Eddy Firmin is interested in knowledge sharing policies and the epistemic conflicts they generate in the colonized artist. He thus seeks to remedy the codes of an ancestral Caribbean practice, Gwoka (between dance, song, storytelling and music). The latter belongs to a very large family of Afro-Caribbean practices built to resist colonial violence (such as Paracumbé, Guineo, Bélè, Calenda, Bomba, Tambú, etc.). This pressing need to transfer ancestral codes to recent visual mediums is due to the fact that his islands of Guadeloupe and Martinique have not produced a visual tradition to refer to, this because of the prohibitions of slavery on a restricted perimeter. Apart from resistance, one of the main codes of this practice is lokans. Specific to the singer/storyteller, its purpose is to mask the resistance of the slaves under the trappings of a plastic song driven by technical virtuosity. The lokans is then the shield of flowers behind which war rumbles, because it is also the art of double language. Thus, its practice, among other codes, uses it. Technicality and aesthetics are intended to seduce while the underlying, coded discourse is intended to resist the master discourses (in the arts, as in the social space).