Intriguing African Dances and Their Fascinating Types Africans are known for having rhythm in their blood, and it is this innate quality that makes them so expressive. Far from being merely entertaining, African dance is about communicating emotions and celebrating community life. DancePoise Staff Last Updated: Feb 16, It is a means of imbibing social values and patterns, it is in every sense the mirror reflection of the life in the community.
Traditional dance in Africa occurs collectively, expressing the life of the community more than that of individuals or couples. Early commentators consistently commented on the absence of close couple dancing: Emphasizing individual talent, Yoruba dancers and drummers, balss example, express communal desires, values, and collective creativity.
Dances are often segregated by gender, reinforcing gender roles in children and other community structures such as kinship, age and status are also often reinforced. Dances celebrate the passage from childhood to adulthood or spiritual worship. Boys show off their stamina in highly energetic dances, providing a means of judging physical health.
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.
Throughout western and central Africa child's play includes games that develop a feeling for multiple rhythms. The most widely used musical instrument in Africa is the human voice. 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, a time to connect with each other and be part of a collective rhythm of the life in which young and old, rich and poor, men and women are all invited to contribute to the society.
Dancers in Nigeria commonly combine at least two rhythms in their movement, and the blending of three rhythms can be seen among highly skilled dancers.
Articulation of as many as four distinct rhythms is rare. Very complex movements are possible even though the body does not move through space. The spontaneity of performance creates an impression of extemporaneity, yet it is not to emphasize the individual and bolster her or his ego but to preserve the community and mediate the audience and the performer interaction.
The upper body is emphasized by the Anlo-Ewe and Lobi of Ghana. Subtle accent of the hips is characteristic of the Kalabari of Nigeria. In Agbor, strong contraction-release movements of the pelvis and upper torso characterize both male and female dancing.
The Akan of Ghana use the feet and hands in specific ways. It is a secular 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: This dance, also referred to as aigus, or "the jumping dance" by non-Maasai both adumu and aigus are Maa verbs meaning "to jump" with adumu meaning "To jump up and down in a dance"  has made Maasai warriors known for this competitive jumping, which is frequently photographed.
A circle is formed by the warriors, and one or two at a time will enter the center to begin jumping while maintaining a narrow posture, never letting their heels touch the ground.
Members of the group may raise the pitch of their voices based on the height of the jump. This dance started in the capital city of Accrabut 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. 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 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. Umteyo Shaking Dance Performed by Amakwenkwe young men under the age of about 20 or 21 of the Xhosathe Umteyo Shaking Dance involves the rapid undulation or shaking of the thorax so that the whole length of the spine appears to be rippling.I Traditional African Music Brothers and sisters, the white man has brainwashed us black people to fasten our gaze upon a blond-haired, blue-eyed Jesus!
Different Types of South African Dances is divided into several segmented areas which are able to respond to the different rhythms within the music. South African Dances. Types Of African Dance Warrior Dance. Traditional Jewish Wedding Music and Dance; Post a Reply Cancel reply. The Rules of Classical Dance were first set down definitively by John Weaver in Each generation has had its great teachers of ballet who have added insights and details to these rules and principles.
These principles are essential for the dancer to learn around the age of 9 or The two art forms, music and dance, together seem to create an emotional quotient, always complementing each other. Researchers at Dartmouth had two groups of very different people taking part in a complicated experiment that was to decide the connection between music and dance: College students from the U.S.
and villagers from a . A List of Some Traditional Dances From Different African Countries Cultural dances play a huge role in African societies. These dance forms are used to teach moral values, social etiquette and to help people mature and celebrate members of the community while celebrating festivals and other occasions.
Time-line patterns are a regulative element in many kinds of African music, especially dance music along the West African coast, in western central Africa, and in a broad belt along the Zambezi River valley from Zambia into Mozambique.