Elele, as the others in this series, is a manifestation of primal automatism. The intent was not to duplicate any specific object, rather,  to allow the creation to be influenced by appreciation of a culture wherein objects of utility possess a certain  system of beauty, curiosity and awe.

Elele produces  sound from three sources. A copper lid which is struck with the limb-like striker. In addition, there is an internal rattle which is shaken by a protruding limb on its side. Finally, a bell is struck with the striker.

Omomo is an instrument of ritual. It is a pastiche of  the artifacts of African tribal craftsmen. Here still, the intent was not replication instead, a celebratory labor to manifest the spiritual energy that was more than apparent during the initial forming of the piece. The experience of its creation was indeed spiritual, to the extent that it seemed to form itself. As well, its prescription seemed pre-determined. It shall be used in ritual to encourage prosperity. Omomo is a sistrum and is played by shaking and/or striking with the hand.

Anana is also an instrument of ritual. As are all of the pieces in this series, Anana's title is a palindrome. So, because when spoken they are distinctly rhythmic. When played, it is so in a back and forth  motion.

The prescription here is that Anana is used to ward away dark spirits or energy as she promotes and encourages healing and rebirth. This indoctrination  seemed to manifest  as the piece was being created.

Anana is played by shaking, striking with the hand and raised and lowered while playing. As with all, giving voice to the intention.