For time immemorial, dance has weaved its way through the tapestry of human culture, and nowhere is this more evident than in the diverse and powerful dances of Africa. With a rich and storied heritage that spans millennia, African dance is as diverse as the continent from which it hails. It is a means of storytelling and expression, a language that speaks of community, spirituality, and the human experience. Indeed, dance in Africa serves as a conduit for the expression of the human condition, intertwining with music and visual arts to create a tapestry of artistic expression that speaks to the very core of our being.
African dancer Issa Niang performing with touring Ballets Africans company. Location New York, NY, US Date taken February 1959 Photographer Ralph Morse.
Traditional African dance holds a rich and diverse history that spans across the continent. Each region and ethnic group boasts its own unique dance forms, reflecting cultural values, social norms, and historical events. Modern African dance styles are deeply rooted in culture and tradition.
In African cultures, dance serves as a powerful medium for storytelling. The Atilogwu dance of the Igbo people in Nigeria is a vibrant and acrobatic dance form that tells stories of heroism and cultural pride. Dancers perform with incredible agility, incorporating flips, jumps, and complex footwork. Similarly, the Umteyo dance of the Xhosa people in South Africa uses movements to convey stories of daily life, social norms, and spiritual beliefs.
Dance is a vital aspect of cultural identity in African communities. The Kpanlogo dance from Ghana, performed by the Ga people, is a contemporary dance that blends traditional rhythms with modern influences. Kpanlogo is a symbol of cultural resilience and adaptability, showcasing the ability of African communities to preserve their heritage while embracing change. In Mali, the Dogon Mask Dance is performed by the Dogon people during religious ceremonies and festivals. The dance involves wearing elaborate masks and costumes, symbolizing spirits and ancestors.
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Regional Variations in African Dance
While almost all of the dances are polycentric in some way, different areas of Africa have very different dances. For example, the Masai are known for leaping high in the air, while the Kalabari emphasises hip motions.
West Africa
West African dance forms are among the most recognized and celebrated globally. These dances often feature energetic movements, complex rhythms, and vibrant costumes.
One prominent dance style from this region is the Yankadi-Macru from Guinea. This dance is traditionally performed during social gatherings and celebrations. It involves fluid movements and intricate footwork, symbolizing the transition from adolescence to adulthood. Another significant dance is the Sabar from Senegal. Performed to the beats of the sabar drum, this dance is known for its high-energy jumps and rapid footwork. Sabar is often seen at weddings and other festive occasions, showcasing the agility and stamina of the dancers.
East Africa
East African dance styles are characterized by their graceful and flowing movements. The Adumu dance of the Maasai people in Kenya and Tanzania is a notable example. Also known as the "jumping dance," Adumu is performed by young warriors during rites of passage ceremonies. The dance involves a series of high jumps, with dancers trying to outdo each other in height. In Uganda, the Bwola dance of the Acholi people serves as a medium for storytelling and cultural expression. Performed in a circle, the dance includes synchronized steps and rhythmic drumming. Each movement and beat narrates tales of historical events, social values, and communal unity.
Southern Africa
Southern African dances are known for their rhythmic complexity and symbolic gestures. The Gumboot Dance of South Africa originated among mine workers who used their boots and rhythmic movements to communicate in the noisy mines. Over time, it evolved into a vibrant dance form performed at social events and celebrations. The dancers wear gumboots and create rhythms by slapping their boots and bodies, often accompanied by singing and chanting.
Read also: Dance Styles of Kenya
Another prominent dance from this region is the Indlamu of the Zulu people. Indlamu is a traditional warrior dance characterized by high kicks, stomping, and synchronized movements. It is performed during ceremonies, including weddings and coronations.
Central Africa
Central African dances often emphasize spiritual connections and communal bonds. The Ekombi dance of the Efik people in Nigeria is a dance of grace and poise. Performed mainly by women, Ekombi features slow, rhythmic movements that mimic the waves of the ocean. The dance is performed during festivals and significant events, celebrating femininity, beauty, and cultural heritage. In the Democratic Republic of Congo, the Mutuashi dance of the Luba people is a lively and energetic dance form. Performed to the beats of traditional drums and the likembe (thumb piano), Mutuashi involves rapid footwork and hip movements.
North Africa
North African dance styles reflect a blend of indigenous, Arab, and Mediterranean influences. The Raqs Sharqi, commonly known as belly dance, is one of the most famous dance forms from this region. Originating in Egypt, this dance features undulating movements of the hips and abdomen, along with graceful arm and hand gestures. In Morocco, the Ahidous dance of the Berber people is a communal dance performed by men and women. Participants form a circle or line and move in harmony, accompanied by singing and drumming. Ahidous is performed during various celebrations, including weddings and harvest festivals.
The Role of Dance in African Society
In African and African Diasporan cultures, dance crosses many boundaries. It is part of celebrations, religion, war, and theatre. It comes in many forms, from masquerade to ritual spirit dance to theatre. Some of these dance forms are intertwined, and a masquerade dance can be done as part of a celebration or a ritual dance ceremony mourning the death of a community member.
African dance develops and creates spaces through which ideas about person, self, gender, and morality are made and contested. The aesthetic values of a society expressed through dance represent beauty and the best it has to offer. Dance in African and African-derived dance, movement shifts boldly from one angle to another.
Read also: West African Dance
ИНТЕРЕСНЫЕ ФАКТЫ ОБ АФРИКЕ #1
Traditional dance in Africa occurs collectively, expressing the values and desires of the community more than that of individuals or couples. Although dances may appear spontaneous, they are usually strictly choreographed. In traditional African societies, children begin to learn their traditional songs, rhythms, and dances from the moment of birth, starting with the lullabies sung by their mothers. When children are old enough to attempt the dance moves, they imitate accomplished older dancers until they can replicate the dances precisely.
Key Elements of African Dance
To truly grasp the essence of the art of movement in African dance, one must explore its key elements.
Rhythm
In African dance, the rhythm is king. The beating of drums and the percussive symphony of other instruments form the very foundation of the dance, guiding the movements of the dancers like an invisible hand. Take, for instance, the Zulu Indlamu dance, performed to the rhythm of drums and a chorus of singers. The dancers, adorned in traditional dress and wielding shields, move in precise, synchronized steps, their movements echoing the beat of the drums.
Full-Body Movement
African dance is a full-body experience, a dynamic interplay of movement, gesture, and expression that engages the entire being. The Adumu, a traditional Maasai dance from East Africa, exemplifies this use of full-body movements and gestures. In this dance, the warriors leap into the air with legs straight, while their upper bodies remain erect and poised, displaying their strength and agility.
Costumes and Props
In African dance, the visual spectacle is just as important as the movements themselves. The Egungun dance of the Yoruba people of Nigeria provides a striking example of this use of costumes and props. In this masquerade dance, the performers are adorned with elaborate masks and costumes, representing ancestral spirits.
Polyrhythm and Polycentrism
But, there is something very unique about African dance. They are known as polyrhythm and polycentric movements. Polyrhythm is the layering of different rhythms over one another and polycentrism is the idea that movement can initiate from any part of the body. These two qualities play together because different parts of the body dance to different instruments that are playing at different rhythms.
[Robert] Farris Thompson describes learning polyrhythm and polycentrism, "my hands and my feet were to keep time with the gongs, my hips with the first drum, my back and shoulders with the second." All the elements of the music are displayed clearly in the body and nothing is left out.
Musical Accompaniment
Musical accompaniment for African dances is highly varied. Most dances make use of the human voice in the form of singing, shouting, recitations, grunts, whispering, and other vocalizations. Many groups use drums. Many African dances are polyrhythmic, that is, they use two or more conflicting rhythms simultaneously.
Dancers may synchronize the movements of different body parts to different rhythms, or alternate fluidly between rhythms. Dancers in Nigeria, for example, commonly combine at least two rhythms in their movement, or three if they are particularly talented. Any more than that is a rare feat. They may also add rhythmic components independent of those in the music.
The drum is also a significant part of African dance accompaniment. It very well may be viewed as the heartbeat of a particular clan, expressing its collective state of mind and relating this collective energy with that of the ancestors.
Welcome dance in Lagos, Nigeria.
Evolution and Influence
As the world continues to shrink and cultures collide, African dance has evolved and adapted, finding new forms of expression and influence. In the hands of innovative choreographers and dance companies, traditional African dance styles are being reinvented and reimagined for the modern age.
The influence of African dance can also be felt in popular culture, from music videos and films to global dance competitions and festivals. As the world grows ever more interconnected, African dance has a vital role to play in fostering cultural exchange and understanding.
Colonialism and globalization have resulted in the eradication of certain styles of African dance. As people were taken from Africa to be sold as slaves, especially starting in the 1500s, they brought their dance styles with them. Entire cultures were imported into the New World, especially those areas where slaves were given more flexibility to continue their cultures and where there were more African slaves than Europeans or indigenous Americans, such as Brazil.
African dance styles were merged with new cultural experiences to form new styles of dance. For example, slaves responded to the fears of their masters about high-energy styles of dance with changing stepping to shuffling. However, in North America, slaves did not have as much freedom to continue their culture and dance. In many cases, these dances have evolved into modern dance styles, such as African-American dance and Brazilian dance. For example, the Calenda evolved in Brazil from tribal dance.
Types of African Dances
There are several types of dances from Africa, including dances of welcome, healing dances, dances of love and courtship, warrior dances, as well as dances of divination, summoning and possession. Rooted in deep spirituality, religious dances from Africa aim to please both spirit beings, as much as human audiences.
Across the African continent, courtship dances aid in the formalized interaction between the sexes before, during, and even after marriage. Biological sex is a different phenomenon than gender. The sexual assignation of a human is determined at birth, while gender is defined based on a set of culturally agreed upon behavioral and aesthetic expectations.
Many times, African dances tell a story and have an impactful narrative meaning. These are known as griotic dances, named after traditional storytellers in West Africa, called griots. Further, dances from Africa demonstrate a polyrhythmic time signature where two or more rhythms are played concurrently.
Here are some examples of specific African dances:
- Adumu: a Maasai jumping dance performed during the warriors' coming of age ceremony.
- Mokhibo: the "shoulder dance" is also predominantly seen in the southern part of Africa, specifically in Lesotho.
- Muchongoyo: a Zimbabwean dance performed by men, with participation from women in the form of singing and playing of instruments.
- Umteyo: a Xhosa dance performed by young men, in which the whole torso is undulated rapidly.
- Agbekor: a warrior's dance that originated with the Fon and Ewe peoples of West Africa.
- Moribayassa: a solo dance from the Malinke people of Guinea, performed by a woman to celebrate overcoming significant hardship.
Afrofusion: A Modern Blend
Afrofusion is a dance style concept introduced by South African choreographer-dancer Sylvia Glasser in the 1970s. Afro fusion gained mainstream popularity in African countries such as Namibia and Zambia.
The Fanga Alafia Dance
One example of a hybridic dance believed to have originated in Liberia, parts of Nigeria, and Sierra Leone, the West African is the Fanga Alafia dance is rooted in a blending of different dance traditions and cannot be traced to one specific ethnic tradition in any African country. The spirit of the Creator is invoked during the Fanga Alafia welcome dance to unite guests and hosts. It is a call and response welcome song and dance. The call is: “Fanga Alafia!” in Yoruba, which means “Hello, Peace!” The response is “Áṣhẹ, áṣhẹ” which means “Let it be so, let it be so”.
Today this welcome dance is recognized as an Afro-American form. The reason for this is dancer Asadata Dafora (1890-1965). Born in Freetown, Sierra Leone then migrating to New York in 1929, Dafora began teaching traditional West African song and dance based on the folklore of his childhood. Throughout the United States, K-12 school children may have exposure to African music and dance education because of the accessibility of Fanga Alafia.
Healing Dances
Illness manifests in the body, and in Africa, ailments can be treated by intense dances that are believed to heal physical, psychological, or spiritual suffering. An afflicted person can gain a sense of control and release from pain through healing dances, which also promote community support. The Vimbuza healing dance from northern Malawi is said to have very real personal experiential curative outcomes.
Popular among the Tumbuka people, Vimbuza is an important manifestation of a healing tradition that is sometimes performed with fabrics or metal belts to accentuate the lower body hip gyrations. Though the ritual dance was forbidden by Christian missionaries in the 18th and 19th centuries, the Vimbuza healing dance was intended overcome traumatic experiences related to colonial oppression under British occupation.
Traditional Vimbuza dance of healing for the Tumbuka people of Malawi.
Courtship Dances
A strict code of social behavior governs the Wodaabe people of Niger. For these nomadic cattle herding people, the Yaake dance performed at the Geerewol festival serves a cultural function for the public flirtation between the sexes, as well as socially acceptable divorce proceedings. It is a competition format in some ways, where male contestants dance in a line, and sing harmonized repeated phrases to impress marriageable females. Cultural markers for a long, fertile, and enduring marriage are the exhibition of health, hygiene and strength.
Warrior Dances
One example of a warrior dance was originally a danced military battle exercise. During the war between the British colonials and the Zulus in 1879, the dance was intended to inspire young male warriors as they embarked on the long march into Anglo-Zulu War. Indlamu was inherited from the traditions of the Nguni people, closely related to the Zulu ethnic group in Southern Africa. Teaching discipline to young Zulu males as they prepared for war, Indlamu was traditionally danced by an individual or as a team.
In a line, warriors perform, with precision timing, large stomping motions with their bare feet to demonstrate their meticulous technical control of weaponry with stabbing motions towards imaginary enemies.
Ritual Dances
A ritual dance of summoning Kakilambe is from the coastal area of Guinea is performed annually by the Baga-people. The dance itself begins slowly and it is at that time that villagers approach to ask questions about the year ahead. The polyrhythmic percussion escalates toward the chaotic. As Kakilambe continues the rapid dance, he increases in size through a twirling action manipulated by strings. As the size of Kakilambe grows, the Baga are excited to receive answers to their questions about their future.
It is believed that if Kakilambe is disobeyed or fails to make his annual appearance, the people will receive collective and individual punishments. Therefore, the ritual dance continues year after year even in the twenty-first century. In looking at the cultural function of this dance, when trying to avoid being ethnocentric we must make the attempt to view the cultural traits of the Kakilambe from within the context of the Baga people.
Jazz Dance and African Roots
Jazz dance is one of the most vibrant, rhythm-rich, and expressive dance forms in the world - but the history of jazz dance goes far beyond flashy steps. The African roots of jazz dance run deep, stretching back centuries before the term “jazz” was ever coined. The African roots of jazz dance are visible in its rhythms, grounded posture, improvisation, and expressive movement.
Many of the technical elements are the complete opposite of the European dance tradition. In European dances (such as ballet, ballroom, folk dances of Europe, etc.) the centre of the body movement is in the chest. When dancing those styles we tend to grow up and have a more erect spine with straightened limbs.
Key Characteristics of Jazz Dance
- Bounce: Sometimes called pulse-is one of the most defining elements of swing and solo jazz dance. It embodies the timing of the music, acting as your own internal double bass.
- Backbeat: accenting beats 2 and 4 in 4/4 time. In European traditions, the emphasis is usually on beats 1 and 3 (the “strong beats”).
- Syncopated Rhythm: A syncopated rhythm in jazz dance is often created through the swinging 8th note. The swinging 8th note is a rhythm every vernacular jazz dancer must know.
Examples of African Dances
Here is a table summarizing some of the African dances mentioned:
| Dance Name | Region/People | Description |
|---|---|---|
| Yankadi-Macru | West Africa (Guinea) | Performed during social gatherings, symbolizing the transition from adolescence to adulthood. |
| Sabar | West Africa (Senegal) | High-energy dance with jumps and rapid footwork, often seen at weddings and festive occasions. |
| Adumu | East Africa (Maasai) | "Jumping dance" performed by young warriors during rites of passage ceremonies. |
| Bwola | East Africa (Acholi, Uganda) | Performed in a circle, telling stories of historical events and social values. |
| Gumboot Dance | Southern Africa (South Africa) | Originated among mine workers, evolved into a vibrant dance form with rhythmic boot slaps. |
| Indlamu | Southern Africa (Zulu) | Traditional warrior dance with high kicks, stomping, and synchronized movements. |
| Ekombi | Central Africa (Efik, Nigeria) | Dance of grace performed by women, mimicking the waves of the ocean. |
| Mutuashi | Central Africa (Luba, DRC) | Lively dance with rapid footwork and hip movements, performed to traditional drums. |
| Raqs Sharqi | North Africa (Egypt) | Belly dance featuring undulating movements of the hips and abdomen. |
| Ahidous | North Africa (Berber, Morocco) | Communal dance performed by men and women in a circle, accompanied by singing and drumming. |
| Atilogwu | Nigeria (Igbo) | Acrobatic dance telling stories of heroism and cultural pride. |
| Umteyo | South Africa (Xhosa) | Dance conveying stories of daily life, social norms, and spiritual beliefs. |
| Kpanlogo | Ghana (Ga people) | Contemporary dance blending traditional rhythms with modern influences. |
| Dogon Mask Dance | Mali (Dogon people) | Performed during religious ceremonies, symbolizing spirits and ancestors. |
