[Empressdududahlin]

Did you know that some dances and music derived from spiritual movements? Let's take a look into some and post any information if you know of any! Btw here are some books to look at as well...

Caribbean Dance from Abakua to Zouk: How Movement Shapes Identity


Caribbean Dance from Abakua to Zouk is an unprecedented overview of the dances from each of this region's major islands and the complex, fused, and layered cultures that have given birth to them. The authors in this collection, from distinguished cultural leaders to highly innovative choreographers, reveal how dance shapes personal, communal, and national identity. Their essays also show how Caribbean rhythms, dances, fragments of movements, and even attitudes toward movement reach beyond the islands and through the extensive West Indian diaspora communities in North America, Latin America, and Europe to be embraced by the world at large.

A range of approaches, from the anthropological to the literary and from the practical to the creative, allows for a thorough exploration of these dances in the distinct yet interrelated contexts of social history, tradition/ritual, and performance. Connections are made among a fascinating array of dances, both familiar and little known, from culturally based to newly created performance pieces. Particular emphasis is placed on the African contribution in making Caribbean dance distinctive. An extensive glossary of terms and more than 30 illustrations round out the book to make it the most complete resource on Caribbean dance to date.



Dancing Wisdom: Embodied Knowledge In Haitian Vodou, Cuban Yoruba, And Bahian Candomble



http://www.amazon.com/exec/obidos/tg/detail/-/0813025494/104-7289522-3211103?v=glance

[Ananci_7]

Well done for giving ppl that heads up. Of course it goes without saying that among indigenous cultures, since thre was no separation between secular and spiritual, all forms of dance, no matter how sexual, sensual, aggressive or tragic/comedic was an expression of the divine. BTW are you aware that many social historians believe that dance was also our first type of language?

[Empressdududahlin]

Originally Posted by Ananci_7

Well done for giving ppl that heads up. Of course it goes without saying that among indigenous cultures, since thre was no separation between secular and spiritual, all forms of dance, no matter how sexual, sensual, aggressive or tragic/comedic was an expression of the divine. BTW are you aware that many social historians believe that dance was also our first type of language?

African dance is another vehicle of language arts that have significant movements with specific meaning and purpose. Most African dances are designed to communicate a particular message.
Dance class and workshop participants are informed of the existence and purpose of various dances and learn specific movements and techniques used for wedding ceremonies, youth rites of passage, funerals, harvest dances, etc. Our classes stresses movements from the west and central of Africa, the African American diaspora and Caribbean Islands. Dance and hand clapping techniques along with songs and playing of African musical instruments are taught as part of the dance workshop. The class is accompanied by music and includes warming up exercises.

Also drumming as well... I saw a drumming call and response performance (not knowing it was one until) I was like "eh eh" I realized they were talking to each other through riddims.

http://www.ayubukamau.com/ayubu/classes.html

A brief presentation is conducted on the history and relationship of African music in connection with aspects of African culture and it’s impact on world music and other cultures.
In the words of Baba Ishangi of the Ishangi Dancers in New York, “music is a form of conveying and transmitting information." African drum is not Morse code; it is the actual imitation the human voice using drums and other instruments that reflect the spoken language of the musician. It is believed by some that the beat of the drums represent the forces of life, correlating to the beat of the human heart.

Participants who have instruments will be instructed on how to use them, and eventually play together as an orchestra by the end of the session.

http://www.worldartswest.org/plm/gui...tafrican.shtml

African dance embodies athleticism and a graceful beauty flowing with rhythm. In Africa, dance is a means of marking the experiences of life, encouraging abundant crops, and healing the sick soul and body. It is also done purely for enjoyment. All ceremonial African dances have a purpose. They tell stories and relate history. African music and dance in its essence communicates concepts of life on an elevated level; dance to the African is a universal, transcendent language. Traditionally, people throughout the continent of Africa achieve direct communication between themselves and their gods through ritual music and dance, including many with masks.

[Empressdududahlin]

Today we primarily think of dance as a form of entertainment or as a way to exercise or socialize. There was a time, however, when dance was considered the way to commune with the divine, a part of life's journey, celebrating the seasons and rhythms of the year and the rhythms of our lives. Dance is a language that reunites the body, mind, and soul. While the role of women's sacred dance was most valued in goddess-worshipping cultures where women served as priestesses and healers, dance was once an integral part of religious ritual and ceremonial expression in cultures all over the world, including Judaism and Christianity. In this book the author investigates how dance came to be excluded from worship and reveals how dance is once again being integrated into spiritual practices.

Sacred Woman, Sacred Dance is the first book to explore women's spiritual expression--women's ways--through a study of dance. It describes sacred circles, birth rituals, ecstatic dances, and dances of loss and grief (in groups and individually) that allow women to integrate the movements of faith, healing, and power into their daily life.

The book demostrates how dance, the highest expression of spirituality in cultures and traditions all over the world, is being integrated into the lives of women today (The first book to explore women's spiritual expression--women's ways) through a study of dance

Iris investigates how dance came to be excluded from worship, and reveals how dance is once again being brought into spiritual practices. The book includes resources for further instruction in sacred dance.

[kevlocks]

[Empressdududahlin]

Originally Posted by kevlocks

I'm glad you have the feeling because I have the same!

[kevlocks]

Originally Posted by HoneyEmpress

I'm glad you have the feeling because I have the same!

it's good to know that you are on the right path

[Empressdududahlin]

Originally Posted by kevlocks

it's good to know that you are on the right path

I nearly fell off the train, BUT I'm BACK ON... they won't let me get off!! I'm glad for the few people in my life who help keep me grounded when things get rough...

[**Vincy-Soca-Diva**]

Originally Posted by HoneyEmpress

I nearly fell off the train, BUT I'm BACK ON... they won't let me get off!! I'm glad for the few people in my life who help keep me grounded when things get rough...

i hope i'm one of them. Girl i was in churhc Sunday and I thought of you I said I must give she a call but my phone shut off. Will chat someway some how but good to see you ok love yuh.,

[Empressdududahlin]

Originally Posted by **Vincy-Soca-Diva**

i hope i'm one of them. Girl i was in churhc Sunday and I thought of you I said I must give she a call but my phone shut off. Will chat someway some how but good to see you ok love yuh.,

dahlin I will never forget! and through it all, WE WILL!!

[Ananci_7]

Thanks for that book title, Empress; I plan to add it to my personal library

[Empressdududahlin]

Originally Posted by Ananci_7

Thanks for that book title, Empress; I plan to add it to my personal library

np...I think you're going to be interested in this article that I posted on islandmix last year in Socachat:

Baptist Rhythm Rolls Through Calypso :

Here's an interesting article I found online:

http://www.nalis.gov.tt/music/BAPTI...in_CALYPSO.html

By Debbie Jacob

Sunday Express

Section 2

March 28, 1999

Pages 12 and 13



Sixty years ago, our first official Calypso Monarch, The Growling Tiger, submitted two songs to the censors entitled "What is the Shouter?" and "Shango". He wasn't allowed to sing about the Shouters.

If he had, this is what people would have heard:



"The Shango, of course, is quite disagreeable

For the drum is miserable

But the Shouters is a husband, children and wife

And they living miserable a corrupted life

If is that they call civilization

It's a disgrace to my native land."



Tiger's scorn was a far cry from David Rudder's "Shango Electric" a Carnival 1999 hit which called upon the Orisha God, Shango, to beam "Legba through the cable television to save the souls of Trinis 'fraid the face of Africa." And the underlying Baptist beat and chanting which has defined Rudder's career and endeared him to calypso fans - young and old - is quite different from Tiger's generation, which ridiculed Shango and Shouters.

Although Shango, the Orisha religion, is not to be mixed up with the Baptists, their music has simultaneously cropped up in many calypsoes in the last 60 years. The mocking/loving relationship with Shango and Baptist religions and consequently their music, can be seen as early as 1937 when, Dr. Gordon Rohlehr tells us in his book Calypso and Society, RCA sent a representative to Trinidad to record many old songs which dated as far back as 1877.

"Tiger and Lion recalled and exploited Yoruba and Shango melodies in a small but significant number of songs," Rohlehr says.

There were a number of other songs on "Shango Dance" in the early 30s, Cobra's "Shango Song" in 1937; Beginner's "I didn't know she was the Queen of the Shango" in 1937, Caresser's "Shango" in 1938 and "Amanja Soqua Me: African Song" which attempted to render an Orisha chant. Tiger recorded "Yaraba Shango" in 1937, "Shango" in 1939 and "Interpreting Shango" in 1945.

The songs, which were unanimously against the religions, must have been popular, Rohlehr says, because many existed and Lion re-recorded "Shango Dance" in 1949. In the 30s, the singers reflected the opinions of the elite, because there was a law prohibiting the Shouters.

Calypsonians, as the rest of society, mocked the Shouters.

"Tiger applauded police action in brutalizing the Shouters. The Shouters were viewed as incoherent and ridiculous devil worshippers in calypso," says Rohlehr. Caresser said the same about the Orisha.



"The Catholic make their ceremony

Which is known universally

Very charitable in the salvation

The Anglican I could understand

But the Shouters want to see Zion when they die and

Bawling Cara in bother Cico Ih

With candle and a cross and a cycle bell

Invoking Lucifer in Hell."



While calypsonians ridiculed the Shouters, they also recorded their hymns. Lion recorded "Happy Land of Canaan", which was classified as a Calypso Shouter. He performed "Where is Jonah Gone" jointly with Atilla in 1934 and Caresser sang "Do You Remember Me" in 1940.

Rohlehr says an unconscious merger of calypso and Baptist music was beginning to take place already in the 40s. This would be evident a decade later when Melody sang "Jonah and the Bake" and Sparrow delivered "Don't Touch Me". A calypsonian named Wonder sang "Follow Me Children" in the 50s, which had a Baptist-sounding chorus. All were highly dramatic extensions of Shouter/Baptist preaching.

The repeal of the ordinance against the Baptists, which prohibited their form of worship in 1951, changed the political complexion of the situation and the emergence of the PNM helped Baptists to be seen in a different light. Then came Calypso Rose, the first woman to be crowned Calypso Monarch and Road March winner whose music, Rohlehr says, was obviously influenced by Baptist rhythms.

SuperBlue, formerly known as Blue Boy, ushered in the decade of the 80s with the most famous Baptist-influenced song: "Soca Baptist".

It caused a major controversy. Baptists claimed Blue Boy was desecrating their religion. By then, the political tables had turned and a reluctant Prime Minister Eric Williams replied "Let good sense prevail," when irate Baptists asked him to ban the calypso from the radio.

The fascination with Baptist rhythms and themes continued. The religion was becoming a conscious-raising characteristic; a link between Trinidad and Africa. It worked well for David Rudder whose "Bahia Gyul" wooed a nation into following her down the road for the Road March in 1986. Rudder was also crowned calypso king on the strength of the Rudder/Pelham Goddard composition. And SuperBlue regained his Road March footing in 1991 with another Baptist-influenced song "Get something and Wave." In this song, SuperBlue consults the bell-ringing Mother Muriel, a Baptist, about Trinidad's post-coup status. Andre Tanker's Baptist-like chants in "Sayamanda" and "River Come Down" were also making powerful statements. On the other hand, Ella Andall, strongly influenced by Orisha roots, was shunned by calypso tents. Tent managers deemed her image "too African " in spite of the fact that songs like "Bring Down the Power" were well liked by fans.

Today, Rohlehr says there are a handful of singers who have truly internalized the Shango/Baptist beats, chants and structures. "There have been many who followed an imitative trend - like Preacher - but the way SuperBlue uses his voice, the chants, his overall style are a very genuine manifestation of Baptist music. And it always permeates Rudder's music," Rohlehr says. "There might be some lasting influence in [Singing] Sandra's music. We'll have to wait and see."

Today, the Orisha/Baptist connection to music is seen as a powerful force. Neither the religions nor the music, which emanates from them, are something to be shunned or mocked. Instead, they're viewed as noble faiths and powerful songs arising form the soul. A struggling nation, in search of its lost soul, welcomes and respects both.

[Ananci_7]

Again, thank you for that article. I remember reading it when it was published and for all I know I may have it on my mountain of newspaper clippings in my junkyard (oops, sorry) library.

While there is some truth to the claim that the lyrics of early recorded kaisonians poured scorn on Sango and Baptist beliefs, it is sometimes difficult to tell what side of the fence they really stood. I like to think that many of them were actually being very crafty in their choice of titles and in the construction of the lyrics in order to get past the censors. For instance on the CD "Calypso Calaloo: Early Carnival Music in Trinidad" which is at the back of a book of the same name, Tiger's "Yaraga Shango" is one of the songs on it and as I listened to the lyrics I realised that what Tiger was doing (and he did this in many of his calypsos) was outline the rituals and events. Now he starts by singing "I went to see, I mean I didn't know/Unfortunately friends, I find mihself in Shango (repeat). but then he goes on "I mean the power had me that night/To see me dancing wit all my might......etc and the background melody was distinctly Yoruban. On that same CD is a selection by the Roaring Lion simply called "African War Call" which shows clear Yoruban influence, in fact it was not sang in English at all. Likewise Lord Executer had a lovely one called "Three Friends Advice" in which the last line in each verse went "I think I going and dance the tango". As it turned out, "tango" was a clever substitute for "shango"; it was the only way the song could have been sung in Trinidad. There is also one by Lord Beginner called "Fed-A-Ray" recorded in 1953 in England and is on the CD "[B]London is the Place for Me: Trinidad Calypso in London, 1950-1956[/B]". This kaiso also drew very heavily on Yoruba music and the chants one would hear in a palais.

Remember back in the 30s and 40s, b/c of the Theatre and Dance Halls Ordinance of 1934 a great many calypsos were banned or if recorded abroad, refused entry into Trinidad if they openly mocked members of the upper class, were sympathetic towards Butler and the Labour movement, were openly Africentric and/or was partial towards Sango and Shouter Baptists. Tiger, though apparently a person of his racist times was nevertheless very African-conscious and this was reflected in many of his calpysos. Admittedly, there is a love/hate relationship in the kaiso world towards things overtly African as there is in the rest of Trinidad. This is (still too slowly) changing with the music of Ella Andall, experiments by David Rudder and Shadow before him and all the other greats before them. I only hope it become more acceptable before the inundation of American-influenced foolishness sweeps the whole scene.

[kevlocks]

Originally Posted by HoneyEmpress

np...I think you're going to be interested in this article that I posted on islandmix last year in Socachat:

Baptist Rhythm Rolls Through Calypso :

Here's an interesting article I found online:

http://www.nalis.gov.tt/music/BAPTI...in_CALYPSO.html

By Debbie Jacob

Sunday Express

Section 2

March 28, 1999

Pages 12 and 13



Sixty years ago, our first official Calypso Monarch, The Growling Tiger, submitted two songs to the censors entitled "What is the Shouter?" and "Shango". He wasn't allowed to sing about the Shouters.

If he had, this is what people would have heard:



"The Shango, of course, is quite disagreeable

For the drum is miserable

But the Shouters is a husband, children and wife

And they living miserable a corrupted life

If is that they call civilization

It's a disgrace to my native land."



Tiger's scorn was a far cry from David Rudder's "Shango Electric" a Carnival 1999 hit which called upon the Orisha God, Shango, to beam "Legba through the cable television to save the souls of Trinis 'fraid the face of Africa." And the underlying Baptist beat and chanting which has defined Rudder's career and endeared him to calypso fans - young and old - is quite different from Tiger's generation, which ridiculed Shango and Shouters.

Although Shango, the Orisha religion, is not to be mixed up with the Baptists, their music has simultaneously cropped up in many calypsoes in the last 60 years. The mocking/loving relationship with Shango and Baptist religions and consequently their music, can be seen as early as 1937 when, Dr. Gordon Rohlehr tells us in his book Calypso and Society, RCA sent a representative to Trinidad to record many old songs which dated as far back as 1877.

BABES!!!! :swoon

I kid you NOT!!! I was JUST reading this in this book I was reading called Reclaiming African Religions in Trinidad, by Frances Henry.

[Empressdududahlin]

Originally Posted by Ananci_7

Again, thank you for that article. I remember reading it when it was published and for all I know I may have it on my mountain of newspaper clippings in my junkyard (oops, sorry) library.
DON'T WORRY MI DAD'S PAPER CLIPPINGS, BOOKS, VIDEOS, and TAPE RECORDING MAKE SHIFT LIBRARY IS THE WORST! Don't feel bad! lol My project is to organize it for him into a personal study sanctuary...
While there is some truth to the claim that the lyrics of early recorded kaisonians poured scorn on Sango and Baptist beliefs, it is sometimes difficult to tell what side of the fence they really stood. I like to think that many of them were actually being very crafty in their choice of titles and in the construction of the lyrics in order to get past the censors.
Let's just say I've thought the same in the sense of being crafty through the music, that most of it reminds so much of the orishas themselves, like in some of the stories you would find that the orishas had to work around the system in order to get a point across... Sometimes you can't give a statement straightforward, kind of work around it. Like Santeria, traditionally they used the saints as a way to hide the orishas in their form of secretly working through them. For instance on the CD "Calypso Calaloo: Early Carnival Music in Trinidad" which is at the back of a book of the same name, Tiger's "Yaraga Shango" is one of the songs on it and as I listened to the lyrics I realised that what Tiger was doing (and he did this in many of his calypsos) was outline the rituals and events. Now he starts by singing "I went to see, I mean I didn't know/Unfortunately friends, I find mihself in Shango (repeat). but then he goes on "I mean the power had me that night/To see me dancing wit all my might......etc and the background melody was distinctly Yoruban. On that same CD is a selection by the Roaring Lion simply called "African War Call" which shows clear Yoruban influence, in fact it was not sang in English at all. Likewise Lord Executer had a lovely one called "Three Friends Advice" in which the last line in each verse went "I think I going and dance the tango". As it turned out, "tango" was a clever substitute for "shango"; it was the only way the song could have been sung in Trinidad. There is also one by Lord Beginner called "Fed-A-Ray" recorded in 1953 in England and is on the CD "[B]London is the Place for Me: Trinidad Calypso in London, 1950-1956[/B]". This kaiso also drew very heavily on Yoruba music and the chants one would hear in a palais.


Remember back in the 30s and 40s, b/c of the Theatre and Dance Halls Ordinance of 1934 a great many calypsos were banned or if recorded abroad, refused entry into Trinidad if they openly mocked members of the upper class, were sympathetic towards Butler and the Labour movement, were openly Africentric and/or was partial towards Sango and Shouter Baptists. Tiger, though apparently a person of his racist times was nevertheless very African-conscious and this was reflected in many of his calpysos. Admittedly, there is a love/hate relationship in the kaiso world towards things overtly African as there is in the rest of Trinidad. This is (still too slowly) changing with the music of Ella Andall, experiments by David Rudder and Shadow before him and all the other greats before them. I only hope it become more acceptable before the inundation of American-influenced foolishness sweeps the whole scene.

THANK YOU FOR THIS LIST OF CHUNES... I've been meaning to try and get my hands on some oldies to analyze, because it's interesting how with some of these chunes you need to catch the energy of the lyrics. You speak about love n' hate, well Ella Andall went through alot of that in the Calypso tents, it makes yuh think. This is something else I've also analyzed is the Pan-African culture and music and how the ancestors are speaking through artists. I've noted some lyrics from recent Soca, Reggae, and Hip Hop artists and you would be amazed at how the music is speaking to us and we don't know it.

kevlocks Quote:BABES!!!! :swoon

I kid you NOT!!! I was JUST reading this in this book I was reading called Reclaiming African Religions in Trinidad, by Frances Henry.

I went back to the same article, because that chapter about music and dance is my favorite!! Did you read about the connection with pan... how the first pan players were from the orisha yards... before I claim that, lol let me get it from the book later when I get home and post it.