The collaborative dance piece is a creative fusion of Stephen Page and Bernadette Walong’s traditional and contemporary movements. The traditional Aboriginal movements are overtly shown throughout the piece and are evident when the women appear to be dancing with a broken leg. This movement is shown where the foot is flexed and the knee is bent representing the animalistic nature of Aboriginal culture. Throughout the section ‘Black’ the symbolism of heroism and authority of the male spirit are represented by the instinctive hunting style of the man and the movement of wiping of ochres across the forehead. Additionally the contemporary technique is represented in the section ‘Red’ by the use of parallel feet and contractions and release, used throughout the entire piece of Ochres. To this day, the unique fusion of…
It is said that the Africa culture stands out more than any other culture In the World. With a rich and diverse culture African culture is known to change from county to county, many cultures along with traditions are found in Africa which makes Africa diverse, unique and mesmerizing in many ways to the world. Africa culture is all about the ethnic group’s family traditions, the literature, art and music shows the religion along with the social paths of their culture. (Nafisa Baxamusa, 2011)…
Responsorial: African religious practice in which the congregation punctuated a minister’s remark with “amens”, an adaptation of an African ringshout dance…
Furthermore, the dance scene showcases the cultural and social dynamics explored in Dodds' article. Through the intricate choreography, the students challenge traditional gender roles and societal expectations, embracing dance as a means of self-discovery and liberation. The diversity of dance styles and music genres reflects the students' collective effort to celebrate their cultural heritage while breaking down barriers of prejudice and discrimination. In essence, this dance/movement scene encapsulates the overarching theme of transformation and empowerment explored in Dodds' article. Through the universal language of dance, the students discover their inner strength, forge meaningful connections, and assert their identities with pride and…
The poem, Limbo, by Edward Kamau focuses on the West Indian dance and how people only see it as a dance and not a historic symbol with an emotional connection to it. Based on one’s culture, not all people will interpret things the same way. In this case, not everybody will view the limbo dance as a symbolic dance with lots of history behind it because of where, when, and how people were raised. Their culture doesn’t view it any different than just a dance. To Edward Kamau’s culture, the limbo dance symbolizes the transatlantic trip that African slaves had to go through to get the West Indian lands through a ship.…
Culture and its, at times, inconceivable differences is an expression of concern for our society today. Silencing and elapsing of cultures and traditions seems to have escalated immensely. However, for the sake of our future, there is strong importance in the need of these traditions endurance. Therefore, contemporary dance has the aptitude in defying these unjust cultural judgments. We see countless contemporary choreographers, today, merging momentous techniques of contemporary with traditional aspects of cultures; for unerringly that reason.…
Since ancient times, there has been some change in African religion. Today, most people are either Muslim or Christian. Those whom are not Christian or Muslim sometimes practice traditional African religion, with a few changes. Today, there are no sacrifices, and some extreme rituals have ceased to exist. However, dancing and singing to honor ancestors is still widespread, no matter what the religion of a person might…
The elaborate movements, and excited rhythms of the dances that accompanies this music was an act that Europeans could not understand. Along with the singing and dancing used to tell stories during folk tales, the assimilation and revolts through the language barriers, and the creation of the magic of voodoo, Africans were able to obtain strength in their culture that has been passed down through the generations. Even through the will of the Europeans to take every element of their culture from their instruments to the development of the first slave code, African culture was mixed and retained.…
The White Deerskin Dance of the Hupa Indian tribe was a ceremonial dance that symbolized the regeneration or renewal of their society, and functioned as an important “part of the ritual calendar that makes up the religious life of the tribe and it expresses the supernatural sentiments of the people in their most poignant form” (Goldschmidt et al., 121). The ceremony served “to wipe out the evil brought into the world by members of the society who have broken taboos” (Goldschmidt et al., 121); as these white deerskins were seen as a sacred mascot “which will protect the owner and his friends from every trouble” (Pierce 9). The dance commenced after a ceremonial ground was selected “between the several places of importance (Goldschmidt et al.,…
One of the dances I saw was called the Stomp Dance. The meaning behind this dance was that many Native American kids were sent out to boarding schools. Like every other school, this boarding school had a requirement to dress a certain way which did not allow these students to wear their traditional clothing. However, during recess, many of the students would gather together at a school courtyard. They would come in a circle a simple walking around with swaying movements and sing.…
The !Kung are hunter-gatherers of Southern Africa and the women play an essential role in the production of subsistence for their families. The woman actually contribute a greater proportion of the subsistence to their families directly than do the men who are the game hunters in the family. As Friedl describes in “Society and Sex Roles” (page 101) regardless of who produces food, the person who gives it to others creates the obligations and alliances that are at the center of all political relations.” The woman from birth are the gathers within the !Kung and Friedl believes that it is due to four inter-related factors as to why the woman are the foragers; the variability in the supply of game, the different skills required for hunting and gathering; the incompatibility between carrying burdens and hunting; and the small size of semi-nomadic foraging populations (page 102). !Kung women play a very vital role in the survival of their families through their gathering of subsistence and they are not simply laborers but they are owners and/or distributors of what they bring home. However, they remain to be the less powerful of the genders within their culture. The !Kung woman’s role is critical to the survival of their villages because when unsuccessful hunters come home without protein (game) it is the woman who will feed the men, children and the elderly within their village and because they strictly provide for their family as the foragers they are not, based on Friedl’s’ theories, the one who disperses food to others. Thus, !Kung women are not considered to be the person with seniority…
The Baka live deep in the rainforest in Africa, relying on the forest for survival. Theirs is an original and unspoiled culture where co-operation and sharing is vital and music is central to their lives. Music has a central role in the life of the Baka. From an early age they have a keen sense of rhythm, as soon as a baby is able to clap it is encouraged to participate in all the communal music making. There is music for ritualistic purposes, music for passing on knowledge, stories and the history of the Baka people, and music for pure enjoyment. With the Baka there is no distinction between musician and audience, everyone is able to listen and participate with confidence. For example when the storyteller told the story of the chimp that stole the mother's baby all joined in with the choruses or with harmonies and with percussion accompaniment. This communal music making constantly helps to strengthen the bonds between the individuals in the groups.…
After viewing the video "Dance on the Wind: Memoirs of a Mississippi Shaman" what is your opinion of the connection that Mr. Washington makes between African dance and African American Dance? Do you agree or disagree? Please be specific as to why and use examples. If you agree give an example of a popular African American dance in which you see the connection with African Dance. Your assignment should be in essay format and a minimum of one page typed.…
1.1.4 “Encoded in the form (the shapes and colors of the bodies, costumes, and props, the sound and rhythm of the music, etc.),technique (the methods by which dancers and musicians learn the dance), and structure(how the components of the dance are organized into a larger whole) of every dance are meanings and values of importance to the dancers and to those who share their view of the world.”…
The Music and Dance of Bata is a ritual form of dance for Sango, a deity in Yoruba land. Sango was the third king of the ancient Oyo Empire. It is a communicative dance between the worshipers and the deity. The Oyo Empire, established by the Yoruba people, controlled a wide area between the Volta and Niger rivers by the mid-17th century. The capital of the state was moved here from Old Oyo (Katunga) in the 1830s, and the Alafin (leader) of Oyo still resides in the city.…