African Dance, Musical Theatre Dance styles comparison/contrast/critical essay.
In this essay I will be comparing the similarities and differences between African dance styles and Musical theatre dance styles and also giving my critical opinion on matters of the two. When gathering my research for this project I have noticed that the history for African dance does not have a starting date as some sources have said it has been around since human life began. However there is evidence that the cultural tradition of the dance style was recognised around the world from before 1500s. The dances are noted as part of life in Africa, and there are specific dances for different occasions for example births, deaths, religion and more. The reasons for the dances in this culture are celebration and emotions. Like Musical theatre styled dances, dated from the 1850s, are also used to portray emotion. However this style is combined of singing and acting also so the emotions portrayed through musical theatre are usually scripted for roles and such in plays and pieces of drama and musicals, where as African dances are real life celebration of day to day life (unless seen in a scripted piece of work for example the lion king on stage).The people dance the sowing of the seed and the harvest, puberty rites, warfare, hunting, birth, death and life after death. There is the rain dance, dance of the sun, dance of strong intelligent offspring, courtship dance, marriage dance, etc. Some dances have particular meanings or stories behind them; others are named after the drumming rhythm or the instrument (eg. kpanlogo is usually danced to the kpanlogo drum whilst fume fume denotes the sound of the rhythm).
Within the African community everybody dances. There are special dances for certain members of the clan; there are dances for women only or men only or the elderly or the young. These individual dances are closely associated with ritualistic rites of passage. Here is some of the dances I found whilst researching:
‘Cultural and Social Styles
Anyako Atsia. This popular circle dance from the Ewes of Anyako features songs about morality, community, character, and pride. The event is primarily social, and a chance for people to express themselves (and even flirt a bit) through dance & song.
Togo Atsia. A subtle and stylish women's dance from the Ewes of Togo. This event is traditionally organized by women and is used to present their point of view on social issues to the community. Dance and music interludes are interwoven with short skits that focus on the challenges of modern life (often the issues between men & women in particular). Dancers use two horsetails for most movements.
NanDom Bawa. A harvest celebration/prayer/thanksgiving dance from the Lobi people of northwesternGhana. For practical reasons we don't incorporate baliphones (marimbas) and some other traditional instruments into our performances, which is a big departure from traditional practice - but there's so much going on that it's still a great show piece.
Gahu. A colorful circle dance originally fromNigeria. Dancers wear expensive robes and headgear, and sing of being well-off and proud of it. Gahu seems to enjoy poking fun at Europeans and their odd behaviour, among other things.
Tokoe. A coming-of-age dance for girls among the Ga-Adangme, learned at puberty along with mothercraft. Simple but stylish movements present the newly eligible girls to the community.
Kinka. Lively social music and dance derived from older sacred traditions - all of the fun but none of the heavy religious overtones. We usually involve our audience in this one. Traditionally Kinka features songs that are especially well crafted and usually political.
Kpanlogo. A fairly recent (1940s?) highlife dance form. Dancing is high-spirited and the songs are fresh and lively. The drums are conga-like and played with hands.
Agbadza (Poka, Ageshe). A major Ewe social dance tradition. The lead is played on sogo with the hands resulting in a unique musical texture. Slow and fast sections.
Ahazevu Vulolo. A slow social dance tradition. What we do is a small representation of a large musical heritage whose primary purpose is dance fellowship.
Brekete. Ewe music and social dance featuring the buzzing cylindrical Brekete drum.
Gadzo. Both a political and spiritual dance, Gadzo was banned by the British during early colonization because it was perceived as an incendiary institution. Feverish music and dance performed traditionally with live swords (we use fake ones) makes this an exciting event. Drums are conga-like and played with hands.
Takada. A women's social event among the Ewes. The songs build pride and power among women and warn the community of men to make way for other points of view. Historically Takada is associated with a time about 50 years ago when women all over the world began demanding equal standing with men.’
As you can see from the research I have gathered there are many traditional social celebration dances that African culture include. Styles in musical theatre include jazz, modern, commercial, sometimes tap, contempry and more. Unlike African these are styles and not specific dances. But where did these dances come from and who teaches them? Every African villiage will have a ‘dance master’ he or she would teach every member of the viliage the routines from a very small age. The dances do not change as they are traditional. The dance master is resbonsable for making sure people of the villiage attend the dances when need be and complete the routines correctly but also make sure they understand the meaning behind the dance and knowledge about why they do it. The emotions shown during the dances vary during the event for example the Tokoe dance will be danced with joy and happiness unlike the Gado which would be danced in a more serious and protesting manor. In contrast, musical theatre dance includes no set traditional dances as it is not a culture based style. There are famous routines from big musicals where choreography has been replicated on a smaller scale but usually there are no set dances with meaning or purpose behind them. In addition to this there are similar steps or techniques that get used repeatedly just like other style.
In the 1500s the slave trade was underway but this did not stop the arfican culture and tradition. Infact it blossomed. As they were moved over to American lands new dances arrived, these were known as, the ring dance, the juba, the chiea and the calenda. These dances were added to the list of social dances soon after. At this point in time there were still no musical theatre styled dance however in 1850 there were traces of musicals and such which leads me to 1891.
A dance called the cakewalk was introduced to the Croel Show. This included black and white dancers.
By this time the African styles had been recognised and people were beginning to understand the culture and tradition. The styles had a major influence on styles we know today such as theCharleston, tap dance, lindy hop, the jitterbug, the twist, jazz dance hip hop and crunking. Although these may be modern they all defiantly have context and origins of African dance. We have evidence of this as we look into the techniques of African its self. With this in mind the segregation was well underway so there was still a very clear divide even with dance. Black Africans were dancing their traditional dances and white people where dancing their new styles of dance. By this time theatres were holding shows for the public involving more dances, now we are starting to see a dance breakthrough inAmericaandEurope.
Techniques in both dance styles are very important to the way they are styled and how the dancer moves. However African techniques aren’t as recognised as musical theatre. Styles in musical theatre include jazz, modern, commercial, sometimes tap, contempry and more. Unlike African these are styles and not specific dances. African dances are Polycentric, this mean that the dancer’s body is segmented into separate areas and used in isolation, this difficult to master. They also have other techniques such as how high or low their movements are, African dance is very primal and low to the ground, connecting the dancer with the earth, which they believe gives them life. This is why in most African moves the knees are bent so the dancer can get his energy from the ground and leap high without wearing himself out. Another technique is using the drum as the heartbeat this allows yourself to become what they believe free in the music. Kalabie is also a technique which focuses on hip motions.
In comparison the techniques used in musical theatre are a lot more formal and strict. They include things like, turning your hips and feet out, spotting whilst you spin, good posture, dancing on your toes etc. As you may see from this comparison the techniques used in the dance style are very different. You could not use the techniques from African dancing in any other style of dance unless it can be self taught like hip hop or street style dances, on the other hand the techniques from musical theatre can be used in any style of dance as they are current and popular.
In conclusion, African styles have never yet and will never be changed as they are a lifestyle for the people that live the culture. Where as musical theatre will forever change and evolve because of the ever growing styles of dance emerging, one of which in the past was in fact African. Likewise both dances are now seen and understood all around the world and have been very successful. To summarize African dance has a lifetime of history and background whereas musical theatre has little. On the other hand both styles are interpreted by very famous dancers and choreographers and still represent their own tradition and origins.
I personally enjoyed researching and participating in both styles of dance how ever I think the techniques and lifestyle behind African is desirable and people that live that way should be very proud in practicing something so ancient. On the other hand I think some of the views and techniques are out dated for this day and age and think this could be revamped slightly. I feel that musical theatre is very popular and current and would love to see African treated and seen the same way. I think if people really looked into and studying African dance more they would understand the value and prosperity of the dance culture and respect it more. Its their dance of life and I feel as though I should use these techniques I have researched and but them into my African practical work, maybe this way I will improve my movement and adapt to how they may have originated the styles.
