African dance 2108409 224885089 2008-07-10T21:02:50Z Steve Pastor 1727744 each dance in this section states where it from - removed tag {{Refimprove|date=September 2007}}{{Nofootnotes|date=February 2008}}[[Image:DN-ST-85-08495.jpg|thumb|350px|An African woman, wearing native garments, performs during a visit from participants in the West Africa Training Cruise 1983.]] [[Image:West African Dance at the White House, 2007Apr25.jpg|thumb|350px|Members from the Kankouran West African Dance Company perform during a ceremony in the Rose Garden, White House in 2007]] '''African dance''' refers mainly to the [[dances]] of subsaharan and West [[Africa]]. The music and dances of northern Africa and the Sahara are generally more closely connected to those of the Near East. Also the dances of immigrants of European and Asian descent (e.g. in South Africa) are not covered by this article. African dance has to be viewed in close connection with [[African Music]]. Africans dance in all sorts of occasions to express their inner feelings, whether of joy or of sorrow. While the dancing is spontaneous and voluntary, the [[drumbeat]] provides the rhythm that holds the dancers together. Although the drums in more recent years have become ornaments for decorating the home as well as the popular souvenirs for tourists to [[Zimbabwe]] and other African countries, their primary function remains their role in cultural activities and rituals. In villages throughout the continent, the sound and the rhythm of the [[drum]] express the mood of the people. The drum is the sign of life; its beat is the heartbeat of the community. Such is the power of the drum to evoke [[emotion]]s, to touch the souls of those who hear its rhythms. In an African community, coming together in response to the beating of the drum is an opportunity to give one another a sense of belonging and of solidarity. It is a time to connect with each other, to be 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 the society. <ref>SEBASTIAN BAKARE, THE DRUMBEAT OF LIFE, WCC Publications, Geneva, Switzerland. 1997.</ref>. ==Characteristics== African dance utilizes the concepts of [[polyrhythm]] and total body articulation.<ref>African Dance. Kariamu Welsh 2004 Chelsea House Publishers pages 28 ISBN 0-7910-764155</ref> Shoulders, chest, pelvis, arms, legs etc., may move with different [[rhythm]]s in the music. They may also add rhythmic components independent of the those in the music. Very complex movements are then possible even though the body does not move through space.[http://africa.si.edu/exhibits/kankouran.html] Dancers are able to switch back and forth between rhythms without missing movements.<ref>African Dance. Kariamu Welsh 2004 Chelsea House Publishers pages 34 ISBN 0-7910-764155</ref> African dances are largely participatory, with spectators being part of the performance. With the exceptions of spiritual, religious, or initiation dances, there are traditionally no barriers between dancers and onlookers. Even ritual dances often have a time when spectators participate.<ref>African Dance. Kariamu Welsh 2004 Chelsea House Publishers page 35 ISBN 0-7910-764155</ref> Many dances are performed by only males or females, indicating strong beliefs about what being male or female means, and strict taboos about interaction. One example would be dances that celebrate the passage from childhood to adulthood.<ref>African Dance. Kariamu Welsh 2004 Chelsea House Publishers pages 19,21 ISBN 0-7910-764155</ref> In the Jerusamera of Zimbabwe the major moveement for men is the mbende step, a quick darting movement from a crouched position. Twisting of the waist and hips is the main movement of the women.<ref>Zimbabwe Dance. Kariamu Welsh Asante. African World Press, Inc. 2000. page 56 ISBN 0-86543-492-1</ref> Master dancers and drummers are particular about the learning the dance exactly as taught. Children must learn the 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.<ref>Zimbabwe Dance. Kariamu Welsh Asante. African World Press, Inc. 2000. page 60 ISBN 0-86543-492-1</ref> Townships created during the colonial period removed people, and their dance, from the tradational enviornment. Beer halls became community centers of sorts with drinking socializing, and dancing. Men still played the ngomas and the mukwas, but the dance took on sexual emphasis becoming something akin to bumping and grinding, almost violent in its urgency. Traditional dance clubs were created to protect the "purity" of the tradtional dance and to regulate the dancers and musicians who performed on special occasions.<ref>Zimbabwe Dance. Kariamu Welsh Asante. African World Press, Inc. 2000. page 46 ISBN 0-86543-492-1</ref> 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[http://www.zimbamarimbaband.com/instruments.php]) and singing alongside the men. They improvise or use the standard side to side shuffling movement without lifting their feet from the ground. In contrast the men perform high knee lifts, returning their feet quickly to the ground. The women will sometimes move out of the chour line in a single file and dance aaround the drummer and male dancers until they return to their original positions.<ref>Zimbabwe Dance. Kariamu Welsh Asante. African World Press, Inc. 2000. page 56 ISBN 0-86543-492-1</ref> The Muchongoyo commemorates, celebrates, witnesses and highlights events. Although not specifically a religious dance, it is spiritual, and the repetitious nature takes participants closer to the divine.<ref>Zimbabwe Dance. Kariamu Welsh Asante. African World Press, Inc. 2000. page 74 ISBN 0-86543-492-1</ref> ==Cultural functions== Traditional dances often don't 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 an ancient dance once known as Atamga. Agbekor is often performed at cultural events and at funerals. Dance movements mimic battlefield tactics such stabbing with the end of the horsetail. This dance consists of phrases of movements. 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 [[wedding]]s and anniversaries. One example is the Nmane 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 and women. They give confidence to the dancers who have to perform in front of everyone. It is then formally acknowledged 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 & attractive the host villagers are. Yabara is a West African Dance of Welcome marked by <nowiki>''The Beaded Net Covered Gourd Rattle''</nowiki> (sekere-pronounced Shake-er-ay). It is thrown into the air to different heights by the female dancers to mark tempo and rhythm changes. This is an impressive spectacle, as all the dancers will throw & catch them at the same time. *'''Dances of Possession and Summoning''' These are common themes, and very important in many Traditional African Religions. They all share one common link: a call to a Spirit. These spirits can be the spirits of Plants or Forests, Ancestors, or Deities. The [[Orisha]]s are the Deities found in many forms of African religion, such as [[Candomble]], [[Santeria]], [[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 to seek help and guidance. The orisha may be angry and need appeasing. [[Kakilambe]] is a great spirit of the forest who is summoned using dance. He comes in the form of a giant statue carried from the forest out to the waiting village. There is much dancing and singing. During this time the statue is raised up, growing to a height of around 15". Then the priest communes and asks Kakilambe if they will have good luck over the coming years, and if there are any major events to be aware of, such as drought, war, or other things. ==Examples== *'''Yankadi''' and '''Macru''' are two common dances. They are from Guinea, West Africa. Yankadi is slow and mellow, while Macru has a faster [[tempo]] with lots of movement. The men and women who participate in the dance face each other in rows; everyone has a [[scarf]], and the dancers put their scarf on the one whom they wish to dance with. *'''Moribayasa''' is a dance used by women who have bad luck. It is also the name of a particular tree that grows near the village in Guinea where this dance originated. The women prepares by putting on ragged and dirty clothes, then goes with a group of drummers to the tree. The group plays, and she sings and dances all around the village before returning to the tree. There she digs a hole and removes her ragged clothing; she buries these at the foot of the tree with a prayer for help. *'''Agbekor''' comes from the Foh and Ewe people. It is an ancient dance once known as Atamga. Agbekor is often performed at cultural events and at funerals. This dance is performed with horsetails, and the movements mimic battlefield tactics such as stabbing with the end of the horsetail. This dance consists of phrases of movements. 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. *'''[[Kpanlogo]]''' comes from Ghana, more specifically the Ga ethnic group. This dance started in the capital city of Accra, but now it is enjoyed throughout the country. Kpanlogo is known as a highlife dance form performed to conga-like drums. The music of Kpanlogo is especially important. ET Mensah is considered the King of dance band highlife, and played in many bands and locations. Kpanlogo is a fairly recent dance and started around 1940 after World War II, which is when the dance band highlife scene picked up recognition. Odette Blum talks about the movements. There is a free-flowing motion to this dance, with arms swinging around. There is no stillness in this dance, the free flowing motion, of a move either beginning or ending, fills pauses. The torso acts as the stronghold base of this dance since the center of gravity shifts rapidly from one foot to the other. *'''Agahu''' dance was created by the Egun speaking people of Ketonu. Though this dance was believed to be based on the Yoruba dance from Badagry because the Yoruba costume was used, some Yoruba words were used in Agahu songs, and the dance is associated with the Nigerian town Badgry. Agahu is a popular social dance in West Africa. Agahu’s music is also very important to the dance. Dance movements are closely related to the percussive rhythms and songs. The lead drum called an agboba, a large barrel-shaped drum, can distinguish Agahu from other dances. In this dance there are two circles, one with men and the other with women. ==Sampling list== (incomplete) {| class="wikitable" |- !Dance !Purpose !Country / Tribe of Origin |- |Agwara |Courtship |[[Uganda]] / [[Alur people|Alur]] |- |Akogo |Courtship |Uganda / [[Iteso]] |- |Amaggunju | |Uganda / [[Buganda]] |- |Bakisiimba |Celebration |Uganda / Buganda |- |Bwola |Celebration |Uganda / [[Acholi]] |- |Ding Ding | |Uganda / Acholi |- |Ekitaguriro | |Uganda / [[Ankole|Banyankole]] |- |Ekizino |Courtship |Uganda / [[Bakiga]] |- |Entogoro |Courtship |Uganda / [[Bunyoro]] |- |Gaze | |Uganda / [[Lugbara]] |- |Larakaraka |Courtship |Uganda / Acholi |- |Mwaga |Courtship |Uganda / [[Bagisu]] |- |Owaro | |Uganda / Samia-Bugwe |- |Tamenaibuga |Friendship |Uganda / [[Basoga]] |- |} ==See also== *[[Logo Ligi]] *[[Masquerade ceremony]] ==Bibliography== *SEBASTIAN BAKARE, THE DRUMBEAT OF LIFE, WCC Publications, Geneva, Switzerland. 1997. *[[Kubik, Gerhard]] [http://www.lit-verlag.de/isbn/3-8258-7800-7 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] *Online Reference on Agbekor and Kpanlogo: http://www.alokli.com/site/dances/dances.html *Online Reference on Agahu: http://www.hoasogli.com/african/ewe.htm ==References== {{reflist}} ==External links== ''Listed in Alphabetical Order'' *[http://www.alvinailey.org Alvin Ailey Dance Theatre] *[http://www.adad.org.uk The Association of Dance of the African Diaspora] *[http://www.betterfamilylife.org/events_blackdance.htm "BLACK DANCE-USA: A Celebration in Movement"] *[http://cnmat.berkeley.edu/~ladzekpo CK Ladzekpo - African Music and Dance] *[http://www.danceafreaka.com Danceafreaka] *[http://www.forcesofnature.org Forces of Nature Dance Theatre Company] *[http://www.hayorbibimmadance.org Hayor Bibimma West African Dance Company] *[http://www.kankouran.org Kankouran West African Dance Company] *[http://www.katherinedunham.org Katherine Dunham - She Lives] *[http://www.savoystyle.com/african.html Savoy Style: African Influences on Swing Dance] *[http://awalalhassan.googlepages.com Sohoyini] *[http://www.spiritofuganda.org Spirit of Uganda] *[http://www.umfundalai.com The Umfundalai Tradition of African Dance and Philosophy] *[http://www.westafricandance.com West African Dance with Yousouff Koumbassa] [[Category:African dances]] [[de:Afrikanischer Tanz]]