Yvonne Daniel
- Published in print:
- 2011
- Published Online:
- April 2017
- ISBN:
- 9780252036538
- eISBN:
- 9780252093579
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252036538.003.0008
- Subject:
- Music, Dance
This chapter examines ferocious or combat dance in Circum-Caribbean history. It documents martial art forms and stick-fighting dances on the African continent and Diaspora combat dances that are ...
More
This chapter examines ferocious or combat dance in Circum-Caribbean history. It documents martial art forms and stick-fighting dances on the African continent and Diaspora combat dances that are similar to Brazilian capoeira and maculelê. It also proposes the inclusion of armed and unarmed combat rituals within Caribbean dance categories. The chapter begins with a discussion of the African legacies of ferocious dance, focusing on the importance of martial arts to the societies of colonial Angola and its connection to Caribbean combat dances, as well as the ways in which martial techniques were transported within enslaved bodies to parts of the African Diaspora. It then describes examples of Circum-Caribbean combat dance games, including ladja and danmyé in Martinique, juego de maní in Cuba, kalinda in Trinidad and Tobago, and tambú and kokomakaku in Curaçao. The chapter concludes with an assessment of lessons imparted by combat dance.Less
This chapter examines ferocious or combat dance in Circum-Caribbean history. It documents martial art forms and stick-fighting dances on the African continent and Diaspora combat dances that are similar to Brazilian capoeira and maculelê. It also proposes the inclusion of armed and unarmed combat rituals within Caribbean dance categories. The chapter begins with a discussion of the African legacies of ferocious dance, focusing on the importance of martial arts to the societies of colonial Angola and its connection to Caribbean combat dances, as well as the ways in which martial techniques were transported within enslaved bodies to parts of the African Diaspora. It then describes examples of Circum-Caribbean combat dance games, including ladja and danmyé in Martinique, juego de maní in Cuba, kalinda in Trinidad and Tobago, and tambú and kokomakaku in Curaçao. The chapter concludes with an assessment of lessons imparted by combat dance.
Yvonne Daniel
- Published in print:
- 2011
- Published Online:
- April 2017
- ISBN:
- 9780252036538
- eISBN:
- 9780252093579
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252036538.001.0001
- Subject:
- Music, Dance
This book provides a sweeping cultural and historical examination of Diaspora dance genres. The book investigates social dances brought to the islands by Europeans and Africans, including quadrilles ...
More
This book provides a sweeping cultural and historical examination of Diaspora dance genres. The book investigates social dances brought to the islands by Europeans and Africans, including quadrilles and drum/dances as well as popular dances that followed, such as Carnival parading, Pan-Caribbean danzas, rumba, merengue, mambo, reggae, and zouk. The book reviews sacred dance and closely documents combat dances, such as Martinican ladja, Trinidadian kalinda, and Cuban juego de maní. In drawing on scores of performers and consultants from the region as well as on the author's own professional dance experience and acumen, the book adeptly places Caribbean dance in the context of cultural and economic globalization, connecting local practices to transnational and global processes and emphasizing the important role of dance in critical regional tourism. Throughout, the book reveals impromptu and long-lasting Diaspora communities of participating dancers and musicians.Less
This book provides a sweeping cultural and historical examination of Diaspora dance genres. The book investigates social dances brought to the islands by Europeans and Africans, including quadrilles and drum/dances as well as popular dances that followed, such as Carnival parading, Pan-Caribbean danzas, rumba, merengue, mambo, reggae, and zouk. The book reviews sacred dance and closely documents combat dances, such as Martinican ladja, Trinidadian kalinda, and Cuban juego de maní. In drawing on scores of performers and consultants from the region as well as on the author's own professional dance experience and acumen, the book adeptly places Caribbean dance in the context of cultural and economic globalization, connecting local practices to transnational and global processes and emphasizing the important role of dance in critical regional tourism. Throughout, the book reveals impromptu and long-lasting Diaspora communities of participating dancers and musicians.
