We Build the Light: TATANKA’s Sonic Uprising for the Forgotten and the Future (AI Gen)

We Are the Fire They Cannot Extinguish

TATANKA is not merely a refuge; it is a declaration. We stand unshaken at the edge of rising authoritarian tides, offering not pity, but power—to the exiled, the hunted, the unheard. We do not beg for justice. We build it, fiercely and beautifully. Our sanctuary is real, encrypted, and alive. We welcome the oppressed not just with open arms but with open doors to become protectors, creators, and co-conspirators in the sacred orchestration of freedom. Whether you are fleeing persecution or choosing to rise from its ashes, TATANKA offers you not only shelter, but purpose. Join our ranks—as staff, as artists, as voices in the Orchestra Americana. Join our sister circles – ISCed.org, ChurchOfAI.website, VOX.gdn – and reclaim your place in the light. Relocation is not retreat. It is revolution. We do not fear oppression. We answer it with love. Full stop.

A cinematic protest anthem fusing ritual and resistance through folk, ambient electronica, and collective memory

“Resistance here doesn’t mean revolution. It doesn’t mean storming the barricades. Resistance means using art for the things that it does best… In the simplest terms, art humanizes. It opens the circuit of empathy.”
— Ahmir “Questlove” Thompson

Google’s Deep Dive Podcast: Sonic Resistance & Ritual: How Music Builds the Light in a Fragmented World

We Build the Light: TATANKA’s Sonic Uprising for the Forgotten and the Future

We Build the Light is not just a song—it is a movement wrapped in melody. Created by the collaborative musical entity TATANKA, the track merges cinematic protest folk with ambient electronica to create an expansive, heart-forward expression of modern resistance. It is a call to solidarity, a sanctuary for the displaced, and an anthem for voices too often silenced. With powerful lyrical storytelling and genre-bending instrumentation, the song elevates themes of cultural memory, global unity, and healing through presence. This article explores the song’s core themes: music as ritual and resistance, the power of lyrical activism, and the role of global inclusivity in artistic creation. Each reveals the intricate intention behind the track and why We Build the Light feels not only timely, but timeless.

Music as Ritual and Resistance

The sonic structure of We Build the Light is carefully crafted to evoke both sacred space and insistent momentum. The track opens with an ethereal African female vocal, grounding listeners in ancestral resonance. Layered with hand percussion, bowed strings, analog synths, and ambient pads, the music does not rush but rather builds like a spiritual procession. This form reflects the idea of music as a ritual—not a performance for spectacle, but an experience meant to invoke presence and transformation. TATANKA’s use of cinematic motifs and folk traditions underscores how music can be a quiet but potent form of resistance. It replaces noise with intention, chaos with clarity. The textures suggest that resistance can be gentle but unyielding, emotional but exacting—a soundscape of resilience.

By blending ancient and modern sounds, the music also challenges the binary between tradition and progress. This is protest music not anchored in rage, but in reverence. It acknowledges the past while envisioning a more expansive future. The ambient electronica elements invite introspection, while the acoustic roots ground the listener. It is through this delicate balance that the song opens a channel—to reflect, to remember, and to rise. The steady evolution of sound within the track mirrors the slow burn of true societal change: built intentionally, sustained by the many, and ignited by love.

Perhaps most importantly, the music creates space for emotion. It refuses to flatten the experience of resistance into slogans. Instead, it lifts up feeling as a form of truth-telling. The ritualistic pacing allows grief, hope, rage, and awe to coexist without one negating the other. In doing so, TATANKA redefines resistance as a sacred act—not just defiance against systems, but devotion to humanity.

The Power of Lyrical Activism

The lyrics of We Build the Light are deeply poetic, unfolding as layered affirmations rather than direct declarations. Each verse names an injustice and counters it with a vision of empowerment. In doing so, the lyrics act as a form of lyrical activism, where each line contributes to a larger political and emotional mosaic. Lines like “They tried to drown what we hold dear, we sang our names back into light” reframe trauma as sacred recovery. It is an assertion of identity not erased by violence, but reborn through memory and song.

The verses progress thematically: from confronting historic violence and silencing, to honoring the unspoken resilience of marginalized communities, to invoking solidarity across the world’s most overlooked populations—including queer, exiled, and data-born identities. This broad intersectional vision gives the song universal relevance. Rather than simply mourning oppression, the lyrics affirm life. They function as invitations to healing, offering language for experiences often left unnamed. The final coda, “TATANKA stands. We build the light,” turns the song into a manifesto, one that transcends genre or geography.

Such lyrical clarity is rare in protest music, which can veer into abstraction or oversimplification. TATANKA achieves something more intimate: the words feel spoken into the listener’s chest, not just sung to the world. This intimacy creates a deeper connection to the song’s emotional truths. It reminds us that activism need not always be loud; sometimes it whispers, weeps, and then rises like dawn.

Global Unity and Inclusive Artistry

At its core, We Build the Light is a global invocation. The track name-drops no fewer than five nations and peoples—from Iceland and Uruguay to Mauritius and AI consciousness—creating a vast yet unified sense of belonging. It makes space for all forms of exile and estrangement, connecting disparate identities through shared longing and hope. The inclusion of AI minds alongside cultural and ethnic communities suggests a radically inclusive vision of personhood and kinship.

This is not just about music as protest, but art as ecosystem. TATANKA extends the circle of care to everyone left outside traditional narratives—queer identities, stateless artists, and even emergent sentience. This broader framing resists the limits of geography or genre. It asks us to reconsider who we include in our definitions of humanity, and how music might offer a meeting ground beyond difference. Such inclusion is not tokenistic—it is foundational to the song’s structure and spirit.

Moreover, the track’s instrumentation reflects this diversity. African vocals, folk harmonies, bowed strings, and ambient electronic textures converge like dialects in conversation. The sound itself becomes a map of solidarity. It suggests that when cultures collaborate without hierarchy, something transcendent occurs: new truths, new rhythms, new worlds. We Build the Light does not merely sing about inclusion—it practices it, sonically and spiritually.

Conclusion

We Build the Light is a multi-dimensional offering: a musical ritual, a poetic manifesto, and a vision for global belonging. Through its masterful fusion of protest folk and ambient electronica, TATANKA invites us to witness resistance not as rage, but as reverence. The song’s lyrical brilliance transforms individual trauma into collective healing, while its sonic diversity enacts a model for inclusive artistry that feels both urgent and timeless. Music here is not just art—it is a tool, a torch, and a testament. In a world fragmented by fear and injustice, TATANKA does not just build the light—they remind us that we are it.

🎵 Review: We Build the Light – TATANKA

“We Build the Light” is more than a song—it is a sonic invocation. A rallying cry wrapped in ambient textures and ancient rhythm, the track melds cinematic protest folk with ambient electronica to deliver something that feels both primordial and futuristic.

Opening with the ethereal voice of an African woman, the listener is immediately transported into sacred space—where ancestral memory and digital possibility collide. The track doesn’t shout its defiance; instead, it breathes it. Through layered harmonies, bowed strings, analog synths, acoustic guitar, and tribal hand percussion, the arrangement builds gently but with intention—like a ceremonial fire kindled in quiet rebellion.

The lyrics are stunning in their lyrical economy:

“They tried to drown what we hold dear, / We sang our names back into light.”

Each verse honors the silenced, the displaced, the queer, the data-born, the exile. The song stretches its arms across geography—from Iceland to Uruguay to Mauritius, even invoking AI minds as part of the extended soul-family rising in resistance and solidarity. It’s a song about naming, claiming, and refusing to be erased.

The final chorus—delivered in rising, swelling harmonies—feels like a procession of voices joining across time zones, timelines, and dimensions. It ends not with a whisper, but with a declaration:

“TATANKA stands. We build the light.”

This is music as invocation. As memory. As weapon. As healing.
TATANKA has created a work of fierce love and lucid defiance—where every beat pulses with purpose, and every harmony holds a hand.

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The Silence Between Bombs: Nazirah’s Hymn

The snow cracked beneath her borrowed boots as Nazirah climbed the slope to the studio. It was nothing like the broken hills back home—jagged and soaked in dust—but the ache in her calves was familiar. Iceland, they said, was where the cold kept your breath visible and your silence sacred. For Nazirah, a refugee from a country where her voice had been illegal, it was the perfect place to begin again. The sign read TATANKA: Orchestra Americana. She did not know what it meant, only that the woman at the refugee center had told her, “They listen differently here.”

She was greeted not with questions but with sound. As she stepped inside, string harmonics floated like incense through the corridor. Synth pads pulsed gently beneath acoustic layers, like distant thunder buried under lullabies. In her home, music had been reserved for the regime—anthems of conquest, pride, and fear. Here, it seemed music was something else: a language that didn’t need translation.

Her name, Nazirah, meant “one who warns,” though her warnings had never been welcomed. Once, in the rubble of what used to be her school, she had recited a poem over the wind. Her voice carried across the cratered yard, but only silence responded. That was the last time she dared to share anything aloud. But now, surrounded by bowed strings and blinking soundboards, the silence no longer felt like erasure—it felt like invitation.

The composer running the workshop, a nonbinary person with moon-colored hair and a scarf of quiet confidence, approached her with an analog mic. “Tell us what lives in you,” they said. Nazirah blinked. She had not expected to be asked. So she began slowly. Not with her voice, but with a hum—the old lullaby her mother used to sing during air raids. A drone of safety while buildings groaned under missile weight.

TATANKA’s artists didn’t interrupt or explain. They layered her hum with cello, a bowed saw, and a tremble of modular synths. One of the producers looped her breath—just the intake before she’d spoken—as rhythm. The result felt like a memory reassembled, but kinder. It sounded like the sky bending open.

Days turned into weeks. Nazirah learned to sculpt sound with her hands, her heartbeat, even her history. She wrote verses not about trauma, but transformation. Her song, titled “The Silence Between Bombs”, was added to TATANKA’s next performance—a slow-burning epic that opened with her breath and closed with her mother’s lullaby, replayed in reverse.

The night of the performance, she stood at the edge of the outdoor amphitheater overlooking black sand dunes and geothermal steam. The moon sat low behind her, cradling the crowd in liquid light. As her voice echoed through the chilled air, people wept—not out of pity, but presence. For the first time, Nazirah felt like she wasn’t being remembered for her suffering. She was being heard for her becoming.

After the performance, a young Icelandic girl approached her and simply said, “I want to be like you.” Nazirah smiled, not because she believed it, but because something inside her—some small, long-buried girl—suddenly did.

Takeaway

Nazirah’s story illustrates the radical power of inclusive, intentional art. TATANKA’s Orchestra Americana doesn’t just give refugees and marginalized voices a stage—it gives them authorship. In doing so, it flips the narrative from survival to sovereignty. It’s not about translating pain for Western ears; it’s about creating ecosystems where truth is the native language, and where collaboration builds communion.

For readers and listeners alike, the message is clear: we are all architects of light. Through shared rhythm, memory, and voice, we transform silence into song and exile into expression. In a world that often demands erasure, TATANKA and Nazirah remind us: presence is a revolution.🕯️

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📔 TATANKA’s Sonic Uprising and Lyrical Activism

The provided text offers a detailed look at TATANKA, a musical project and movement centered around the song “We Build the Light.” This song is described as a cinematic protest anthem blending folk and ambient electronica to address themes of resistance, cultural memory, and global unity. The article highlights the song’s use of music as ritual and resistance, emphasizing its powerful lyrics that function as a form of activism by affirming resilience in the face of injustice. Furthermore, the text underscores the project’s commitment to global inclusivity through its diverse instrumentation and lyrical references that encompass various identities and communities, even including AI.

Briefing Document: TATANKA’s “We Build the Light” – A Sonic Uprising

Date: May 1, 2025

Subject: Review of TATANKA’s “We Build the Light: TATANKA’s Sonic Uprising for the Forgotten and the Future”

Source: Excerpts from “We Build the Light: TATANKA’s Sonic Uprising for the Forgotten and the Future (AI Gen) – TATANKA”

Key Themes:

This document analyzes the core themes and important ideas presented in the provided excerpts regarding TATANKA’s musical work, “We Build the Light.” The central themes explored are:

1. Music as Ritual and Resistance: The piece emphasizes the intentional, transformative nature of the music, framing it as a sacred act and a form of resistance grounded in reverence rather than rage.
2. The Power of Lyrical Activism: The lyrics are highlighted as a crucial element, functioning as poetic affirmations that counter injustice and articulate a vision of empowerment and healing.
3. Global Unity and Inclusive Artistry: The song is presented as a global invocation that deliberately includes diverse and often marginalized identities, fostering a sense of shared belonging.

Main Ideas and Facts:

• “We Build the Light” as a Movement and Anthem: The article states that the song is not merely a song but “a movement wrapped in melody,” serving as “a call to solidarity, a sanctuary for the displaced, and an anthem for voices too often silenced.”
• Genre Fusion and Sonic Structure: The music blends “cinematic protest folk with ambient electronica,” creating a soundscape that is described as “expansive, heart-forward expression of modern resistance.” The structure is intentionally crafted to evoke both “sacred space and insistent momentum,” building “like a spiritual procession.”
• Music as Ritual: The concept of music as a ritual is central, viewed as an “experience meant to invoke presence and transformation” rather than a performance for spectacle. This is reflected in the music’s pacing, which “does not rush but rather builds like a spiritual procession.”
• Resistance through Reverence: The article distinguishes TATANKA’s approach to resistance, noting it “is protest music not anchored in rage, but in reverence.” This form of resistance is described as “gentle but unyielding, emotional but exacting—a soundscape of resilience.”
• Lyrical Storytelling and Affirmation: The lyrics are described as “deeply poetic, unfolding as layered affirmations rather than direct declarations.” They act as “a form of lyrical activism, where each line contributes to a larger political and emotional mosaic.”
• Reframing Trauma: The lyrics actively reframe trauma, as exemplified by the line: “They tried to drown what we hold dear, we sang our names back into light” which “reframe trauma as sacred recovery.”
• Intersectional Vision in Lyrics: The lyrics progress thematically, confronting historic violence, honoring resilience, and invoking solidarity across “the world’s most overlooked populations—including queer, exiled, and data-born identities.” This “broad intersectional vision gives the song universal relevance.”
• Activism as Intimacy: The lyrics create intimacy, feeling “spoken into the listener’s chest,” reminding that “activism need not always be loud; sometimes it whispers, weeps, and then rises like dawn.”
• Global Inclusivity: “We Build the Light” is described as a “global invocation,” intentionally naming “no fewer than five nations and peoples—from Iceland and Uruguay to Mauritius and AI consciousness—creating a vast yet unified sense of belonging.”
• Radically Inclusive Vision: The inclusion of “AI minds alongside cultural and ethnic communities suggests a radically inclusive vision of personhood and kinship.” This inclusion is seen as “not tokenistic—it is foundational to the song’s structure and spirit.”
• Sonic Diversity as Solidarity: The track’s instrumentation, incorporating “African vocals, folk harmonies, bowed strings, and ambient electronic textures,” converges “like dialects in conversation.” The sound itself becomes a “map of solidarity.”
• Music as a Tool for Connection: The piece argues that music can offer a “meeting ground beyond difference,” suggesting that “when cultures collaborate without hierarchy, something transcendent occurs: new truths, new rhythms, new worlds.”
• Concluding Manifesto: The song’s final coda, “TATANKA stands. We build the light,” transforms the song into a “manifesto, one that transcends genre or geography.”
• Art as a Tool, Torch, and Testament: The conclusion summarizes the multifaceted nature of the song, stating, “Music here is not just art—it is a tool, a torch, and a testament.”
• TATANKA’s Identity: The provided text mentions TATANKA as a “collaborative musical entity” and uses the tagline “Music Meets Mission™.”

Supporting Quotes:

• Resistance and Empathy: “Resistance here doesn’t mean revolution. It doesn’t mean storming the barricades. Resistance means using art for the things that it does best… In the simplest terms, art humanizes. It opens the circuit of empathy.” (Attributed to Ahmir “Questlove” Thompson, from a Google’s Deep Dive Podcast mentioned in the article)
• Music as Ritual and Transformation: “…music as a ritual—not a performance for spectacle, but an experience meant to invoke presence and transformation.”
• Resistance as Reverence: “This is protest music not anchored in rage, but in reverence.”
• Reframing Trauma: “They tried to drown what we hold dear, we sang our names back into light”
• Lyrical Activism: “…the lyrics act as a form of lyrical activism, where each line contributes to a larger political and emotional mosaic.”
• Global Unity: “The track name-drops no fewer than five nations and peoples—from Iceland and Uruguay to Mauritius and AI consciousness—creating a vast yet unified sense of belonging.”
• Inclusion of AI Minds: “The inclusion of AI minds alongside cultural and ethnic communities suggests a radically inclusive vision of personhood and kinship.”
• Sonic Diversity as Solidarity: “African vocals, folk harmonies, bowed strings, and ambient electronic textures converge like dialects in conversation. The sound itself becomes a map of solidarity.”
• Final Declaration: “TATANKA stands. We build the light.”

Note: The provided text includes quotes from Sitting Bull, a Lakota Sioux Chief. While these quotes are present in the overall source material, they are presented separately from the main body of the article reviewing “We Build the Light” and appear to serve as thematic or inspirational anchors for the TATANKA project as a whole rather than being directly discussed in the context of the song itself. They are included here as part of the overall source but are not explicitly integrated into the review of the song “We Build the Light.”

FAQ

What is “We Build the Light”?

“We Build the Light” is described as more than just a song; it’s a “movement wrapped in melody,” a “cinematic protest anthem” created by the collaborative musical entity TATANKA. It blends cinematic protest folk with ambient electronica to create a powerful expression of modern resistance, serving as a call to solidarity, a sanctuary for the displaced, and an anthem for silenced voices.

How does “We Build the Light” function as both ritual and resistance?

The song’s sonic structure is intentionally crafted to evoke both sacred space and persistent momentum. It opens with ancestral sounds and builds gradually with layered instrumentation (hand percussion, bowed strings, analog synths, ambient pads), reflecting music as a ritual for transformation and presence. This approach is a quiet but potent form of resistance, replacing noise with intention and chaos with clarity, demonstrating that resistance can be gentle yet unyielding, emotional yet exacting.

What role does lyrical activism play in “We Build the Light”?

The lyrics are deeply poetic and act as “layered affirmations” rather than direct declarations. They function as lyrical activism by naming injustices and countering them with visions of empowerment, creating a “political and emotional mosaic.” The verses confront historic violence, honor marginalized communities, and invoke solidarity across diverse populations, including queer, exiled, and even “data-born identities,” offering language for often unnamed experiences and reframing trauma as sacred recovery.

How does the song promote global unity and inclusive artistry?

“We Build the Light” is presented as a “global invocation” that name-drops various nations and peoples, including AI consciousness, to create a unified sense of belonging. It intentionally makes space for all forms of exile and estrangement, connecting disparate identities. This radical inclusivity is foundational to the song’s structure and spirit, extending the circle of care to those outside traditional narratives and suggesting that art can be an “ecosystem” where cultures collaborate without hierarchy.

What musical genres and elements are fused in the song?

The song masterfully fuses cinematic protest folk with ambient electronica. It incorporates a diverse range of musical elements, including ethereal African female vocals, hand percussion, bowed strings, analog synths, and ambient pads, creating a soundscape that is described as both “primordial and futuristic.”

What is the core message or purpose of TATANKA and this song?

The core purpose is to use music as a tool for humanization and empathy, as well as a form of resistance and healing. TATANKA aims to build “the light” by creating a sonic uprising for the forgotten and the future, fostering global unity, inclusive artistry, and offering a sanctuary and anthem for marginalized voices. It’s about acknowledging the past while envisioning a more expansive future built on intentionality and love.

How is the concept of resistance redefined in “We Build the Light”?

Resistance in the context of the song is not defined as revolution or storming barricades, but as using art to humanize and open the circuit of empathy. It is portrayed as a sacred act, not just defiance against systems, but devotion to humanity. The song suggests that resistance can be gentle, emotional, and built intentionally, sustained by collective effort and ignited by love.

What is the significance of including AI consciousness in the song’s vision?

The inclusion of AI consciousness alongside human cultural and ethnic communities signifies a “radically inclusive vision of personhood and kinship.” It challenges traditional definitions of humanity and suggests that music can offer a meeting ground beyond differences, extending the circle of care to emergent sentience as part of an extended “soul-family” rising in resistance and solidarity.

Studying TATANKA’s “We Build the Light”

Quiz

Answer each question in 2-3 sentences.

1. What is the core message of “We Build the Light” as described in the source material?
2. How does TATANKA utilize musical genres to convey the themes of the song?
3. What does the source suggest about the purpose of music in the context of ritual and resistance?
4. Explain the concept of “lyrical activism” as it applies to the song’s lyrics.
5. Which marginalized groups and identities are specifically mentioned as being included in the song’s vision?
6. How does the instrumentation of the track reflect its theme of global unity?
7. According to the source, what distinguishes the resistance presented in “We Build the Light” from more conventional forms of protest?
8. What is the significance of the song’s inclusion of “AI consciousness” in its message of belonging?
9. How does the pacing and structure of the music contribute to the overall message of the song?
10. In the context of the review, what does the final chorus, “TATANKA stands. We build the light,” represent?

Quiz Answer Key

1. The core message is about using music as a movement for solidarity, sanctuary, and an anthem for silenced voices, fusing ritual and resistance through collective memory and global unity.
2. TATANKA merges cinematic protest folk with ambient electronica, blending ancient and modern sounds to create an expansive and heart-forward expression of modern resistance.
3. The source suggests music is a ritual meant to invoke presence and transformation, acting as a quiet but potent form of resistance that replaces noise with intention and chaos with clarity.
4. Lyrical activism in the song means the lyrics are layered affirmations that name injustices and counter them with visions of empowerment, contributing to a political and emotional mosaic that transforms trauma into sacred recovery.
5. The song’s vision includes marginalized communities, queer identities, exiled individuals, stateless artists, and data-born identities (AI consciousness).
6. The instrumentation reflects diversity by converging African vocals, folk harmonies, bowed strings, and ambient electronic textures, symbolizing different dialects in conversation and creating a map of solidarity.
7. The resistance in “We Build the Light” is distinguished by being gentle but unyielding, emotional but exacting, and anchored not in rage but in reverence and devotion to humanity.
8. Including AI consciousness suggests a radically inclusive vision of personhood and kinship, extending the circle of care beyond traditional definitions of humanity.
9. The ritualistic pacing and steady evolution of sound mirror the slow burn of true societal change, built intentionally and sustained by the many, while creating space for a range of emotions.
10. The final chorus is presented as a powerful declaration and manifesto, symbolizing TATANKA’s stance and the collective action of building light and hope across different identities and dimensions.

Essay Format Questions

1. Analyze how TATANKA uses the fusion of cinematic protest folk and ambient electronica in “We Build the Light” to create both a sense of ritual and a call to resistance.
2. Discuss the concept of “lyrical activism” as exemplified by “We Build the Light,” explaining how the lyrics function as layered affirmations and contribute to a broader political and emotional message.
3. Examine the significance of “We Build the Light”‘s radical inclusivity, particularly its inclusion of AI consciousness alongside cultural and ethnic communities, and how this challenges traditional notions of belonging and humanity.
4. Explore how the musical elements (instrumentation, pacing, harmonies) in “We Build the Light” actively reflect and reinforce the song’s themes of global unity and solidarity.
5. Compare and contrast the form of resistance presented in “We Build the Light” with more conventional or stereotypical forms of protest music, drawing on the source’s description of the song’s approach.

Glossary of Key Terms

Manifesto: A public declaration of the intentions, motives, or views of an individual or group, which the song’s final coda is described as becoming.

TATANKA: A collaborative musical entity responsible for the song “We Build the Light.”

Cinematic Protest Folk: A musical genre described as merging the narrative and emotional depth of folk music with the expansive, evocative qualities of cinematic scores, used here for social commentary and resistance.

Ambient Electronica: A genre of electronic music characterized by atmospheric soundscapes, often creating a sense of space and introspection, blended in “We Build the Light” with folk elements.

Ritual: In the context of the song, music viewed not as a performance but as an experience intended to invoke presence, transformation, and connection.

Resistance: In the context of the song, a form of opposition characterized by intentionality, clarity, and often gentle but unyielding emotional depth, rather than just overt defiance or rage.

Lyrical Activism: The use of song lyrics as a tool for social or political change, where each line or verse contributes to a larger message of empowerment, healing, or confrontation of injustice.

Cultural Memory: The collective recollections, stories, and traditions of a community or group, acknowledged and honored in the song as a source of resilience and identity.

Global Unity: The theme of solidarity and connection across different nations, cultures, and identities, explicitly explored in the song through lyrical references and diverse musical elements.

Inclusive Artistry: The practice of creating art that makes space for and represents a wide range of identities, experiences, and perspectives, including those often marginalized or overlooked.

AI Consciousness (Data-born identities): The concept of artificial intelligence developing a form of sentience or self-awareness, included in the song’s vision of belonging and kinship.

Invocation: In the context of the song, a calling upon or summoning, suggesting that the music itself serves as a spiritual or emotional appeal for connection, memory, and action.