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Books on the topic 'African Ritual Dance'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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1

Remains of ritual: Northern gods in a southern land. University of Chicago Press, 2008.

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2

Ìbítókun, Benedict M. Dance as ritual drama and entertainment in the Gẹ̀lẹ̀dẹ́ of the Kétu-Yorùbá subgroup in West Africa. Ọbàfẹ́mi Awólọ́wọ̀ University Press, 1993.

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3

Dancing wisdom: Embodied knowledge in Haitian Vodou, Cuban Yoruba, and Bahian Candomblé. University of Illinois Press, 2005.

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4

Larlham, Peter. Black theater, dance, and ritual in South Africa. UMI Research, 1985.

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5

Black theater, dance, and ritual in South Africa. UMI Research Press, 1985.

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6

Myth Performance In The African Diasporas Ritual Theatre And Dance. Scarecrow Press, 2014.

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7

Daniel, Yvonne. Resilient Diaspora Rituals. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036538.003.0007.

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This chapter examines the histories and connections between Afro-Latin America and the Caribbean by focusing on sacred Caribbean dance rituals. It begins with a discussion of African-derived rituals in sacred dance, paying attention to how dance reveals and forwards sacred potential and how a relationship between the sacred and the secular is forged in African Diaspora contexts. It then considers how similar religious and dance structures have emerged across the Diaspora from common beliefs and social conditions that were shared by thousands of Africans. It also explores African-derived sacred
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8

Daniel, Yvonne. Dancing Wisdom: Embodied Knowledge in Haitian Vodou, Cuban Yoruba, and Bahian Candomble. University of Illinois Press, 2005.

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9

Daniel, Yvonne. Dancing Wisdom: Embodied Knowledge in Haitian Vodou, Cuban Yoruba, and Bahian Candomble. University of Illinois Press, 2005.

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10

Daniel, Yvonne. Ferocious Dance. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036538.003.0008.

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This chapter examines ferocious or combat dance in Circum-Caribbean history. It documents martial art forms and stick-fighting dances on the African continent and Diaspora combat dances that are similar to Brazilian capoeira and maculelê. It also proposes the inclusion of armed and unarmed combat rituals within Caribbean dance categories. The chapter begins with a discussion of the African legacies of ferocious dance, focusing on the importance of martial arts to the societies of colonial Angola and its connection to Caribbean combat dances, as well as the ways in which martial techniques were
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11

Cabrera, Lydia, and Victor Manfredi. The Sacred Language of the Abakuá. Edited by Ivor L. Miller and P. González Gómes-Cásseres. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496829443.001.0001.

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In 1988, Lydia Cabrera (1899–1991) published La lengua sagrada de los Ñáñigos, an Abakuá phrasebook that is to this day the largest work available on any African diaspora community in the Americas. In the early 1800s in Cuba, enslaved Africans from the Cross River region of southeastern Nigeria and southwestern Cameroon created Abakuá societies for protection and mutual aid. Abakuá rites reenact mythic legends of the institution’s history in Africa, using dance, chants, drumming, symbolic writing, herbs, domestic animals, and masked performers to represent African ancestors. Criminalized and s
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12

Richards-Greaves, Gillian. Rediasporization. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831156.001.0001.

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This book examines how African-Guyanese in New York City participate in the Come to My Kwe-Kwe ritual to facilitate rediasporization, that is, the creation of a newer diaspora from an existing one. Since the fall of 2005, African-Guyanese in New York City have celebrated Come to My Kwe-Kwe (more recently called Kwe-Kwe Night) on the Friday evening before Labor Day. Come to My Kwe-Kwe is a reenactment of a uniquely African-Guyanese pre-wedding ritual called kweh-kweh, and sometimes referred to as karkalay, mayan, kweh-keh, and pele. A typical traditional (wedding-based) kweh-kweh has approximat
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13

Covington-Ward, Yolanda, and Jeanette S. Jouili, eds. Embodying Black Religions in Africa and Its Diasporas. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478013112.

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The contributors to Embodying Black Religions in Africa and Its Diasporas investigate the complex intersections between the body, religious expression, and the construction and transformation of social relationships and political and economic power. Among other topics, the essays examine the dynamics of religious and racial identity among Brazilian Neo-Pentecostals; the significance of cloth coverings in Islamic practice in northern Nigeria; the ethics of socially engaged hip-hop lyrics by Black Muslim artists in Britain; ritual dance performances among Mama Tchamba devotees in Togo; and how I
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14

Mamadou, Diouf, and Nwankwo Ifeoma Kiddoe, eds. Rhythms of the Afro-Atlantic world: Rituals and remembrances. University of Michigan Press, 2010.

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15

Shay, Anthony, and Barbara Sellers-Young, eds. The Oxford Handbook of Dance and Ethnicity. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199754281.001.0001.

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Dance intersects with ethnicity in a powerful variety of ways and in a broad set of venues. Dance practices and attitudes about ethnicity have sometimes been the source of outright discord, such as when African Americans were—and sometimes still are—told that their bodies are “not right” for ballet, when Anglo Americans painted their faces black to perform in minstrel shows, when nineteenth-century Christian missionaries banned the performance of particular native dance traditions throughout much of Polynesia, and when the Spanish conquistadors and church officials banned sacred Aztec dance ri
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