feel their reunion, as their gaze is fixed on, 2! The cameras make their close up. Each face is connected to a travel memory. Lessons learned, and experiences taken. A restoration has taken place, and they are back to that centered space. We may not see the actual plce, but it was taken to where they first started-where they first began. The 4 of them. All 4 of them! And illuminated in the distance is a reminder, that balance will always take shape. Balance will force a reunion. It has to be so. And music has a way of moving that harmony. So, as we move in the movement of travel-through the music of travel-let us not forget the healing of travel. It is not only for ourselves, but to collect those healing anecdotes. Preserve through our journey, and reuniting for the sharing and celebration of that healing, once we return home.