The article discusses the psychophysical processes of actors based on laboratory practice with the Arkhétypos Group, resulting from an interdisciplinary collaboration between Performing Arts and Physiology. It analyzes two creative processes and proposes an approximation with the theory of transient hypofrontality, which suggests a temporary decrease in prefrontal cortex activity during ritual performance. The methodological approach relies on anecdotal evidence and rigorous bibliographic study. Partial results help explain changes in cerebral physiology that occur when an actor enters ritual play.
The Cordon dance, an indigenous therapy practiced in Cuba, traces its origins to the areíto of the Taíno people, a dance form long believed extinct. This work introduces the idea that Cordon functions as a legitimate healing practice, reframing a virtually unknown dance as a therapeutic process. Both the areíto and Cordon inform alternative therapeutic approaches centered on presence. Performed through Cordon Spiritism, the areíto serves not only as a vital healing resource for its community but also as an expression of living tainidad, or Taíno identity.