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. Kenya is home to a variety of passage ceremonies that mark important milestones in life, such as birth, circumcision, marriage, and death. Each of these ceremonies is an occasion for colourful and festive celebrations.
Among the most remarkable dances, we can mention:
- the Adamu, a jumping dance of the Maasai;
- the Mwomboko, a couple dance of the Agikuyu, generally performed by the oldest members of the community;
- the Isikuti, a Luhya tradition with energetic and rapid movements of the shoulders, waist and feet (UNESCO heritage);
- the Chakacha, very common among the Swahilis.
Exploring traditional African dance styles reveals the rich cultural heritage and diverse histories of the continent. These dance forms are not only artistic expressions but also vital tools for storytelling, community building, and cultural preservation.
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.
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. 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.
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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. As everywhere in Africa, traditional music and dance punctuates village life. Each ethnic group has a particular style. The difference is sometimes subtle for the layman. The common point is the use of percussion.
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Ohangla dance at the Kenyatta University Culture Week Festival 2021
Specific Kenyan Dance Styles
Maasai Adumu
The Maasai have a distinctive dance that involves forming a circle and jumping up high to show their strength and stamina as tribal warriors. The group of moranes leaps into the air, spear in hand. It expresses its strength and courage in a gregarious song in several voices. 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. Women clap and sing encouragement, reminding morans that communal harmony depends on mutual support.
Luhya Isikuti
The Isikuti is a Luhya tradition with energetic and rapid movements of the shoulders, waist and feet.
Swahili Chakacha
Chakacha dance lights up weddings and celebrations across coastal East Africa, becoming a staple at such joyous occasions. Its lively beats and traditional taarab music set the perfect backdrop for gatherings, infusing them with cultural richness and vibrancy. As this dance graces weddings, it also strengthens bonds within communities, making every performance a communal expression of joy and cultural heritage.
Originated in coastal East Africa, the Chakacha dance is a cultural tradition performed exclusively by women. The exclusivity of women performing the Chakacha dance underscores the preservation of cultural gender roles and traditions. Chakacha dance is a captivating art form influenced by Arabic and African cultures. The graceful swaying of the hips and energetic footwork reflect the cultural blend, with each move telling a story of tradition and history. Their wrists are decorated with bangles that create melodious sounds as they move to the rhythm, adding an auditory dimension to their visual grace.
Chakacha dance is characterized by rhythmic movements that involve hip swaying and fluid arm motions. The style emphasizes the connection between body movement and music, with performers using their entire bodies to convey emotion and rhythm.
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The traditional taarab music and the use of drums and other instruments provide a vibrant rhythm to the Chakacha dance, enhancing its energetic movements. The melodious blend gives voice to the coastal East African cultural heritage. The melodic richness of taarab music provides a vibrant backdrop for Chakacha dancing with its hypnotic rhythms exuding energy that enlivens each movement. Traditional taarab music provides the rhythmic foundation for Chakacha dance, incorporating a variety of instruments like the bongo drums, maracas, and tambourine.
Akamba Kilumi
The Akamba are known for their use, familiarity, and knowledge of ritual traditions that are interwoven into their society. The most famous traditional dance in Kamba people is Kilumi, which was categorized into five to match the occasions on which it would be performed: Worship, Cleansing, Initiation, Therapeutic Kilumi and Pray for rain.
Kilumi is a healing rite designed to restore environmental balance through spiritual blessings, movement, offering, and prayers and the dance has been present since the very beginning of Kamba existence. The dancersâ bodies are the dominant symbol, and the power associated with the dancersâ movements provide the necessary energy to help invoke the spirits and healing.
Traditionally, Kilumi was performed by older women, but men also participate in the modern society settings. The drum is used by women; men also can use the drum and they dance but only those who were aware of the âspiritual wordsâ.
Taita Taveta Mwazindika
Nestled in the scenic landscapes of Taita Taveta County, Kenya, the Mwazindika stands as a cultural treasure, a testament to the resilience of the Dawida community. Beyond its captivating dance, songs, and drumbeats, this ancient ritual offers a profound glimpse into their rich heritage, yet faces an urgent need for safeguarding. The Mwazindika, more than a spiritual dance, intertwines with the daily life of the Dawida community, marking milestones and providing solace in times of calamity.
Traditionally, male elders played the drums while the women danced and ululated. According to Mzee Mwalui, the dance would be performed to the visitors who turned up to pay homage to the new born baby to appease the gods so that the boy could be inspired to be a wise leader in future.
However, one of the prime functions of the mwazindika dance was excorcising evil spirits, pepo, especially in women. The affected women would be given a slightly sickening herbal concoction called âmwalolaâ and invited to performs the dance as the seers and elders chanted and admonished the spirits to leave the victims.
Ohangla Dance
Ohangla dance has deep roots in the precolonial history of Kenya. The Luo community developed this vibrant art form. Luo culture significantly shapes the Ohangla dance. This vibrant dance emerges from the traditions of the Luo people in Kenya. Traditional songs accompany the dance, using instruments like drums and traditional flutes. Costumes also reflect Luo heritage with colorful attire adorned by beads and ornaments.
Originally, it served as a form of storytelling within the Luo community. In recent decades, Ohangla has incorporated modern influences. Contemporary artists blend traditional rhythms with new beats and styles. Ohangla dance features vibrant costumes that reflect the rich culture of the Luo community. Dancers wear brightly colored garments that reflect their cultural heritage. Accessories complement the outfits well.
Drums play a central role in creating rhythms. Musicians also use the "ombiri," a type of lyre made from local materials. Percussion instruments like shakers and rattles further enrich the music. Dancers often synchronize their steps with the rhythm. Artists use percussion instruments alongside melodic sounds from vocals or guitars.
The style of Ohangla dance features high-energy movements that express joy and celebration. Dancers use their feet and hips to create rhythmic patterns. This style features vibrant footwork that captures the rhythm of the music. Foot taps and hip sways form a dynamic connection between performers and the audience. Dancers often form circles or lines, creating a sense of unity and rhythm.
Rachuonyo is a popular style of Ohangla dance originating from the Luo community in Kenya. This dance features lively rhythms and energetic movements. Teiya is a popular traditional Ohangla dance. It showcases the vibrant culture of the Luo people in Kenya. Dodo is a lively and popular traditional Ohangla dance from Kenya, especially among the Luo community. It features fast-paced rhythms that energize dancers and audiences alike.
Modern Ohangla dance features new styles and influences. Artists blend traditional moves with contemporary styles. Some performers now use new musical instruments alongside classic ones. Music videos featuring Ohangla showcase vibrant visuals and innovative choreography. Social media plays a crucial role in spreading this style beyond local communities.
| Dance Style | Community | Key Features |
|---|---|---|
| Adumu | Maasai | Jumping dance, warrior ritual |
| Isikuti | Luhya | Energetic movements of shoulders, waist, and feet |
| Chakacha | Swahili | Rhythmic hip swaying and vibrant costumes |
| Kilumi | Akamba | Healing rite with spiritual blessings |
| Mwazindika | Taita Taveta (Dawida) | Celebratory and exorcising dance |
| Ohangla | Luo | High-energy movements, vibrant costumes |
