Sylvia Wynter’s Maskarade (1973), uses the concept of “Reverse Time” as way of interpreting “carnival-time” and the performance of the world turned upside down. Up becomes down and forward becomes backward; the procession moving in opposing time. Using an autobiographical approach, OHCE is a sonic procession. Field recordings and choreographic directions situate the listener within the liminal position between two places, Guyana and Scotland; using sound, memory, composition and movement to meet an echo backwards.

Ashanti Harris is a multi-disciplinary visual artist and researcher working with dance, performance and movement, alongside sculpture, film, sound and installation. With a focus on re-contextualusing historical narratives, Ashanti’s work explores the movement of people, ideas and things and the wider social implications of these movements. Her recent research subjects have included dance of the African and Caribbean diaspora in Scotland and Speculating the historical legacies of Guyanese women in Scotland in the 18th and 19th centuries. As part of her creative practice, she is co-director for Project X – a creative education programme, platforming dance and performance from the African and Caribbean diaspora; and works collaboratively as part of the collective Glasgow Open Dance School (G.O.D.S) – facilitating experimental movement workshops and research groups.