Dance Trad

The field of history is founded on the interrogation of written documents from the past. However, culture is the center of life in Africa. As a result, in the past – and to a degree in the present – the process for documenting events in Africa was not written, it was performed. History Dances: Chronicling the History of Traditional Mandinka Dance argues that a wealth of information is housed within traditional Mandinka dance and, consequently, the dances can be used as an African-derived primary source for writing African history. Ofosuwa M. Abiola highlights the overall value of studying Mandinka dance history specifically, and African dance history generally, as well as addressing the issue of scarcity with regard to primary sources for writing African history. History Dances proves to be a vital read for both undergraduate students and scholars in the fields of dance history, African history, performance studies, and cultural anthropology.

Africa is rich in (neo) traditional dances; yet, not much exists in the form of written literature on the subject. Even worse, existing documents date back to the colonial period and are often disparaging. Dance to Africans is what martial arts are to Asians. Embedded in them are some of the solutions to many of the problems wracking the African diaspora: gang violence, drug addiction, and high school dropout rates, etc. When Guinea's Ballets Africains first bursts on the international scene in the late fifties and sixties, the black revolution in the US was in full swing. The troupe's emancipatory message enkindled in African Americans a new sense of cultural pride and a return to their African roots. For once, dance became something else other than the ballet. With that burst of enthusiasm came the need to introduce African dances in the academia. Most of the research, however, focused mainly on dances which use drums (djembe). Departing from that tradition, in this detailed and richly choreographed ethnography on the Buum Oku Dance Yaounde, Thomas Jing's investigation into a xylophone-based dance opens up new research avenues and exposes the challenges involved. An Afrocentric theoretical framework to the research counters imperialist notions of African dances, thus setting them up as a tool for emancipation.

The traditional music of Brittany has long been a passion for guitar and mandolin player David Surette, who has now edited and published a collection of Breton dance tunes. Fest Breizh contains 50 traditional dance tunes: gavottes, en dros, larides, and many others, collected and transcribed in standard notation, with chords provided as well. Unlike some previous collections, which have been principally keyed with a B-flat bombarde and bagpipe in mind, these are all in typical fiddle tunes keys. There is also an extensive discography, which provides the means to tracking down a recorded version of the tune, as well as some background notes and information about Breton music. the book contains most of the Breton material that Surette has recorded on his 4 solo CDs over the years.

These articles concern the role of the Sanskrit tradition in the performing arts in India. They consider the relations between theory and practice in music and dance with particular reference to the Sanskrit textual tradition of musicology.

Mak yong, the ancient Malay dance theatre form, is associated principally with the southern Thai Patani province and the Malaysian state of Kelantan on the east coast of the Malay Peninsula. It is also active in Terengganu and in the Riau islands of Indonesia where it is staged in a significantly variant form. Mak yong comprises the elements of story, formal and informal spoken text, stylized dance and acting, vocal and instrumental music, as well as ritual. It is performed both for entertainment as well as for healing specific types of emotional and psychological ailments. Mak yong is undoubtedly the most important of all traditional Malay theatre forms in terms of its content as well as performance style. Following an effort to revive this near- extinct art from 1969 onwards, it went through considerable changes as it shifted away from its rural base to urban centres, particularly Kuala Lumpur. The changes essentially attempted to “cleanse” Mak yong of some of the objectionable folk elements with a view to transform it into a sophisticated one intended for modern audiences, including tourists. Mak yong, was designated by UNESCO as a Masterpiece of Oral and Intangible Heritage of Mankind in 2005. The listing was based on the Candidature File prepared by the present author, Ghulam–Sarwar Yousof, a leading specialist in traditional Southeast Asian theatre. He was the first person in the world to work on a doctorate on traditional Malay theatre with a dissertation on Mak yong submitted to the University of Hawaii in 1976. The present volume comprise a selection of his essays on various aspects of Mak yong presented at local and international seminars as well as published in several journals. The papers provide original and vital insghts into the history, aesthetics and functions of Mak yong as well as controversies surrounding it. The papers also touch upon issues connected with the survival of mak yong and the need for efforts to preserve what the author regards as the most unique of traditional Malay performing arts.

with tunes, singing rhymes and methods of playing according to the variants extant and recorded in different parts of the Kingdom