Through the circular dynamics of departure and arrival, arrival and departure, the ethnographic moving image observes the Black body in a circular state of transition, foregrounding its historical and metaphysical relation to the transatlantic through spirit, rhythm, and loop. Water functions simultaneously as memory, conduit, and an epistemological site of liminality. The crossing emerges as a structuring metaphor for the formation of modernity and, simultaneously, the moment of trance—arriving and departing—echoed through syncretic religion and ritual transformed within the New World.