The Impact Of African Dance

The Impact Of Afri outhouse terpsichoreThis subject atomic number 18a aims at pointing aside 1 of the upcoming trip the light fantastic toes with its origin from Africa which is becoming very prevalent deep down its short time of invention. In an attempt to do this, this study depart be looking at Roland Barthes arguments on Semiology and Structuralism within the language system and its relation to groundbreaking spring. The specific objectives of this study be to determine the level of usuality of Azonto leap and its relating medication genre amongst social classer(a) nationals from opposite s a great deals of the world, to find out whether Azonto leaping has any effect on slews dancing manners, to find out the level of acceptance of Azonto leaping and medicine to people from different heathen and national backgrounds, and to identify the itinerary in which people understand the gestures and signs associated to this terpsichore.Dance in Africa is a holist ic part of society. It is non truncated or separated as an entity in and of it self. Dance is use to facilitate any phenomena in most Afri send packing societies (Welsh, 200414). The Afri batch saltation has a spile of variation in terms of the confused elaborations on the continent as well as the different tuneful and political campaign styles which goes along with them. Every bounce has its own style and movement which jobs the culture of a ill-tempered group or ethnic backdrop in way. Most of these moves argon very communicative and this resemblance is seeming(a) in a component of the dancing styles on the African continent. in that respect atomic number 18 countless move urinates that identify the numerous ethnic groups and cultural differences in styles of the funds coastian people (wikipaedia). African leaps ar abundantly participatory, with spectators macrocosm part of the performance. With the exception of almost spiritual, religious or initiation dances, there are tralatitiousisticly no barriers between dancers and onlookers. tear down ritual dances often produce a time when spectators participate (Welsh, 2004).gold coast has a lot of traditional dances very(prenominal)(p) the Adowa, Kpanlogo, Agbadza and Damba which are primarily performed as ceremonial dances. there have withal been other popular and more contemporary dances the likes of moon walk, slide, creep walk, etc in the past fewer years. Unlike the traditional dances whose motives are to tell a story or mouth some idea or emotion, most popular dances in Ghana are performed for fun as social interactions, especially among the youth. However, one token popular dance which seems to have defied the odds of modern dance in Ghana is the Azonto. This African dance form incorporates complex co-ordinates body movement and non-verbal colloquy in a tripping fashion in very few one-two timed steps. Just like most African dances, knee crease and hip movements ar e rudiments to dancing it. The dance pertains movements of the feet, knees, hands, and hips in one shotic fashions which can actually be coordinated in a style to communicate a message. Generally, the dance reflects the creativity, intelligence, and rich sense of humour of the Ghanese people.Background of StudyAccording to Welsh (2004), no dance form is permanent, definitive, or ultimate. Change occurs, but the basic rudiments of dance cadaver the same. Dance is for all people. One need only recall that dance needs neither common race nor common language for talk it has been a ecumenical means of conference forever.The dance, which is usually performed with an accompanying smile, evolved from the conspiracy of several(prenominal) local dance moves that originated from Ghana during the early 2000s. at that prat are different stories about the origins of Azonto and its subsequent popularity. One story about the Azonto dance has it that it started somewhere in Bukom, Chorkor and James Town (all organism suburbs in Accra) where it was first-class honours degree called Apaa (work for pay). It was a form of dance that represented movement activities like ironing, boxing, driving, slipstream etc. Another source of information has it that the term Azonto was first used by students of the Senior Secondary Schools to mean life (or the hardships of life abraabo) (ModernGhana.com). Features of the Kpanlogo dance, the traditional dance of the Gas, can also be seen in the Azonto. The same goes for the Gawu dance, an adoptive dance of the Ewe but originally from Togo. The dance has evolved with the riotous pace dance culture of modern West Africa.The dance was make popular by the Ghanaian football star, Asamoah Gyan in his goal scoring celebrations for his club and for the dark-skinned Stars (the senior national football team of Ghana), especially during the 2010 World form in South Africa (ibid).Currently, the dance is continuously evolving with complex danc e styles and movements. The in style(p) dance craze has perish so popular that it now dictates the rhythm of hip-life music (which is a contemporary genre of music in Ghana which fuses the traditional hi-life music with the modern hip-hop music). The commercialization of this dance has made Hip-life musicians include Azonto in their music lyrics and video clips. The dance is very popular among the youth and can be performed by anyone regardless of gender or ethnicity.With traditional dance facing serious threats of decline especially among the youth, Azonto represents a combination of modern and traditional elements. Azonto epitomizes Ghanas ingenuity and originality through the spirit of dance (World Press). It primarily embodies sociability and socializing.It was stated on ModernGhana.com that the dance is spreading fast in the USA, U.K and other parts of the world with large populations of Ghanaians. Even Prince Williams is utter to have deeply fallen in love with Azonto and h e dances it at any opportunity he gets (Source).Ghanas Azonto dance been rated as one of the pass away 10 African dances to have gained global stature either belatedly or, in the case of Soukous, in the last 40 years (MyWeku). The Azonto dance has threatened to eclipse the success of some of Ghanas famous exports like cocoa, gold and its exciting brand of football. The Azonto is comfort going strong, and was last seen on Londons Oxford passageway (ModernGhana.com).MethodologyA soft research approach is proposed for this study. Primary data would be used for the purpose of this study through interviewing which would be intentional in the light of the objectives of the study. This research allow be a qualitative research. Scholarly workings of other field of study that allow for be useful to this research will be used. Print and electronic workings such as bleakspapers, articles and journals will also be used. I also will adopt the use of a case study, although due to the constitution of the research, I will not be administering a questionnaire but would express conducting an interview, I will strictly base my arguments on past works and use real life examples to achieve my aim and purpose of the study.The archetype of the study covers African students currently studying in Cyprus International University. This hear of 20 students where 10 males and 10 females (50% male and 50% female) would be selected purposively from African students with different nationalities. Respondents opinion regarding the effect of African dance and the popularity of Azonto would be calm through the interaction and interviewing session.Dance and SemiologyMost of the students were identified as music and art lovers because they all stated their passion for the love and interest in such art. They had all come in contact with different forms of dance styles especially those from their communities and cultures. They stated a common characteristic of African dance being fu ll of energy, interesting, communicative and full of life. Some also thought of African dance as a way of identifying a position culture. Some students also saw some of the indigenous African dance as being passionate and addictive especially with the tunes that went along with them. They believed dance in general is never full without the presence of a form of music to go along with it, thus, they go side-by-side.We can relate dance as a language from the perspective of Roland Barthes who describes language as a system of signs that expresses ideas, and is therefore comparable to a system of writing, the alphabet of desensitize mutes, symbolic rites, polite formulas, military signals, etc. He calls this semiology. Azonto is a communicative dance which is full of signs and symbols, and involves a lot of communication between the dancers and the audience. Barthes states that signs and codes are meant to be historically and culturally specific. If you relate this Barthes concept of sign, and the concept of semiology to dance, you will realise that dance is not a universal language. That there are hidden signs which must be understood in order for a spectator to fully understand a particular dance movement. Azonto as a dance has its origin from some indigenous Ghanaian dances like Kpanlogo (a traditional dance of the Gas) and Gawu dance (an adopted dance of the Ewes). Though the Azonto dance is more of a fusion of other contemporary dance elements, it still has its roots from very indigenous dances from the Ghanaian culture. All these traditional dances involve symbols and signs made by the dancers.Roland Barthes goes on further to argue that material truth can never be taken for granted. It is always constructed and made unequivocal to human understanding by culturally specific systems of meaning. These codes and signs are not universally given, but are historically and socially specific to the particular interests and purposes which lie behind them. Azonto as a contemporary dance involves a lot of movements and communication through the use of gestures and hand signs. For instance, a dancer could be making dance movements and at the same time nerve-wracking to draw the shape of a heart with his/her fingers. This shape could be translated into several meanings depending on the background or culture of the observer. One could just view it as a shape of a heart whiles another would go steady it as a sign of love or a way of telling the observer that he/she has a kind heart. So we construct that a sign or symbol may not have the same meaning to the observer upon seeing it. Fernando de Saussure argues that it is not come-at-able to understand individual linguistic signs in a piecemeal, ad hoc or empiricist fashion. He goes on further to say that they have, rather, to be explained by presentation how they fit together as arbitrary signs in an internally arranged system or construction of rules and conventions. These signs cease to be arbitrary and become meaningful once they are located within the general structure of the language. Barthes notes that any semiology postulates a relation between two terms, a chassis and a signified a distinction elaborated by Saussure. There is also another term in this, the sign itself (be it linguistic or mythological), which contains the signifier and the signified, in the case of the actions and gestures made by the dancer and the observer who would be in the position to interpret these actions.Strinati (2004 224) stated that the rise of modern mass communications, and the associated proliferation of popular media culture, therefore become central to the explanatory exemplar of postmodern theory. What is inferred from this is that the mass media have become so significant for communication and information flows within and between modern societies (and consequently the popular culture they broadcast and promote increasingly defines and channels eitherday life in these so cieties) that they, along with consumerism, have given rise to the characteristic features of postmodernism. We see to itd that the approaching of television and other tools communication tools like the radio has been aiding tools for the popularization of this particular kind of dance. Most of the students either had first contact with the Azonto dance via earnings on YouTube, or on television and/or musical videos. We realize that the advent of engine room has cooperateed in the sensation and advertisement of this kind of dance across the continent and beyond. This is a reflection of modernity and post modernity in our current cultural set ups. Since the Azonto dance is originally from Ghana, technology has played a very important role in the awareness and public knowledge of this dance. Most individuals across the world heard or saw this dance through mediums like the internet and television. A lot of these enthusiasts take ont their basic steps through these same channel s without going to the dances place of origin.Roland Barthes goes on further to say that meaning is not something which is given or which can be taken for granted. It is manufactured out of historically transformation systems of codes, conventions and signs. We realized that the various dance symbols associated to Azonto had its origin from other indigenous dances. This clean dance has metamorphosized into a dance where by the dancer can express him/herself freely with personal gestures. Its a dance which has no particular simulate with the exception of fusing some basic dance steps to distinguish it from other emerging dances. Strinati (2004 101) stated that cultural meanings are not universal, nor are they disjoint from the social conditions in which they are to be found. Rather, they present themselves as universal when they are really historically and socially fixed.ConclusionDance, in general, reflect the way of life of a group of people. It is an essential part of culture. It could verbalize a message through its gestures as well as it being a medium of communication. More recently, there has been an influx of different dancing styles and patterns which are contemporary forms of ancient and traditional dances from all over the world. The ravisher of it all is how individuals embrace these various dance patterns into their own way of dance movements. Africa is the second largest continent in the world and it has a very large number of people who also reflects its pure culture and heritage. Among such traditions of the people on this continent is the uniqueness of every tribe or ethnic groupings own practices. Dancing has been a way of life for almost all these cultures and it is part and parcel of these people.Azonto dance from Ghana is no exception in this context. The dance is quite new and its spreading like wild fervor on the world stage where this dance is gaining popularity every minute with the economic aid of the internet especially on You Tube. It has become one of the biggest things to come out of Ghana in which most music lovers and dance enthusiasts identify this inelegant with. It isnt shocking to find yourself nodding your head or tapping your feet to tunes of Azonto or dropping in love with the unique movements by its dancers. One easily falls in love with the dance upon seeing it. The dance is one of the easiest to learn and its so unique that you can incorporate your own movements to suit yourself. Azonto is an communicatory dance. This means you can tell a story, show your emotions and personalize it. So an individual doesnt have to be afraid to do crazy things with it. Even though you can do this dance with almost any nervous strain (well, except classical music), it helps the dancer a lot if he or she is dancing to a high-tempo up-beat like Afrobeat tunes, pop music or a typical Azonto tune.Dance can be used as a tool to get people closer and also can help in relating to people more easily because they office something common. They have something that can be easily identified with even though they may be coming from different backgrounds or settings. Therefore we dont have to speak the same language or come from the same place before we can get along with others, but tools like dance can be a very effective medium through which people can take away all barriers and make them feel as one because most of the actions of dance is universal and can make people share a common feeling or mentality.A world famed dancer, writer and scholar in the field of Dance and Black Studies by name Dr. Kariamu Welsh when asked about the future of Africa/Back dance and the committee she saw it moving in the future, she stated that Black Dance will take many directions. As a genre, it will continue to self reflect and redefine itself but it will remain an artistic and inventive force for many of us. Black Dance is ancient and it has many stories to tell. These stories will take the form of narrativ es, abstract works, improvisations, neo-traditional dances, slamming, jamming and other forms that have and to be imagined. The beauty of Black Dance is that it is a place where new and innovative movements are born. Those creative sparks influence many people and every once in a while they actually inspire a revolution (Glocke, 2011 263)