African dance, also known as Afro dance, encompasses a wide array of dance styles originating from Sub-Saharan Africa. Closely intertwined with the region's traditional rhythms and musical heritage, these dances are an integral part of many traditional African societies.
African Dancers in Burkina Faso
Modern African dance styles are deeply rooted in culture and tradition. Many tribes have a role solely for the purpose of passing on the tribe's dance traditions; dances which have been passed down through the centuries, often unchanged, with little to no room for improvisation. Each tribe developed its own unique style of dance, falling into three categories based on purpose.
- The first type is purely social.
- The second is griotic, and was a type of dance that told a story. It is named after a griot, which is a term for a traditional storyteller in West Africa.
- The third type is ceremonial.
However, many dances did not have only one purpose. Rather, there was often one primary purpose, that blended into many secondary purposes. Dance was often very important to the maintenance of a ruler's status in the tribal society.
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.
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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. While carried on their mother's backs during day-to-day work and social events, they are exposed to the music their mothers sing or listen to. Thomas Edward Bodwich, an early European observer, noted that "children will move their heads and limbs, while on their mother's backs, in exact unison with the tune which is playing."
Many traditional African children's games, particularly in western and central Africa, include elements that promote the child's ability to understand rhythms. When children are old enough to attempt the dance moves, they imitate accomplished older dancers until they can replicate the dances precisely.
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.
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Dance historian Jacqui Malone describes how different groups use body parts in distinct ways: "The Anlo-Ewe and Lobi of Ghana emphasize the upper body, while the Kalabari of Nigeria give a subtle accent to the hips. The Akan of Ghana use the feet and hands in specific ways.
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Examples of Traditional African Dance Styles
- Adumu: a Maasai jumping dance performed during the warriors' coming of age ceremony. A circle is formed by the warriors, and one or two at a time will enter the center to begin jumping.
- Mokhibo: the "shoulder dance" is also predominantly seen in the southern part of Africa, specifically in Lesotho. It is done by women.
- Muchongoyo: a Zimbabwean dance performed by men, with participation from women in the form of singing and playing of instruments as well as dancing along on the sidelines. The women sometimes form a line and dance around the men.
- 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. The dancer, wearing old clothing, dances around the village while singing, followed by musicians and other women.
- Agbadza: original rhythm and dance of west Africa.
Afrofusion: A Modern Blend
Afrofusion is a dance style concept introduced by South African choreographer-dancer Sylvia Glasser known as Magogo in the 1970s. The Sylvia Glasser Contemporary Dance Group was established by Glasser in 1971. Sylvia Glasser's protégés consist of international contemporary dance household names, namely Gregory Maqoma and Vincent Mantsoe. Mantsoe was a part of the earliest groups which performed Glasser's historic "San trance" dancing work, Transformations.
Afro fusion gained mainstream popularity in African countries such as Namibia and Zambia.
The Cultural Position of Dance
In African societies, dance serves a complex diversity of social purposes. Within an indigenous dance tradition, each performance usually has a principal as well as a number of subsidiary purposes, which may express or reflect the communal values and social relationships of the people. In order to distinguish between the variety of dance styles, therefore, it is necessary to establish the purpose for which each dance is performed.
Gelede Mask
Often there is no clear distinction between ritual celebration and social recreation in dance performances; one purpose can merge into the other, as in the appearance of the great Efe mask at the height of the Gelede ritual festival in the Ketu-Yoruba villages of Nigeria and Benin. At midnight the mask dramatically appears to the expectant community, its wearer uttering potent incantations to placate witches. The dancer then moves into a powerful stamping dance in honour of the great Earth Mother and the women elders of the community. The dance continues as the performer pauses to sing the praises of people of rank, carefully observing their order of seniority. In this way a ritual act becomes a social statement, which then flows into recreation as the formal dancing by the Gelede team gives way to free participation by spectators until sunrise.
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The great Efe holds a central position, entertaining his audience with tales that make comic and satiric reference to irregular behaviour within the community over the past year. The more significant the concept expressed in a dance, the greater the appreciation of the audience and the more insistent their demands for a skillful performance and for movements that fit its purpose.
Dance is appreciated as a social occasion but is simultaneously enjoyed as an activity in its own right, entertaining and giving pleasure as an expression of communal life.
The Religious Context
Thought systems traditional to African cultures are rooted in a world view in which there is continuous interaction between spiritual forces and the community. Spiritual beings may inhabit natural elements or animals and may also take possession of human mediums. This possession of persons is usually temporary and confined to ritual, as when the priest of the Yoruba god Shango dances into a state of deep trance at the annual festival, expressing the wrath of the god of thunder with the lightning speed of his arm gestures and the powerful roll of his shoulders.
In Zimbabwe the Mhondora spirit mediums, who relate the Shona people to the guardian spirits of the dead, enter a trance through the music of the mbira lamellaphone, to which they sing while performing simple, repetitive foot patterns. Thus, the dances of priests and mediums confirm their ritual leadership.
Dance is used as therapy by ritual societies in many cultures. Hausa women, for example, find healing through dance and spirit possession in the Bori cult. Among the Jukun of Nigeria, a similar organization is called the Ajun, whose elders deal with hysterical disorders in women by exorcising evil spirits in initiation ceremonies. During a three-month period in a house shrine, the sufferer is taught songs and dances that have a therapeutic function culminating in a ceremony in which the initiate publicly joins the members of the society to perform the Ajun-Kpa dance. The female spirit mediums of the Kalabari in the Niger delta, using dance and song as an essential part of their therapy, are also credited with powers of healing.
Many African religions are based on a bond of continuity between the living and their dead ancestors, who, in some cultures, return as masquerade performers to guide and judge the living. The complex web of human relationships is continuously renewed and restated at ritual festivals through the arts.
Regional Variations in Traditional African Dance
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.
West African Dance
West African dance forms are among the most recognized and celebrated globally. These dances often feature energetic movements, complex rhythms, and vibrant costumes.
West African Dance
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 African Dance
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 African Dance
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. 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 African Dance
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 African Dance
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.
Dance as Storytelling
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.
The Mapouka dance from Ivory Coast is performed during festive occasions and social gatherings. Known for its dynamic and expressive movements, Mapouka celebrates joy, freedom, and cultural identity.
In Ghana, the Adowa dance of the Akan people is performed at funerals and other significant ceremonies. The dance features slow, deliberate movements that convey respect and reverence for the deceased.
Dance and Cultural Identity
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.
Contemporary Influences
The Afrobeat dance style, popularized by the music of Fela Kuti, blends traditional African movements with modern dance techniques. Afrobeat has gained international acclaim, influencing dance trends and inspiring contemporary dance forms such as hip-hop and street dance.
Another example is the Azonto dance from Ghana, which has taken the world by storm with its playful and expressive movements. Azonto is characterized by its freestyle nature, allowing dancers to incorporate personal flair and creativity.
Table of Traditional African Dances
| Dance Name | Region/Culture | Description |
|---|---|---|
| Yankadi-Macru | Guinea | Fluid movements and intricate footwork, symbolizing the transition from adolescence to adulthood. |
| Sabar | Senegal | High-energy jumps and rapid footwork, showcasing agility and stamina. |
| Adumu | Kenya/Tanzania (Maasai) | High jumps performed by young warriors during rites of passage. |
| Bwola | Uganda (Acholi) | Synchronized steps and rhythmic drumming, narrating tales of historical events and social values. |
| Gumboot Dance | South Africa | Rhythmic movements using gumboots, evolved from mine workers' communication. |
| Indlamu | South Africa (Zulu) | High kicks, stomping, and synchronized movements, performed during ceremonies. |
| Ekombi | Nigeria (Efik) | Slow, rhythmic movements mimicking ocean waves, celebrating femininity and beauty. |
| Mutuashi | DR Congo (Luba) | Rapid footwork and hip movements, performed to traditional drums and likembe. |
| Raqs Sharqi (Belly Dance) | Egypt | Undulating movements of the hips and abdomen, with graceful arm gestures. |
| Ahidous | Morocco (Berber) | Communal dance with harmonious movements, accompanied by singing and drumming. |
| Atilogwu | Nigeria (Igbo) | Acrobatic dance telling stories of heroism and cultural pride. |
| Umteyo | South Africa (Xhosa) | Movements conveying stories of daily life, social norms, and spiritual beliefs. |
| Mapouka | Ivory Coast | Dynamic and expressive movements, celebrating joy, freedom, and cultural identity. |
| Adowa | Ghana (Akan) | Slow, deliberate movements conveying respect and reverence, often performed at funerals. |
| Kpanlogo | Ghana (Ga) | Contemporary dance blending traditional rhythms with modern influences. |
| Dogon Mask Dance | Mali (Dogon) | Performed during religious ceremonies, symbolizing spirits and ancestors with elaborate masks. |
Dance as a Conduit to the Divine
Across regions, certain themes recur:
- Embodiment of Myth: Dances recreate origin stories-cosmological creation, flood myths, heroic deeds-allowing participants to step into ancestral narratives and renew the universe’s balance.
- Ancestral Dialogue: Trance and possession states enable direct communication with forebears. Dancers become vessels, transmitting guidance and communal memory.
- Rite of Passage: From birth to elderhood, dance marks life’s thresholds. Initiation ceremonies teach societal values through embodied lessons, ensuring each generation internalizes communal ethics.
- Healing and Purification: By aligning body, breath, and rhythm, dances can break spiritual blockages, expel negative forces, and restore harmony within individuals and the wider community.
Traditional African spiritual dances emphasize participation over spectatorship. Unlike performance-focused frameworks, these rites invite everyone, the elders, youth, women, and men to contribute through clapping, singing, instrument-playing, and movement. This collective energy fosters emotional release and communal catharsis through rhythmic immersion. Shared creation of art reinforces trust and mutual responsibility.
Elders teach steps, songs, and stories directly within the dance circle, safeguarding heritage without relying solely on written records.
