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The technique in African Dance:
Part 1
Each body part works alone or with the rest. Many movements are dissociated for example, between torso and extremities and can even make and follow different instruments in the rhythm that accompanies.
aerobic capacity should be optimized, improved both body work to follow basic health rules: no smoking, eating a balanced diet, sleep well, etc.. Also, it improves flexibility and muscle tone throughout the body, as each side has strong, precise movements that help to exercise all muscles, no supremacy of a particular muscle group.
A body part mereceespecial foot care are therefore to dance barefoot, the chances of injury incrementanlas ylesiones. Obviously cervical spine and also deserve special attention, as in all types of dances and sports.
Before starting the practice of these dances, and any other aerobic activity - there should be a physically fit, cardiac studies, and inform the teacher if you suffer from any chronic illness to be taken into account.
Generally when you first begin to venture into African dance does not control much of the extra energy (if any). So much force is used and comes to fatigue faster. For example, in the dances of deities, IANSA has a way of fast and demanding dance breathing level. the person moves, the heart races and ends up tired and drained of air. The secret to dance to its rhythm is nothing more and nothing less than the relaxation, obviously starting with a good physical fitness, I can dance with light and large movements, jumps, etc., Tirelessly, at the time to relax your body, what movements not only thins but maintains their breath for about the natural rate.
When the technique is not enough
is important to note that the Dance of Orixás specifically, the technique is not enough to achieve transmit delarquetipo danced psychology. Sometimes it also appeals to a job which is looking for experienced situations, ideas, fears, in short resources of our own life experience, which
help us "build" certain character. However, I think even more definitive that this resource is to see once in life, in flesh and blood, to dance to a orixá. Not in videos or movies. Close. Feeling your energy, experiencing their gestures, deciphering his intentions, respecting its mystery. With this comment, I do not mean to be a celebration of deities only to see their dances, but it presented a special opportunity, a invitation to be accepted into the greatest respect, may participate attentive.
Often the way to overcome shyness and hesitation, is feeling the same orixá. Not based on personal experiences, but drenched in their stories yapelando to a situation experienced by the orixá. Under his mask podemosmanifestar joy, anger, violence, the momentum that is within us, but work is just the "contemplation" of the Other that makes us more and more, I myself. For this reason I consider essential to thoroughly know, we run our own center, leave the mentelibre for them to talk through our body.
Freeing the body
Although the body sometimes reluctantly expressed, I think it is knowledge that will, in due time, the rest. Because knowledge is the basis of the understanding, and this in turn is the shaper of the movement, committed and common-union, with the oryx and the symbolism and meaning of their dances.
is striking how the mind grasps the body long before the directives, mechanical dynamics. Many times, we understand perfectly what we have to do with the body, but sparing shown to take action on the proposal. You have to give your time, be patient and contemplative. There is no point judging, judgmental, qualify.
While the dance is primarily a physical discipline should not miss the concept that Orixás dances are sacred dances. And so, I not only connect with my body but my subconscious. And here is where the teacher should not be judged or an opinion because the link is person-Rhythm-Archetype between these components and establishing the relationship, being who teaches a simple witness and facilitator of tools.
When my students see in the videos we filmed in some practices, it has happened that someone is taking account of a frown, an inappropriate smile, gesture or attitude of a body that does not fit the archetype of which we are working and there comes a Epa!. Why did that?. Perogeneralmente, without the obvious frozen on film, which are internalized by a bit, especially with those archetypes to which the individual is less related. People often express dissatisfaction with certain orixá, and without knowing why "they do not like nice." However, as you read their stories, understanding will and accepted by unlocking the heart and mind for the body, free from the shackles of prejudice, is expressed in freedom, beauty and above all, with greater harmony.
A good exercise is done among all a table to write the feelings and emotions that we feel, says each archetype. I have one done for me, though usually I try to be the group who come to some conclusions. Enclosed is a brief example, to be yourself who continue dissecting the personalities archetypal
ORIX REGION virtues associated
Exú Universal ; Cambio-Impulsividad-guile-duality-
I'll Ogum Impulsiveness - start-intent - destrezaefectividad-
; ; , fast-working-precision
Oxossi / Ode Ketu / Ketu ; Caution-Precisión-alert-concentrationist
atención-protección-infalibilidad-Sostene-seguridad-
Ossanha AORF , knowledge-concentration - cautelasabiduría- patience
Omolu / Xapana Mahi Mercy Health-Disease-punishment-anger-Auto -
punishment-pain-
Nana Ex Daomé Death-Life-justice-righteousness-disciplinary
Iroko / Tempo ; Serenity-ruthlessness Mahi-duplication-ancestry-
Oxumaré ; Mahi Duality - Drive-renewal-cycle-wealth-beauty-
Ewa Mahi Youth - candor, innocence mystery - guilt -
Oba
heard indifference - disappointment, loss-anger-chase-fight- maturity-fragility emotional fortress physically
Logunedé Iles-Duality haughtiness, arrogance-beauty-seguridadobjetividad
Oshun Ijesa / Osogbo Fertility and maternity-Vanity-Beauty -
; ; ostentación - wealth-
Yemanjá Egba Abeokuta y Maternidad - crianza-care-protección- ; ; ; rectitud-disciplina-
Iansa,Oyá Irá Movimiento – Imprevisibilidad – Actividad –mutabilidad-
Xangó Oyo y Kossó Justice - royalty - to-order-
Oxalá Ile Ife, Igbo and Paz-fon harmony - compassion - kindness, dignity
Author: Viviana Nohemi Rodriguez - Sacred Dance Blaster Yorubas
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PART 2:
born technique or we build
The wonderful thing about these dances is that everyone can dance to, with the energy according to their age and structure physical, while respecting a particular way of standing with knees slightly bent, solar plexus, slightly tilted towards the ground, and a particularly nice hip movement and natural, without forcing a muscle unnecessarily, with the fluidity that comes once incorporated described the basic stance.
We have to learn, incorporate and make them ours to that end, be natural. In Argentina, most people just do not know who the Orixás, but you learn African Dance and is a technique that is proper. Teachers from other disciplines have come to ask me if African dance had a special technique. This leaves a lot to expose the ignorance of these dances as an artistic discipline and in my view, speaks clearly of a certain prejudice against African culture black.
choreographic patterns:
To facilitate the memorization of certain general patterns, I make my students do an exercise which, among all, we learn a lot: in a I own box slips with concrete actions, feelings, emotions and situations. Each takes a paper, reads it in secret and then there is the writing, dancing. So, they understand that is a source of inspiration for these dances and at the same time create for themselves, dance patterns that are then corrected and discussed as a group. The idea is that they develop some they may be able to create and have more tools at the time to improvise. For example, some guidelines to represent are:
everyday actions:
Washing clothes - sow - harvest on land - a tree harvesting - cutting reeds - etc
Observing nature:
am a reed shaken in the wind - water floods the beach - the water kisses the beach - so
Emotions:
I violent - was calm, I'll kill you! - I'm exuberant-etc.
mood:
Tristeza - euphoria - melancholy unease - joy - impulsivity, etc.
This exercise should represent not only writing but to define that rate is more consistent with what we should represent and calling the action within the elements earth, water, air, fire, ether but inspired by the deities.
In turn, I try to bring them to name the steps I teach them to remembering, the pattern back to mind faster, because the association-action name always calms anxiety and provides greater security.
choreographic patterns of the Orishas:
In general, the steps we practice, are recreations of what is really dance the orixá. Most employers are already long-established, however, always created new sequences, variations are introduced. However, I believe essential that the learner knows, what really corresponds to orixá, and is free recreation.
In my seminars, I divide the sequence of dances in different styles:
1 - The inadvertently,
2 - Then we add the expression and intention
3 - orixá imitation as closely as possible with the pure rhythm that belongs
4 - Improvisation and re-creating your own insurance.
While often use rhythms that do not belong to the body of the tradition of the deities, I believe that to avoid confusion, this should be made very clear and should be taught the traditional rhythms, as if working with deities, I do thoroughly.
recreate orixás is unacceptable, ignoring its rhythms.
I think if you use the technique and choreography of the deities themselves fairly free, it is best not to deities but elements of nature or psychological archetypes, as do dance orixás presupposes a clearer understanding of a particular culture, and if I do other African dances with a different origin and incorporate deities, made clear that it belongs and not to their dances.
Dancing is also to act:
The African features include everyone in almost everything. It is a participatory culture, where the sense of belonging is sovereign, but at the same time, the group does not absorb the individual crowded, but it gives you the opportunity to express their individuality by using and providing for the common good, their own values \u200b\u200band talents. If you think about it, in our society it is not so well, sometimes it requires more repairs than encouragement to speak out individually.
Thus, with respect to cultural events and by referring to the music and dance, we can say that
1) they assume different and diverse roles, subject to one's ability each person. So, who knows how to dance dance, who plays, plays, and who does not know any two things, clap your hands, or sing, etc.. Nobody is excluded, everyone can play a role in the scene.
2) The dancers and drummers incorporate theatrics, so the theater is also an essential component of dance and African rhythms.
3) The dancer and the drummers are not placed on a "stage" but that all actors and groups, remain at the same level, unlike what we're used to in America and Europe for example. This feature is admirable, as well, there is no division between actors and audience, and allowing more fluid interaction between them.
These three main points are generally followed and respected in America and also in classes and workshops. Who frequents African dance performances, preferably have noticed that the stage is not used, for example. The dancers also and percussionists are assuming different roles and interacting with each other and even with the audience.
Many times in the classroom, the problem that arises is the timidity of the participants. Incorporating the voice, gesture, action, takes time and work more durable than dance technique, especially when there are no previous knowledge of performance, which incidentally do not consider at all a requirement, but it depends largely on the "audacity" of the person.
always warn from the start, half jokingly but with a truth in it, who dances Africa not to feel beautiful and vain. Yes at times, but no general rule. I try to work also the absurd, the ridiculous to achieve disinhibition and spontaneity. Even if we consider that especially in the dances of deities, most of archetypes is classified as masculine, virile energy, vigor and can in no way be absent.
I will not further elaborated on the African performance, however, I recommend reading the article by sociologist Alejandro Frigerio, an author and scholar of essential reading and quite rightly been written on the subject. Nobody African dance incursions should ignore the writings of this CONICET researcher makes both decipher and bring African culture to America, to be recognized internationally as one of the most profound scholars of African American culture.
The link to the article is:
http://www.revistaquilombo.com.ar/documentos/frigerioperformancenegra.pdf
* Note: This essay is part of the book "Black Culture in the Southern Cone: Representations of the conflict. Alejandro Frigerio. Published by Editorial Universidad Católica Argentina.
The Internet is essential reading texts that help us better understand these dances. I recommend reading:
A Dança das Iabas of Rosamaría Barbara
http://www.lendas.orixas.nom.br/ebooks/002_adancadasaiabas.pdf
preliminary dances by Roger Bastide
http://witzky.org/vadinho/presentacion-del-candomble/
musica.Questioes sound and a sound anthropology. Tiago de Oliveira Pinto.
http://www.scielo.br/scielo.php?script=sci_arttext&pid=S0034-77012001000100007&lng=en&nrm=iso&tlng=pt
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