Hi Siete Leguas,
you are citing me correctly. Let me add, however, that this perspective is a simplification that may prove to be helpful to people of my cultural background to understand the nature of clave better. At the core of this simplification is perhaps the attempt to relate to something like an "African" concept - because Africa is a huge continent with various peoples and ethnicities. Even when I narrow my subject down to Central- and West-African music, this incorporates so many different cultures that it's hard to state something valid. CK Ladzekpo from Ghana apparently opposes to my point of view, as far as Ewe music is concerned:
https://youtu.be/eIZDYjNQGYE (at about 1:20 to 2:20). However, I'm not sure whether he argued on the same plane of perception of the clave as I do, because clave has more than one layer of meaning. Also, CK himself is admittedly speaking from an Ewe background, which is not necessarily transferrable to, let's say, the Yoruba in Nigeria or the Lunda in Congo.
I do not intend to re-start the old clave discussion again. We have filled weeks and months - and several pages on this forum - exchanging experiences, perspectives and opinions, with David Peñalosa usually being the protagonist. (I don't know whether he is still reading CongaPlace posts, or whether he is completely absorbed by Facebook, which I have rejected from the beginning.) A lot can be learned from him and our discussions in the respective threads here.
One personal matter, finally: When I am talking about "the African concept" or "the African perspective" etc, I consciously do so as a cultural outsider trying to understand the discrepancies between my European background and the African-derived and -influenced music that I dare play for almost 50 years now. I have never tried to be African, Cuban, Caribbean, or whatever; I'm obviously as white and European as you can possibly imagine. But I love this music, and I'm absolutely sure that one has to understand more than just the note values or the rhythmic scores in order to play it. I apologize if I occasionally come across like someone who is talking about things he isn't entitled to. However, my long and serious research has brought about some ideas (like the one you quoted) that, with the time, have been verified over and over, and that have proven useful for myself, for students and for other people to play the corresponding music better, and I am sure that these ideas should at least be considered as separately valid aspects of the matter.
The same is true, by the way, of my suggestion to view the drum as a the subject that needs the drummer's help to speak. Of course, it is more common to regard the drum as an instrument with which the drummer expresses himself, and that is undeniably correct and a legitimate perspective. Anyway, I just recently read an African Ifá verse that (once more) proved to me that the subject-object reversion of man and his tool perfectly accords to an African (here: Yoruba) way of looking at things - q.e.d.
Greetings
Thomas