African dance 1

African dance

Members from the Kankouran West AfricanDance Company perform during a ceremony in

the Rose Garden, White House in 2007

African dance refers mainly to the dance of Sub-Saharan Africa, andmore appropriately African dances because of the many culturaldifferences in musical and movement styles. These dances must beviewed in close connection with African music, as many Africanlanguages have no word to define music.[1]

These dances teach social patterns and values and helps people work,mature, praise or criticize members of the community whilecelebrating festivals and funerals, competing, reciting history, proverbsand poetry; and to encounter gods.[2]

The most widely used musical instrument in Africa is the humanvoice.[3]

Although nomadic groups such as the Maasai do not traditionally usedrums; in villages throughout the continent, the sound and the rhythmof the drum express the mood of the people. The drum is the sign oflife; its beat is the heartbeat of the community. Such is the power of thedrum to evoke emotions, to touch the souls of those who hear itsrhythms. In an African community, coming together in response to thebeating of the drum is an opportunity to give one another a sense ofbelonging and of solidarity. It is a time to connect with each other, tobe part of that collective rhythm of the life in which young and old,rich and poor, men and women are all invited to contribute to thesociety.[4]

Characteristics

The native African dance at Dakawa, Morogoro,Tanzania.

Traditional dance in Africa occurs collectively, expressing the life ofthe community more than that of individuals or couples. Dances areoften segregated by gender, reinforcing gender roles in children.Community structures such as kinship, age, and status are also oftenreinforced.[5]

The character of dancing observed by travelers to West Africa in the19th century depended on context, the people, and the gender of thedancers. In general men used large body movements, includingjumping and leaping. Women danced smaller movements with muchuse of "shuffle steps", the body in a bent position with "crookedknees". The circle dance predominated everywhere, sometimes solodancers or musicians in the middle, sometimes couples. The ecstatic seizure was an essential element of ceremonialdancing, both religious and secular.[6]

"Musical training" in African societies begins at birth with cradle songs, and continues on the backs of relatives both at work and at festivals and other social events. The sounding of three beats against two is experienced in everyday life and helps develop "a two-dimensional attitude to rhythm". Throughout western and central Africa child's play includes games that develop a feeling for multiple rhythms.[7] Bodwich, an early (circa 1800) European observer, noted that the musicians maintained strict time (i.e. concern for the basic pulse or beat), "and the children will move

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their heads and limbs, whilst on their mother's backs, in exact unison with the tune which is playing."[8]

African dance utilizes the concepts of polyrhythm and total body articulation.[9]

Shoulders, chest, pelvis, arms, legs etc., may move with different rhythms in the music. They may also add rhythmiccomponents independent of those in the music. Very complex movements are then possible even though the bodydoes not move through space.[10]Different parts of the body are emphasized by different groups. The upper body is emphasized by the Anto-Ewe andLobi of Ghana. Subtle accent of the hips is characteristic of the Kalabari of Nigeria. In Agbor strongcontraction-release movements of the pelvis and upper torso characterize both male and female dancing. The Akanof Ghana use the feet and hands in specific ways.[11]

Dancers are able to switch back and forth between rhythms without missing movements.[12] It is extremely importantthat the dancers maintain clarity.[13]

Dancers in Nigeria commonly combine at least two rhythms in their movement, and the blending of three rhythmscan be seen among highly skilled dancers. Articulation of as many as four distinct rhythms is rare.[13]

African dances are largely participatory, with spectators being part of the performance. With the exceptions ofspiritual, religious, or initiation dances, there are traditionally no barriers between dancers and onlookers. Even ritualdances often have a time when spectators participate.[14]

Many dances are performed by only males or females, indicating strong beliefs about what being male or femalemeans, and some strict taboos about interaction. Examples would be dances that celebrate the passage fromchildhood to adulthood or for spiritual worship.[15] In the Jerusamera of Zimbabwe the major movement for men isthe mbende step, a quick darting movement from a crouched position. Twisting of the waist and hips is the mainmovement of the women.[16] The only partner dance associated with African dances would be the Bottle Dance ofthe Mankon People in the Northwest Region of Cameroon or the Assiko from the Douala people that involvesinteraction of Man and Woman and the way that they charm each other.Early commentors on dance from sub-Saharan Africa consistently commented on the absence of close coupledancing, and such dancing was thought to be immoral in many traditional African societies.[13] In all the vast richesof sub Saharan African dance heritage there seems to be no evidence for sustained one on one male femalepartnering anywhere before the late colonial era, when it was apparently considered in distinctly poor taste.[17] Forthe Yoruba, to give a specific example, touching while dancing is not common except in special circumstances.[18]

Master dancers and drummers are particular about the learning of the dance exactly as taught. Children must learnthe dance exactly as taught without variation. Improvisation or a new variation comes only after mastering the dance,performing, and receiving the appreciation of spectators and the sanction of village elders.[19]

Rather than emphasizing individual talent, Yoruba dancers and drummers express communal desires, values, andcollective creativity. The drumming represents an underlying linguistic text that guides the dancing performance.However, the majority of meaning comes from the nonverbal cues and metalanguage of the performers. Thespontaneity of these performances creates the impression of an extemporaneous speech. This characteristic shouldnot, however, be confused with improvisation, which emphasizes the individual and bolsters her or his ego. Thedrummer's primary duty is to preserve the community. S/he mediates the audience and the performer interaction.[20]Young girls of the Lunda of Zambia spend months practicing in seclusion for their coming of age ritual. Boys showoff their stamina in highly energetic dances, providing a means of judging physical health.[21]

Townships created during the colonial period removed people, and their dance, from the traditional environment.Beer halls became community centers of sorts with drinking socializing, and dancing. Men still played the ngomasand the mukwas, but the dance took on sexual emphasis becoming something akin to bumping and grinding, almostviolent in its urgency. Traditional dance clubs were created to protect the "purity" of the traditional dance and toregulate the dancers and musicians who performed on special occasions.[22]

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Another dance found in Zimbabwe, the Muchongoyo, historically is performed by males with female participation.Women are primarily musicians playing the hoshas (essentially a gourd with seeds inside it, used as a shaker [23])and singing alongside the men. They improvise or use the standard side to side shuffling movement without liftingtheir feet from the ground. In contrast the men perform high knee lifts, returning their feet quickly to the ground. Thewomen will sometimes move out of the choir line in a single file and dance around the drummer and male dancersuntil they return to their original positions.[16] The Muchongoyo commemorates, celebrates, witnesses and highlightsevents. Although not specifically a religious dance, it is spiritual, and the repetitious nature takes participants closerto the divine.[24]

Many and most African dances (like the Zimbabwe dance) include drums, vocals and feet stamping. Most of theprevious actions are to represent something like the drum, heartbeat of the tribe, vocals, the tribe itself and thestamping feat shows emotion and sometimes anger. Most African dances are special 'givings' and 'rituals' to the Godsto make sure that the tribe's crops will soon grow tall and that they will have good water supplies throughout the nextyear.

Cultural functionsOne does not dance to go into a trance but to come out of a trance, to join a diversified assembly with a separatecontribution, for dancing is a reminder that one is only part of the whole. [25]

Traditional dances often do not appear in isolation but are parts of broader cultural activities:There are many forms of African dances, some of which are detailed below:• Warrior Dances. One example of a warrior dance is Agbekor. Franci Elkins, a world renowned African dancer,

has been quoted as saying that this is her favorite dance. Agbekor comes from the Foh and Ewe people. It is anancient dance once known as Atamga. Agbekor is often performed at cultural events and at funerals. Dancemovements mimic battlefield tactics such stabbing with the end of the horsetail. This dance consists of phrases ofmovements. A phrase consists of a "turn" which occurs in every phrase and then a different ending movement.These phrases are added back to back with slight variations within them, and make up the dance.

• Dances of Love are performed on special accessions, such as weddings and anniversaries. One example is theNmane dance performed in Ghana. It is done solely by women during weddings in honor of the bride.

• Rites of Passage and Coming of Age Dances are performed to mark the coming of age of young men andwomen. They give confidence to the dancers who have to perform in front of everyone. It is then formallyacknowledged they are adults. This builds pride, as well as a stronger sense of community.

• Dances of Welcome are a show of respect and pleasure to visitors, as well as a show of how talented & attractivethe host villagers are. Yabara is a West African Dance of Welcome marked by ''The Beaded Net Covered GourdRattle'' (sekere-pronounced Shake-er-ay). It is thrown into the air to different heights by the female dancers tomark tempo and rhythm changes. This is an impressive spectacle, as all the dancers will throw & catch them atthe same time.

• Dances of Possession and Summoning These are common themes, and very important in many TraditionalAfrican Religions. They all share one common link: a call to a Spirit. These spirits can be the spirits of Plants orForests, Ancestors, or Deities. The Orishas are the Deities found in many forms of African religion, such asCandomble, Santería, Yoruba mythology, Voodoo, and others. Each orisha has their favourite colours, days,times, foods, drinks, music, and dances. The dances will be used on special occasions to honor the orisha, or toseek help and guidance. The orisha may be angry and need appeasing. Kakilambe is a great spirit of the forestwho is summoned using dance. He comes in the form of a giant statue carried from the forest out to the waitingvillage. There is much dancing and singing. During this time the statue is raised up, growing to a height of around15". Then the priest communes and asks Kakilambe if they will have good luck over the coming years, and ifthere are any major events to be aware of, such as drought, war, or other things.

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ExamplesThe stamping dance known as Ndlamu, is done by the Nguni group of tribes, each in their own fashion. It is asecular dance performed by young men in single or double line. Different tempos, manners of stamping the ground,ending the dance, and ways of holding their dance sticks are used by each tribe: the Itlangwini from Southern Natal;the Baca from the Eastern Cape Province; the Mpondo and Mpondomisi from further south; and perhaps best known,the Zulu.[26]

Adumu, Maasai traditional dance.

Adumu is a Maasai dance which is performed during Eunoto, the comingof age ceremony of warriors. This dance, also referred to as aigus, or “thejumping dance” by non-Maasai. (both adumu and aigus are Maa verbsmeaning "to jump" with adumu meaning "To jump up and down in adance"[27]) has made Maasai warriors known for, and often photographedduring, this competitive jumping. A circle is formed by the warriors, andone or two at a time will enter the center to begin jumping whilemaintaining a narrow posture, never letting their heels touch the ground.Members of the group may raise the pitch of their voices based on theheight of the jump.[28]

• Kpanlogo comes from Ghana, more specifically the Ga ethnic group. This dance started in the capital city ofAccra, but now it is enjoyed throughout the country. Kpanlogo is known as a highlife dance form performed toconga-like drums. The music of Kpanlogo is especially important. ET Mensah is considered the King of danceband highlife, and played in many bands and locations. Kpanlogo is a fairly recent dance and started around 1940after World War II, which is when the dance band highlife scene picked up recognition. Odette Blum talks aboutthe movements. There is a free-flowing motion to this dance, with arms swinging around. There is no stillness inthis dance, the free flowing motion, of a move either beginning or ending, fills pauses. The torso acts as thestronghold base of this dance since the center of gravity shifts rapidly from one foot to the other.

Umteyo (Shaking Dance)

Performed by Amakwenkwe (young men under the age of about 20 or 21)of the Xhosa, the Umteyo (Shaking Dance) involves the rapid undulation orshaking of the thorax so that the whole length of the spine appears to berippling. Older men, Amadoda, so a similar dance, Xhensa accompanied bysinging and clapping while dancers draw their breath in and out through arelaxed larynx, producing a kind of guttural roar.[29]

Mohobelo (Striding Dance)

The Mohobelo "striding dance" of the Sotho features striding, leaping, andin some cases, sliding, and almost slithering along the ground. Two andsometimes three main movements occur: the slow Bahobela featuring highkicks, the swifter Molapo with leaping and twisting in the air, and the oftenleft out Phethola letsoho which involves hand movements.[30]

• Yankadi and Macru are two common dances. They are from Guinea,West Africa. Yankadi is slow and mellow, while Macru has a fastertempo with lots of movement. The men and women who participate inthe dance face each other in rows; everyone has a scarf, and the dancers put their scarf on the one whom theywish to dance with.

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• Moribayasa from the Malinke people in Guinea, is a dance for a woman who has overcome a great adversity.The woman prepares by putting on old, ragged clothes. Accompanied by musicians, she circles the village severaltimes, singing and dancing. The women of the village follow her and sing too. Then the dancer changes herclothes and buries her old ragged clothes in a special spot. This may be at a cross-roads or, as in the village ofmaster drummer Mamady Keïta, it is under a mango tree.[31]

• Agbekor comes from the Fon and Ewe people. It is an ancient dance once known as Atamga. Agbekor is oftenperformed at cultural events and at funerals. This dance is performed with horsetails, and the movements mimicbattlefield tactics such as stabbing with the end of the horsetail. This dance consists of phrases of movements. Aphrase consists of a "turn" which occurs in every phrase and then a different ending movement. These phrases areadded back to back with slight variations within them.

• Agahu dance was created by the Egun speaking people of Ketonu. Though this dance was believed to be based onthe Yoruba dance from Badagry because the Yoruba costume was used, some Yoruba words were used in Agahusongs, and the dance is associated with the Nigerian town Badgry. Agahu is a popular social dance in WestAfrica. Agahu's music is also very important to the dance. Dance movements are closely related to the percussiverhythms and songs. The lead drum called an agboba, a large barrel-shaped drum, can distinguish Agahu fromother dances. In this dance there are two circles, one with men and the other with women.

Sampling list(incomplete)

Dance Purpose Country / Tribe of Origin

Adowa Ghana / Ashanti

Agbaja Ghana / Ewe

Agwara Courtship Uganda / Alur

Akogo Courtship Uganda / Iteso

Amaggunju Uganda / Buganda

Ambas-i-bay Celebration Cameroon

Bakisiimba Celebration Uganda / Buganda

Bikutsi Celebration Cameroon

Bwola Celebration Uganda / Acholi

Coupé-Décalé Celebration Cote D'Ivoire

Ding Ding Uganda / Acholi

Ekitaguriro Uganda / Banyankole

Ekizino Courtship Uganda / Bakiga

Entogoro Courtship Uganda / Bunyoro

Gaze Uganda / Lugbara

Gombey Harvest Senegal

Kwassa kwassa Celebration Congo (DRC)

Lamban Celebration Guinea, Senegal, Mali

Larakaraka Courtship Uganda / Acholi

Makossa Celebration Cameroon

Mapouka Ceremonial Cote D'Ivoire

Mwaga Courtship Uganda / Bagisu

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Ndombolo (Soukous) Courtship Congo (DRC)

Owaro Uganda / Samia-Bugwe

Sabar Celebration Senegal/ [Wolof people]

Sunu Wedding Guinea, Mali / Mandinka

Tamenaibuga Friendship Uganda / Basoga

Zouglou Celebration Cote D'Ivoire

Kete Ghana/ AshantiZulu

Bibliography• SEBASTIAN BAKARE, THE DRUMBEAT OF LIFE, WCC Publications, Geneva, Switzerland. 1997.• Kubik, Gerhard Zum Verstehen afrikanischer Musik, Aufsätze, Reihe: Ethnologie: Forschung und Wissenschaft,

Bd. 7, 2., aktualisierte und ergänzte Auflage, 2004, 448 S., ISBN 3-8258-7800-7 [32]

• Online Reference on Agbekor and Kpanlogo [33]

• Online Reference on Agahu [34]

References[1] Steppin' on the Blues by Jacqui Malone. University of Illinois Press. 1996. page 10,11. ISBN 0-252-022114[2] Steppin' on the Blues by Jacqui Malone. University of Illinois Press. 1996. page 9. ISBN 0-252-022114[3] Steppin' on the Blues by Jacqui Malone. University of Illinois Press. 1996. page 17. ISBN 0-252-022114[4] SEBASTIAN BAKARE, THE DRUMBEAT OF LIFE, WCC Publications, Geneva, Switzerland. 1997.[5] Africana: The Encyclopedia of the African and African American Experience by Henry Louis Gates, Anthony Appiah 1999 Basic Civics

Books page 556 ISBN 0465000711[6] The Music of Black Americans: A History. By Eileen Southern. Edition: 1. W. W. Norton & Company. 1997. page 23. SBN 393 02156 4[7] Steppin' on the Blues by Jacqui Malone. University of Illinois Press. 1996. page 21. ISBN 0-252-022114[8] The Music of Black Americans: A History. By Eileen Southern. Edition: 1. W. W. Norton & Company. 1997. page 22. SBN 393 02156 4[9] African Dance. Kariamu Welsh 2004 Chelsea House Publishers pages 28 ISBN 0-7910-764155[10] http:/ / africa. si. edu/ exhibits/ kankouran. html[11] Steppin' on the Blues by Jacqui Malone. University of Illinois Press. 1996. page 13. ISBN 0-252-022114[12] African Dance. Kariamu Welsh 2004 Chelsea House Publishers pages 34 ISBN 0-7910-764155[13] Steppin' on the Blues by Jacqui Malone. University of Illinois Press. 1996. page 16. ISBN 0-252-022114[14] African Dance. Kariamu Welsh 2004 Chelsea House Publishers page 35 ISBN 0-7910-764155[15] African Dance. Kariamu Welsh 2004 Chelsea House Publishers pages 19,21 ISBN 0-7910-764155[16] Zimbabwe Dance. Kariamu Welsh Asante. African World Press, Inc. 2000. page 56 ISBN 0-86543-492-1[17] Ballroom, Boogie, Shimmy Sham, Shake. A Social and Popular Dance Reader. Edited by Julie Malnig. page 132. ISBN 978-0-252-03363-6

978-0-252-07565-0[18] Yoruba Dance - The Semiotics of Movement and Body Attitude in a Nigerian Culture. Omofolabo S. Ajayi. 1998. African World Press. page

34. ISBN 0-86542-562-6 ISBN 0-86543-563-4[19] Zimbabwe Dance. Kariamu Welsh Asante. African World Press, Inc. 2000. page 60 ISBN 0-86543-492-1[20] http:/ / www. comm. unt. edu/ histofperf/ nonwest/ downing/ topic_three. htm[21] Africana: The Encyclopedia of the African and African American Experience bBy Henry Louis Gates, Anthony Appiah 1999 Basic Civitas

Books page 556 ISBN 0465000711[22] Zimbabwe Dance. Kariamu Welsh Asante. African World Press, Inc. 2000. page 46 ISBN 0-86543-492-1[23] http:/ / www. zimbamarimbaband. com/ instruments. php[24] Zimbabwe Dance. Kariamu Welsh Asante. African World Press, Inc. 2000. page 74 ISBN 0-86543-492-1[25] African Rhythm and African Sensibility.John Miller Chernoff. 1979. p 150. ISBN 0-226-10344-7[26] African Dances of the Witwatersand Gold Mines. High Tracey. 1952. Cape Times Ltd. page 4[27] http:/ / darkwing. uoregon. edu/ ~dlpayne/ Maa%20Lexicon/ categories/ main. htm[28] http:/ / www. laleyio. com/ performance. html[29] African Dances of the Witwatersand Gold Mines. High Tracey. 1952. Cape Times Ltd. pages 9, 10[30] African Dances of the Witwatersand Gold Mines. High Tracey. 1952. Cape Times Ltd. page 11.

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[31] A Life for the Djembe - Traditional Rhythms of the Malinke. Mamady Keïta. 1999. Arun-Verlag. page 50. ISBN 3-935581-52-1[32] http:/ / www. lit-verlag. de/ isbn/ 3-8258-7800-7[33] http:/ / www. alokli. com/ site/ dances/ dances. html[34] http:/ / www. hoasogli. com/ african/ ewe. htm

External linksListed in alphabetical order

• African Dance - the cultural background (http:/ / djembefola. com/ dance. php)• African Soul International (http:/ / www. africansoulinternational. org)• Alvin Ailey Dance Theatre (http:/ / www. alvinailey. org)• The Association of Dance of the African Diaspora (http:/ / www. adad. org. uk)• "BLACK DANCE-USA: A Celebration in Movement" (http:/ / www. betterfamilylife. org/ events_blackdance.

htm)• CK Ladzekpo - African Music and Dance (http:/ / cnmat. berkeley. edu/ ~ladzekpo)• Danceafreaka (http:/ / www. danceafreaka. com)• Forces of Nature Dance Theatre Company (http:/ / www. forcesofnature. org)• Hayor Bibimma West African Dance Company (http:/ / www. hayorbibimmadance. org)• Kankouran West African Dance Company (http:/ / www. kankouran. org)• Katherine Dunham - She Lives (http:/ / www. katherinedunham. org)• Kulu Mele: African Dance & Drum Ensemble (http:/ / www. kulumele. org/ )• Savoy Style: African Influences on Swing Dance (http:/ / www. savoystyle. com/ african. html)• Spirit of Uganda (http:/ / www. spiritofuganda. org)• The Umfundalai Tradition of African Dance and Philosophy (http:/ / www. umfundalai. com)

Article Sources and Contributors 8

Article Sources and ContributorsAfrican dance  Source: http://en.wikipedia.org/w/index.php?oldid=394600904  Contributors: 7, Afia Pokua, Altenmann, Amphion, Andrew Levine, Anodeunit, AnonGuy, Atamari,Ataxicmagpie, Baby ubah, Belovedfreak, Bobo192, Burzmali, CIreland, CWii, CambridgeBayWeather, Cherryblossom1982, Chinesedancer, Chlloyd, Christian75, Colonies Chris, CommanderKeane, Courcelles, Cpuwhiz11, Crzrussian, Cseaworth, DO11.10, Dean Wormer, Deebee82, Dekimasu, Deli nk, Dina, Discospinster, El C, EoGuy, Filzy, Fuhghettaboutit, Griffinofwales,Harveychl, Hmains, Ifasehun, Immunize, ImperatorExercitus, JDCMAN, JYolkowski, Jadtnr1, Jas131, Jeandré du Toit, Jmundo, Joel7687, JustAGal, Kappa, Karengpve, Kariturner05, Keilana,LilHelpa, Lova Falk, Mambogodance, Mboverload, McGeddon, Muloem, Nannus, Octane, PFHLai, Pelago, Philip Trueman, Philippe, Philosopher, R'n'B, Remembermn, Rettetast, Revolución,Rexparry sydney, Rivertorch, Roivas, Roland2, Rrburke, Sam Hocevar, Sanjay Lewis, Scarabaeoid, Scarian, Shalom Yechiel, ShelfSkewed, Skysmith, Spencer, StephenBuxton, Steve Pastor, TheThing That Should Not Be, Tide rolls, Tis2k, Ulric1313, Veghead, Wackymacs, Williamlourduraj, Woodtw, Woohookitty, Xmts, Zaharous, 244 anonymous edits

Image Sources, Licenses and ContributorsImage:DN-ST-85-08495.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:DN-ST-85-08495.jpg  License: Public Domain  Contributors: PH3 ROGER FRAZERImage:West African Dance at the White House, 2007Apr25.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:West_African_Dance_at_the_White_House,_2007Apr25.jpg  License:Public Domain  Contributors: White House photo by Eric DraperImage:The native African dance at Dakawa,Morogoro,Tanzania.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:The_native_African_dance_at_Dakawa,Morogoro,Tanzania.JPG License: Creative Commons Attribution-Sharealike 3.0  Contributors: User:HarveychlImage:Traditional Maasai Dance.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Traditional_Maasai_Dance.jpg  License: Creative Commons Attribution 2.5  Contributors:Original uploader was at en.wikipediaImage:African Dance Umteyo Shaking Dance.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:African_Dance_Umteyo_Shaking_Dance.jpg  License: unknown  Contributors: StevePastorImage:African Dance Mohobelo Striding Dance.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:African_Dance_Mohobelo_Striding_Dance.jpg  License: unknown  Contributors:Steve Pastor

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