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KWA ZULU NATAL

KWA ZULU NATAL. The Zulu nation is a nation of proud warriors Their tradition of song and dance goes back to the sixteenth century When the warriors returned home victorious from war the whole community CELEBRATED in song & dance. It became custom that every Zulu boy

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KWA ZULU NATAL

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  1. KWA ZULU NATAL

  2. The Zulu nation is a nation of proud warriors Their tradition of song and dance goes back to the sixteenth century When the warriors returned home victorious from war the whole community CELEBRATED in song & dance

  3. It became custom that every Zulu boy be taught the tribal dances and songs of his nation

  4. Not only were the dances performed on the warriors return but also at weddings and feast celebrations as they became a symbol of joy happiness and respect

  5. The tradition of Zulu men’s dancing is called ‘Ngoma’ UMZANSI IS A RECREATIONAL DANCE FORM that grew out of the system of migrant (travelling) labour developed by the South African State and MINES

  6. Men from far and wide - seeking work in the mines were brought together - living in poorly equipped hostels without their families

  7. There was much friction between the different tribes A style of competitive display dancing emerged UMZANSI to channel the fighting between tribe members into recreational dance

  8. There are three Ngoma sub styles: • Umzansi • Isishameni • Ngoma kaBhaca Each style combines: • Choreographed group work • Individual improvisation • Is danced to singing & clapping • Accompanied by a marching bass drum

  9. Each style features the kick/stamp with stylistic differences In the UMZANSI style the kick/stamp is the highest and straightest landing the hardest on the ground

  10. A dance about power can become a source of power The men working in the mines felt they were given no respect from their ‘white bosses’ This dance was a celebration of a dancer’s virtuosity and a celebration of aspects of his manhood MASCULINITY WAS ON DISPLAY

  11. DANCE MOVEMENTS • An Umzansi dance begins in a file formation of between 10 – 20 dancers or more • The opening and closing sections always involve the whole team • The beginning is sung and danced with line choreography for the whole group • In the line dance the team members carry their fighting sticks

  12. The flow and sequence are determined by the igoso (leader) • He directs the performance with: • a shrill whistle • a whip • sung calls for call and response singing • sung/spoken commands for group chanting • The dance is interrupted by spurts of action improvised by bold individuals • High powerful kicks/stamps are used

  13. By dancing alone - improvising, a dancer demands and gets his team’s attentionby doing all sorts of acrobatic movements • This is when the dancers show themselves without fear of interrupting the set dance sequences of the team • Each dancer is expected to improvise around his praise-call/nickname and the rhythm of the drum • The whole team chants his name/nickname • Nicknames play a critical role as an element in this dance • The dancer has earned a nickname from past incidents or by his character • For example: Skheshekheshe (Catch him catch him) a dancers days as a professional soccer player & very fast runner / Buklenyeklenye njengebululu (he who strikes like a cobra) • The nicknames, carried proudly by individuals, are expressed in the personality of individual dance styles

  14. COSTUMES & PROPS • iBeshu - a skin covering the buttock • isiShababa - a skin covering the buttock- longer than ibeshu, extending to the calves of the legs • Umutsha - a skin covering the loin - extending to the knees • umQhelo - a head dress of beads, or skin worn encircling the head • iziNcabulela - sandles with straps made of leather, with the sole cut from a car tyre • Fighting sticks

  15. NOTE THE HEAD DRESSES OF ANIMAL SKIN NOTE THE COVERING OF BUTTOCKS AND LOIN

  16. MUSICAL INSTRUMENTS / ACCOMPANIMENT The performers require the use of a ‘military drum’ as an accompaniment – this is a large double skinned drum played with two beaters

  17. The dancers of Umzansi are often referred to as Amasosha (soldiers) • Entrances and exits in the performance are in drill formations and columns • The introductory songs are referred to as Izinhlamvu (bullets) • The drummers must be able to interpret the movements of the dancers precisely • The igoso (leader) uses a whistle / whip • Use of call and response singing • Group chanting

  18. African dance is no longer used ONLY for traditional purposes It has spread far and wide to all corners of the world It has become a very popular and well loved dance form that has been integrated into many contemporary styles

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