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This article investigates rasanblaj, a reservoir of knowledge that explores the sensual and spiritual in performance and praxis. I examined my own work as an artist/scholar and how I was instituting "assembly, compilation, and enlisting and regrouping (of ideas, things, people and spirits)." I also reflected on how this term integrated with the dance technique CaribFunk that I originated. The technique is "essentially a breaking and joining, and ambivalent movement within and without that results in the creating of new and often imagined spaces for cultural and social engagement" (Hope 2006b, 127) and addresses the politics of identity and subversion through the exploration of the hip wine (circular rotation of the hips) often found in the stylistic and virtuosic performances of Jamaican Dancehall and Trinidadian Carnival. Recognizing histories, memory, and embodied knowledge, I will demonstrate how Caribbean sensibilities, the erotic as power and CaribFunk serves as a framework to discuss Rasanblaj.