Imperial history often relies on the idea of temporality, assigning discrete units of time to the past, present, and future. Radouan Mriziga, however, seeks to challenge this narrow view of time in his work exploring Libya through performance, dance, rap, stories, language, and song. Through his art, Mriziga seeks to reappropriate history, connecting it to the present and opening it up to a range of perspectives.

The legacy of North African crafts, inventions, science, cultures, and philosophy is traditionally passed down through the energy of nine performers. This legacy resonates with Mriziga's family and with forms of Western knowledge, and is celebrated in a human and artistic epic. Rather than being didactic or documentary, pedagogical or anthropological, Mriziga's work seeks to create a non-imperial potential history, one that can be experienced as a single unit and continuity of knowledge and universal flow.