African Dance - Ancient to the Future

By Wanjiru Gichigi

Dance is almost without doubt the most ancient art form known to man. Traditional African Dance has hundreds upon hundreds of variations and styles, which are seemingly inexhaustible. As we are now more aware, these traditional dances form an intrinsic part of a cultural expression related to mans development and the various aspects and stages of his life, i.e. birth, marriage & death among others. As Africa always had an oral tradition of handing down wisdom and knowledge, African dance has never been written down. It had to be handed down from one individual to another, helping to keep it vibrant and adaptable.

To recognise and respect these traditional forms, yet aspire to bring them into the present for future generation, many creative and passionate Artists have endeavoured to unveil an understanding of African Dance aesthetics. One of these great Heroines is Katherine Dunham born 1909. As an Academic, dancer and Choreographer, Ms Dunham researched her material thoroughly and drew her movement inspiration mainly from Haiti, an island whose people managed to maintain their African Cultural Heritage across the Atlantic. She is also significant in that she reigned during a time when modern dance was beginning to define itself apart from classical Ballet through the Pioneering works of the likes of Martha Graham and the free expression of Isadora Duncan among others. Ms Dunham like other pioneers, drew from all aspects of African Dance, the music, the costumes, the steps, in essence all that constitutes this Art form, creating dances with an African Dance aesthetics and productions that had the ability to transport the audience to far away lands.

Another great contributor was Dr. Pearl Primus 1919-1994. Dr. Primus received a Rosenwald Fellowship from the American government, which enabled her to travel to West Africa for eighteen months where she lived and researched on the art of African Dance, its philosophy and aesthetic qualities. With this, Dr. Pearl Primus acquired a very clear understanding of the Art form within its traditional setting. To read her work is an enlightenment for the novice, the enthusiasts and the professional alike.

In the present and into the future, Academics and practitioners are still clarifying the aesthetic qualities of African Dance, the psychological, philosophical and physical attributes of this old age expression. Among them is Germain Acogny, whose work has and continues to inspire many Artists. Her book, ‘African Dance’ is testimony to her contribution.

Ms. Acogny of Senegalese descent together with Maurice Bejart, the French Choreographer founded and directed the unique school of Dance known as Mudra Afrique. With the blessing of the then Senegalese President Leopold Sedar Senghor, they set about to bring the teachings of Classical European dance together with traditional African dance and create a new and exciting language of Theatrical Expression. Although the school has now folded, their work still inspires many people and Germaine Acogny continues to be deeply involved in the development of African Dance the world over.

The Academic and practitioner, Alphonse Thierou from Ivory Coast has written a book titled, ‘Doople’ in which he reveals and explains the eternal Law that governs African Dance aesthetics. As a senior member of Masque de Segesse (Masks of wisdom) he decodes the technical mastery and the spiritual aspiration of this ancient form, therein making an important connection between all the traditional dances of the continent; a spring board for dancers, dance teachers and choreographers.

Each of these four pioneers work and research deserve an indepth analysis, which this article cannot cover. The aim here is to reveal some of the work in African Dance aesthetic that has taken place in the past and continues to do so today. One common factor between these Leaders, is their efforts to unravel the mystery of Traditional African dance in order to make it accessible to future generations in the creation of a Theatrical African Dance expression for our Contemporary times.

To summarise, I quote a paragraph from Alphonse Tierou’s book in which he says this of dance:- Because it has more power than gesture, more eloquence than word, more richness than writing and because it expresses the most profound experiences of human beings, dance is a complete and self sufficient language. It is the expression of life and of its permanent emotions of joy, love, sadness, hope and without emotion there is no African Dance.

African dance has an aesthetic and logic that is evident even in the dances within the African Diaspora. To understand this logic, it is essential to look deeper into the expression and make connections between the dances in the various cultures from East to West Africa and from North to South Africa. Alphonse Tierou says this of African Dance, ‘Because it has more power than gesture, more eloquence than word, more richness than writing and because it expresses the most profound experiences of human beings, dance is a complete and self-sufficient language. It is the expression of life and of its permanent emotions-joy, love, sadness, hope and without emotion there is no African Dance.