"As place is sensed, senses are placed."

'As place is sensed, senses are placed; as places make sense, senses make place.'

Steven Felt calls this assertion of his a "doubly reciprocal motion" (1996: 91), and Edward S. Casey invokes Feld's phrase to make the point that we are simultaneously "never without perception" and "never without emplaced experiences" (1996:19).

Kwame described the place that he grew up as poor. By poor he did not mean culturally deprived, because he often spontaneously danced Agbadza and maintained that American jazz and other Western art forms derived from the music and inspirations of his very people. But by poor he meant that the sandy soil on the coast of southeastern Ghana consistently failed to produce more than "small-small garden eggs" (eggplants), butter oranges, dry tomatoes, "hard-time corn," and so forth. His perceptions of Anlo-land as poor seemed to be shaped by two other significant factors.

First he contrasted his Anlo homeland with the land held by the more famous ethnic group of Ghana, the Asante, which readily yielded the lucrative products of cocoa, timber and gold.

Second, Kwame lamented the point in the 1960s when his hometown of Keta was overlooked in favor of Tema as the site of postcolonial Ghana's national port" (Geurts, 112).