3 Tails attempts to bridge body percussion and South Indian rhythmology as a way to track historical musical memory through the body. Indian rhythms have become very popular in world music and have affected the way rhythm is taught and transmitted outside the traditional and local contexts they were born in. Their migration to other rhythm cultures have inspired artists to use their craft to find a cultural bridge. As an educator , dance practitioner, and choreographer, I am able to memorise a rhythmic pattern only if I embody it, creating my body into a transcription canvas where an intangible cultural element becomes ephimerally tangibile. The rhythms I have attempted to embody were transmitted to me through a teacher and I transmitted them to my students in order to better re-learn them and keep them in my memory for as long as possible. The magical confusion that body percussion causes with blurring the lines between movement and sound, dance and music, visualising and sounding, create a unique mutlisensory practice that reunites the arts and reconfirms the non-duality of performance. A memorable blend between vision, hearing and touch manages to bring us closer to our past. By practising the historical syllables of konnakol through the body, I am reminded of the first syllabic language of Ancient Greece, the mycenean Linear B. But Ancient Greek is so ancient, is it still mine? Is it part of my history or just my history books? By practising two intangible memories from two very far and different parts of the world, 3 Tails contributes towards bringing the pasts into the future with a unique tool that co-constructs the future. Photo credits: Vasia Ntoulia