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Journal articles on the topic 'African Ritual Dance'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Flanders Crosby, Jill. "They Brought the Essence of Africa—Social Memory, Sensational Heritage, and Embodied Practices in Perico and Agramonte, Cuba." Congress on Research in Dance Conference Proceedings 2012 (2012): 63–69. http://dx.doi.org/10.1017/cor.2012.9.

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In the Cuban towns of Perico and Agramonte, the Afro-Cuban religious practices inherently involve dance and music practices that exist in a mutual dialogue of sounding the body and moving the music. But the dialogue between the music and dance are but a part of the embodied sensorium. Stories, narratives, memories, religious objects, and ritual process are as resonant. The embodied-body is contextualized by these conversational sensual forms. Together, they form and mobilize the sensational heritage of these towns. This presentation will narrate the evocative stories and historical narratives

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2

Payne, Ursula O. "Exercise in Pedagogy: Story of the Bones." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 300–306. http://dx.doi.org/10.1017/s2049125500001254.

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I was commissioned by Kim Nofsinger to make a dance for students at Middle Tennessee State University that explored the African American experience. The creative process integrated historical and bio-archaeological research being conducted by Dr. Shannon Chappell Hodge and Dr. Kevin E. Smith from the Department of Sociology and Anthropology. In this paper I will discuss the methodology I used to develop a creative process that involved the intersection of African American history, bio-archeological physical evidence, ritual exploration, and performance. This repertory experience represents how

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Lebaka, Morakeng Edward Kenneth. "Ethnographic Research of the use of Music in Healing as a Cultural Phenomenon in Greater Sekhukhune District Municipality, Limpopo Province in South Africa." DIALOGO 7, no. 2 (2021): 60–66. http://dx.doi.org/10.51917/dialogo.2021.7.2.5.

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This study investigates the relationship between music and healing in the African context, as well as the relationship between music, culture, and identity. Since the traditional approach to music-making makes it a part of the institutional life of the Bapedi community, among the Bapedi people, the music itself was and is thought to enable communication with the living-dead, often inducing ancestral spirit possession, ‘causing the spirits to descend’. We observe in this study how traditional healers in the Greater Sekhukhune District Municipality express their emotions through music, and how t

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4

DURKIN, HANNAH. "Cinematic “Pas de Deux”: The Dialogue between Maya Deren's Experimental Filmmaking and Talley Beatty's Black Ballet Dancer in A Study in Choreography for Camera (1945)." Journal of American Studies 47, no. 2 (2013): 385–403. http://dx.doi.org/10.1017/s0021875813000121.

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A Study in Choreography for Camera (1945) is a collaborative enterprise between avant-garde filmmaker Maya Deren and African American ballet dancer Talley Beatty. Study is significant in experimental film history – it was one of three films by Deren that shaped the emergence of the postwar avant-garde cinema movement in the US. The film represents a pioneering cross-cultural and cross-disciplinary dialogue between Beatty's ballet dancing and Deren's experimental cinematic technique. The film explores complex emotional experiences through a cinematic re-creation of Deren's understanding of ritu

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5

Gearhart, Rebecca. "Ngoma Memories: How Ritual Music and Dance Shaped the Northern Kenya Coast." African Studies Review 48, no. 3 (2005): 21–47. http://dx.doi.org/10.1353/arw.2006.0016.

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Abstract:This essay integrates ethnographic data collected between Mombasa and the Lamu archipelago in Kenya into the growing body of scholarship on Swahili music and dance (ngoma) traditions. The analysis underscores how the Swahili have used ngoma events to stake claims to higher positions on the social ladder, negotiate difference, create socioeconomic security networks, establish and mark group identity, connect to the spirit world, and pass through various stages of the life cycle. Through a rich array of historical accounts by visitors to the coast, whose texts complement oral histories

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6

Fuentes, Gabriel J. Jiménez. "Myth Performance in the African Diaspora: Ritual, Theatre, and Dance by Benita Brown, Dannabang Kuwabong, and Christopher Olsen." Caribbean Studies 43, no. 1 (2015): 232–36. http://dx.doi.org/10.1353/crb.2015.0015.

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7

King, Joyce E. "2015 AERA Presidential Address Morally Engaged Research/ers Dismantling Epistemological Nihilation in the Age of Impunity." Educational Researcher 46, no. 5 (2017): 211–22. http://dx.doi.org/10.3102/0013189x17719291.

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This article presents Joyce E. King’s 2015 AERA presidential address, which artfully combined scholarly discourse with performance elements and diverse voices in several multimedia formats. In discussing morally engaged research/ers dismantling epistemological nihilation, the article advances the argument that the moral stance, solidarity with racial/cultural dignity in education praxis, policy, and research, is needed to combat discursive forms of racism. The lecture opened with African Americans and Native Americans performing culturally affirming traditional ritual practices. An African dru

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WOOD, MARCUS. "Slavery and Syncretic Performance in the Noite do Tambores Silenciosos: Or How Batuque and the Calunga Dance around with the Memory of Slavery." Journal of American Studies 49, no. 2 (2015): 383–403. http://dx.doi.org/10.1017/s0021875815000079.

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How does slavery's memory work its way out in Afro-Brazilian syncretic culture (and particularly carnival) today? How does this African interculturation react with white Brazilian culture? I shall begin an answer to these questions by paying methodological homage to Raymond Williams and by turning to the contemplation of some “key words” which I believe provide “a vocabulary of [Afro Brazilian syncretic] culture and society.” Batuque and calunga are at the heart of the ceremony performed by Recife's Afro-Brazilian afoxés during the Noite do Tambores Silenciosos (“Night of the Silent Drums”). T

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9

Khan, Aisha. "American religion: diaspora and syncretism from Old World to New." New West Indian Guide / Nieuwe West-Indische Gids 77, no. 1-2 (2003): 105–10. http://dx.doi.org/10.1163/13822373-90002531.

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[First paragraph]Nation Dance: Religion, Identity, and Cultural Difference in the Caribbean. PATRICK TAYLOR (ed.). Bloomington: Indiana University Press, 2001. x +220 pp. (Paper US$ 19.95)Translating Kali 's Feast: The Goddess in Indo-Caribbean Ritual and Fiction. STEPHANOS STEPHANIDES with KARNA SINGH. Amsterdam: Rodopi, 2000. xii + 200 pp. (Paper US$ 19.00)Between Babel and Pentecost: Transnational Pentecostalism in Africa and Latin America. ANDRÉ CORTEN & RUTH MARSHALL-FRATANI (eds.). Bloomington: Indiana University Press, 2001. 270 pp. (Paper US$ 22.95)Encyclopedia of African and Afric

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10

Platvoet, Jan G. "At War With God: Ju/'Hoan Curing Dances." Journal of Religion in Africa 29, no. 1 (1999): 2–61. http://dx.doi.org/10.1163/157006699x00232.

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AbstractIn the 1950s and 1960s, only a few !Kung speaking San, or Bushmen, continued to follow the traditional way of life of nomadic food gathering in the Kalahari semi-desert of Southern Africa. One group were the Ju/'hoansi of the Nyae Nyae and Dobe areas of the Northwestern Kalahari. It is their religion that is discussed in this article. Their central rite was the curing dance, an all-night ritual which they often practised (and practise now, after they have settled permanently, even more commonly than before).2 It served as their major means of maintaining solidarity within their egalita

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11

Brewster, Yvonne. "Drawing the Black and White Line: Defining Black Women's Theatre." New Theatre Quarterly 7, no. 28 (1991): 361–68. http://dx.doi.org/10.1017/s0266464x00006060.

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Yvonne Brewster is best known in Britain as artistic director of Talawa Theatre, but she has also been active in the theatres of Jamaica, Africa, and America, having worked as a drama teacher, television production assistant and presenter, and film director in Jamaica before beginning her international theatre directing career. Talawa was founded in 1985 by four women, with Yvonne Brewster as director, and with the aim of using ‘the ancient African ritual and black political experience of our forebears to inform, enrich, and enlighten British theatre’. Although Talawa has as yet been unable to

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12

Johnson, Sara E. "PAGE TO PRAXIS: BRINGING DIASPORA LITERACY TO LIFE." Theatre Survey 50, no. 1 (2009): 19–22. http://dx.doi.org/10.1017/s0040557409000040.

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On 14 December 2007, on what would have been VèVè A. Clark's sixty-third birthday, hundreds of people gathered for her memorial service at UC Berkeley. In the week leading up to the celebration, people from all over the country, including friends, family, colleagues, and students, contributed memories celebrating her life. Poems and testimonies chronicled emotions ranging from triumphant to despairing, yet all affirmed thease, or energy, she so graciously shared with those around her. As I recall the whirl of activities, one particular element of preparing the program stands out: the accents o

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13

SUNSERI, THADDEUS. "FAMINE AND WILD PIGS: GENDER STRUGGLES AND THE OUTBREAK OF THE MAJIMAJI WAR IN UZARAMO (TANZANIA)." Journal of African History 38, no. 2 (1997): 235–59. http://dx.doi.org/10.1017/s0021853796006937.

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Late in 1907 a missionary from Kisserawe in German East Africa complained of a spate of ngoma ritual dances among the Zaramo people. In particular he singled out an ngoma conducted by women to ameliorate a drought that was threatening that year's maize crop. As the women danced around a well, dressed as men and brandishing muskets, they appealed for rain from ‘their god’. Several aspects of this ngoma make it remarkable. It occurred following the Majimaji uprising in German East Africa, which the Germans put down with such violence as to make war as a tactic of resistance unpopular if not unte

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14

Mollona, Massimiliano. "Seeing the Invisible: Maya Deren's Experiments in Cinematic Trance." October 149 (July 2014): 159–80. http://dx.doi.org/10.1162/octo_a_00188.

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In July 1791, the story goes, a small voodoo gathering in Santo Domingo sparked the Haitian Revolution, the first black anti-colonial revolution in history. The glorious history of the “Republic of the black Jacobins” was often celebrated by Surrealist artists in New York and Paris in their exposé of the decadent state of colonial powers in the aftermath of the Second World War. For instance, Haiti is central to André Breton's anti-colonial manifesto, Aimé Cesaire's idea of negritude, Rudy Burckhardt's lyric film symphonies, and Zora Neale Hurston's novels on creole culture. In New York, negri

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15

De Araujo Aguiar, Luciana. "Festivities as Spaces of Identity Construction." Journal of Festive Studies 1, no. 1 (2019): 128–48. http://dx.doi.org/10.33823/jfs.2019.1.1.33.

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Jongo is a cultural practice specific to the cities located in the Paraíba do Sul river valley, in the south-eastern region of Brazil. It is a form of expression rooted in the knowledge, rituals and beliefs of the African populations of Bantu language and which incorporates drum percussion, collective dance, and magic-religious, poetic elements. The roda, literally meaning “round,” is the performance space of the jongo. The quest for an “authentic jongo dance” at the time of the rodas often leads to disputes among various groups claiming the greater “purity” of their group, or the greater “tru

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16

Bokor, Michael J. K. "When the Drum Speaks." Rhetorica 32, no. 2 (2014): 165–94. http://dx.doi.org/10.1525/rh.2014.32.2.165.

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This article explores the instrumentality of traditional African drums in influencing human behavior, and debunks view-points held by some critics that these drums are mere instruments for entertainment, voodoo, or rituals. It argues that as cultural artifacts, the drums are a primal symbol (a speech surrogate form qualified as drum language) used for rhetorical purposes to influence social behavior, to generate awareness, and to prompt responses for the realization of personhood and the formation of group identity. This ascription of rhetorical functionality to the African drum-dance culture

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17

Wallace, Beverly R. "Absence and Presence – Living the Mystery: A Model of Care for African American Women Using the Theory of Ambiguous Loss." Black Women and Religious Cultures 1, no. 1 (2020): 1–25. http://dx.doi.org/10.53407/bwrc1.1.2020.100.01.

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This paper re-conceptualizes the theory of ambiguous loss to engage historical and contemporary realties of African American women’s lived experiences. Ambiguous Loss theory suggests that a family member can be emotionally or psychologically present but physically absent or physically present but psychologically absent. The paper asserts that African American women always have lived with ambiguity and suggests reclaiming tenets of the theory. As a case study, the paper uses the lives of women in Ava DuVerney’s Queen Sugar and lyrics of the series’ theme song to explore the dilemma of expected

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18

Ibrahim, Binta Fatima. "The appropriation of linguistic forms for better cognitive comprehension of the Nigerian pragmatic literature." Babel. Revue internationale de la traduction / International Journal of Translation 56, no. 2 (2010): 119–28. http://dx.doi.org/10.1075/babel.56.2.02ibr.

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The propensity of the English language to absorb native nuances by the African writers should be seen as a worthwhile stylistic device, despite the position of English language. Its adaptability to natural flavours should therefore be aimed at the writers’ intention to reach a wider audience. This also means that the attempt by writers to decolorize through literature the polluted African culture god through the use of appropriate notions and local nuances. The technique has, however, been to put on record traditional ways of life, the peoples’ customs, communal activities such as festivals, c

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19

Ombati, Mokua. "Rainmaking rituals: Song and dance for climate change in the making of livelihoods in Africa." International Journal of Modern Anthropology 1, no. 10 (2017): 74. http://dx.doi.org/10.4314/ijma.v1i10.3.

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20

Sparks, David Hatfield. "Dancing the River." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 4, no. 3 (2010): 367–88. http://dx.doi.org/10.1558/post.v4i3.367.

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The ideas presented in this paper, inspired by poet Audre Lorde's lines, “I will become myself an incantation, dark, raucous, many-shaped,” explore sacred performative roles and elements associated with gender/sexual diversity, including transgender behavior and same-sex eroticism in African-Atlantic religions, as practiced at the crossroads of American multicultural communities. These linkages interweave to form a tapestry of queer-cultural, including religious and aesthetic, categories (or “domains”). Among these categories are: spiritual forces or deities (orisha) having multiple, including

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21

Scott, Susie, and Neil Stephens. "Acts of omission and commission in the embodied learning of diasporic capoeira and swimming." Qualitative Research 18, no. 5 (2018): 565–79. http://dx.doi.org/10.1177/1468794118778614.

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This article compares ethnographic experiences of two settings characterised by embodied learning: the African-Brazilian dance/martial-art/game capoeira, and swimming for fitness and leisure, both as practiced in the UK. We consider the ways in which participants in these scenes stage-manage the display of their learning environments, focusing on the rituals and routines of instruction and practice. Applying Scott’s (2018) sociology of nothing as an analytical framework, we identify an inverse relationship between two forms of social action. In capoeira, we notice primarily acts of commission

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22

Graeff, Nina. "A web of orixás: Technology and the transmission of Candomblé songs in Bahia and Berlin." Revista EntreRios do Programa de Pós-Graduação em Antropologia 2, no. 2 (2020): 71. http://dx.doi.org/10.26694/rer.v2i2.9696.

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This paper draws upon ethnographic field research on the transmission of the Afro-Brazilian religion of Candomblé in two contrastive contexts: Recôncavo da Bahia and Berlin. Whereas in the religion's original region, Bahia, people are immersed in what can be considered a universe of orixás – Candomblé’s West-African deities –, in Germany, a country with almost no references of the tradition, a context must be created for its practice. In this sense, technology, and especially the internet, should facilitate the transmission of Candomblé by displaying cultural references, from videos of rituals

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23

Sunarto, Bambang. "Adangiyah." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 16, no. 1 (2021): iii—iv. http://dx.doi.org/10.33153/dewaruci.v16i1.3601.

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This edition is the first issue of Dewa Ruci’s Journal, in which all articles are in English. We deliberately changed the language of publication to English to facilitate information delivery to a wider audience. We realize that English is the official language for many countries rather than other languages in this world. The number of people who have literacy awareness and need scientific information about visual and performing arts regarding the archipelago’s cultural arts is also quite large.The decision to change the language of publication to English does not mean that we do not have nati

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"Myth performance in the African diasporas: ritual, theatre, and dance." Choice Reviews Online 52, no. 04 (2014): 52–1769. http://dx.doi.org/10.5860/choice.185604.

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25

Callaghan, Michaela. "Dancing Embodied Memory: The Choreography of Place in the Peruvian Andes." M/C Journal 15, no. 4 (2012). http://dx.doi.org/10.5204/mcj.530.

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This article is concerned with dance as an embodied form of collective remembering in the Andean department of Ayacucho in Peru. Andean dance and fiesta are inextricably linked with notions of identity, cultural heritage and history. Rather than being simply aesthetic —steps to music or a series of movements — dance is readable as being a deeper embodiment of the broader struggles and concerns of a people. As anthropologist Zoila Mendoza writes, in post-colonial countries such as those in Africa and Latin America, dance is and was a means “through which people contested, domesticated and rewor

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26

Jones, Timothy. "The Black Mass as Play: Dennis Wheatley's The Devil Rides Out." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.849.

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Literature—at least serious literature—is something that we work at. This is especially true within the academy. Literature departments are places where workers labour over texts carefully extracting and sharing meanings, for which they receive monetary reward. Specialised languages are developed to describe professional concerns. Over the last thirty years, the productions of mass culture, once regarded as too slight to warrant laborious explication, have been admitted to the academic workroom. Gothic studies—the specialist area that treats fearful and horrifying texts —has embraced the growi

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27

Makaula, P. N., and K. Lumbwe. "Aspects of moral education in Bhaca mamtiseni and nkciyo initiation rituals." Journal for Transdisciplinary Research in Southern Africa 10, no. 2 (2014). http://dx.doi.org/10.4102/td.v10i2.107.

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Influences on cultural, social, economic and political life of the Bhaca as well as their Interaction with other cultures from within South Africa and other parts of the world have led to the erosion of older traditions and customs resulting in a replacement of values that have promoted immorality, crime and an increase in sexually transmitted diseases among others. Consequently, these forces have resulted in change in the structure of mamtiseni and nkciyo female initiation ceremonies, thereby influencing the musical arts embedded in them. This article examines the educational content of the s

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28

Gathogo, Julius M. "Mau-Mau War Rituals and Women Rebels in Kirinyaga County of Kenya (1952–1960): Retrieving Women Participation in Kenya’s Struggle for Independence." Studia Historiae Ecclesiasticae 43, no. 2 (2017). http://dx.doi.org/10.25159/2412-4265/1822.

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The Mau-Mau war of independence in Kenya was fought after the returnees of the First and Second World Wars (1919–1945), who were mainly Christians, succeeded in politicising the black majority in the then Kenyan colony (1920–1963) to demand justice across the colour divides, as a religio-ritual duty which climaxed in oaths. The first stage of the war was seen in the change of contents in the African ritualistic dances that young men and women had gotten used to. In time, the love songs became political and/or patriotic songs that prepared people for a major war that was in the offing. The seco

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29

Scantlebury, Alethea. "Black Fellas and Rainbow Fellas: Convergence of Cultures at the Aquarius Arts and Lifestyle Festival, Nimbin, 1973." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.923.

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All history of this area and the general talk and all of that is that 1973 was a turning point and the Aquarius Festival is credited with having turned this region around in so many ways, but I think that is a myth ... and I have to honour the truth; and the truth is that old Dicke Donelly came and did a Welcome to Country the night before the festival. (Joseph in Joseph and Hanley)In 1973 the Australian Union of Students (AUS) held the Aquarius Arts and Lifestyle Festival in a small, rural New South Wales town called Nimbin. The festival was seen as the peak expression of Australian countercu

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30

Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2620.

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   Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussi

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31

Kuppers, Petra. "“your darkness also/rich and beyond fear”: Community Performance, Somatic Poetics and the Vessels of Self and Other." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.203.

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“Communicating deep feeling in linear solid blocks of print felt arcane, a method beyond me” — Audre Lorde in an interview with Adrienne Rich (Lorde 87) How do you disclose? In writing, in spoken words, in movements, in sounds, in the quiet energetic vibration and its trace in discourse? Is disclosure a narrative account of a self, or a poetic fragment, sent into the world outside the sanction of a story or another recognisable form (see fig. 1)?These are the questions that guide my exploration in this essay. I meditate on them from the vantage point of my own self-narrative, as a community pe

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