home to people from various tribes and clans as well as an assortment of individual…
Now, you see 12 silhouettes with slow movement emphasizing the connection between their slow movements and the low piano music playing setting up the ritual tone of the piece. Then the six female dancers moved towards the dark up stage and watch the six male dancers under the light performed slow fighting movements with the swords in harmony with the low music. Following, all 12 dancers performed together then five duets faced up stage, and the light dimmed. An individualized duet under a bright light danced with the sword in hand. All the 12 dancers are again under the light and perform in unison. In the end, under a bright light, one duet performs a solo down stage dancing without the sword, while under dimmed light the second duet watched down stage. The second duet performed while the first duet moved up stage with the rest of the dancers under the…
the dance of creation (the Kagura Tsutome) is done around the Kanrodai (The Heavenly Dew) which should be located at the jiba of origin, it is located there to prove that God did indeed create mankind at the origin of jiba. In addition the dance is performed by dancers in masks led by the “Boss” of the Church who is also known as the Shimbashira. it is believed that this dance fasten the fulfilment of God’s plan and is the main reason of Tenrikyo…
During “Kanduli” singing, women playing bamboo zithers, homemade flutes play; a large basket is brought to center by two young men; remaining family members line up with their own small basket of rice saved from ritual plot/mixed with spices; the shaman stands by basket as rice is poured into a blend of rice family has; there is a short speech welcoming spirits; then main basket placed in water at the river; then removed and cooked with chicken/egg put in tubes offered in the spirit.…
The holy drum and the people around it began the tempo and started to chant and sing. Then the outer circle which I’m assuming are the dancers who began to shake what it looks like a shaker and goes along with the tempo. During the song, they would eventually stand up from their chairs and start moving around the circle slowly dancing and shaking their shakers. When the song gets louder and stronger the beat, they would stop and lift their heels up as they shake their shakers harder. They were all holding a big feather with their left hand while holding the shaker with their right. They were also wearing a blue-red blanket over their shoulders. What I also noticed was that only the men were able to participate while the women were making the least amount of movements other than their legs or knees. I am not quite sure if this is part of the Gourd Dance, but then I saw that they began to gather close to each other and in front of one elder they began to drop money in front of his feet and said something to him, then started forming a long line next to him. It wasn’t just the dancers but also other people including women began to do the same process. My group and I were confused about why this was happening during a dance, but from what I was listening, it seems like it was to support and to honor that elder. In my Korean culture, just dropping money in front of someone older, then it is disrespectful but for the Native…
The dance consisted of: “(1) the medicine man, who sits by a fire in front of the line of dancers and burns angelica root to the accompaniment of incantations; (2) the singer, kdta"an, who leads the song from the center of the line of dancers; (3) two side singers, who accompany the leader in the chorus; (4) the four or more side dancers, ya'd,'lyeortakttdjidi'lyE, who carry the beat by rhythmic stamping; and (5) the four flint carriers, hodje'wana'wai, who do a special dance in front of the line” (Goldschmidt et al., 108). The selected dancers who are outfitted by the designated leaders are then “line up before the medicine man in the order in which the leaders want them, and they receive their deerskins and the final touches to their costumes” (Goldschmidt et al., 108). They then enter the ceremonial dancing ground, lead by the medicine man and take up their selected…
All males are initiated into the Kachina society and become members of one of six Kiva groups. Initiation into the Kiva occurs in two different stages in life. One is at ages five and nine, and the other is between the ages ten and fourteen. Once each male goes through this they are then allowed to wear a Kachina mask. This mask represents the Kachina which is a spirit being of the Zuñi people. (Theodore Frisbie; Encyclopedia). The masked Zuñi are then known as the Kachina dancers. The Kachina dancers are the masked members of the community who represent Kachinas at religious ceremonies four times a year. Once during summer, once prior to the harvest, once prior to the winter solstice, and once during winter proper (Countries and their Cultures). Each of these being a calendrical ceremonies or rituals. In addition to numerous annual pilgrimages, quadrennial rituals and ceremonies include the boys' initiation into the Kachina and pilgrimages to Zuñi heaven, which is the home of most of the Zuñis’ Kachinas and some of the Zuñi ancestors that have passed on (Theodore Frisbie; Encyclopedia). The Zuñi are quick to punish those who wear these masks if they ineffectively impersonate the Kachinas during the dancing ceremonies. (Page 340; Cultural Anthropology: 14th Edition;…
The dance begins in silence, with all six dancers positioned up stage right in a curved over-crouching shape. This is significant, because it is a weak area of the stage and the curved over-crouching shape creates an image of hardship and peasantry. Duato establishes the relationship of the people to the land, through the grounded, worshipping movement in the opening section. Followed by large swing, run, turns to represent the vastness of the land.…
The movement that Jiri Kylian chose to put on these dancers was meant to give off the idea of a petite mort. The men start out the piece with fencing swords, protection against women. The women later dance with blood red gowns on wheels giving them the appearance of gliding and elegance, a trait women were supposed to have in the 16th century. These dresses are also playing the part also as armor against the swords of the men. The duets of the women and men have no swords or dress armor to protect them from each other leaving them exposed. The movement of each duet is that of intertwining limbs and thrusting pelvises. All six duets although different in…
Kagura is a dance typically performed by an actor portraying a goddess or Shinto priestess. As is clearly obvious by now, there are many very specific types of dance used in Noh theatre to convey stories, messages, and feelings in a different manner than words in a typical dialogue could ever hope to accomplish. ("Introducing the world of Noh : Noh Dance") Noh theatre is a very old art form that is very reliant on dance. Although it may seem monotonous and unchanging at first, it just takes some getting used to.…
This dance shows the mischief, murder and women dominance all in one dance, and it shows that the women have more authority and strength then the men.…
Sudan is the largest country in Africa, and is one of the poorest. It is located…
LOTTE Trade Center Co., Ltd. is directly under LOTTE Cooperations of South Korea. Up to this time, LOTTE Mart Shopping Center has been in 4 Asian countries: South Korea, China, Indonesia and Vietnam, with 243 trade centers which were built in the modern style, suit the tastes and needs of shopping consumers.…
In the village, you will be introduced to various traditional homes of Sabahan ethnic communities—the Bajau, Lundayeh, Murut, Rungus and Dusun—which are built by descendants of the tribes which they represent.…
Maranao villages are composed of several families living in homes sans walls for partition. They are allowed to be members of different villages simultaneously, without fear of recrimination as outcasts due largely in part to the accepted bilateral relationships. As transients, they're found in other parts of the Archipelago. Primary subsistence consists of dry rice cultivation in hilly areas; intensive wet rice in flood plains; and some…