Musc 351 - 17-08-17: Dance
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TobyChadwickMusc 351 - 17-08-17: Dance
Uploaded by
TobyChadwickMusc 351 – 17-08-17
Dance:
1) Hawai’i
Styles: Kahiko and ‘auana
Hula, a traditional dance firstly oppressed then brought back due to the growing tourism. Hollywood
embraced the sexualised content and used it as a tool. (the grass skirts is an exoticism brought on by
Hollywood. Also tiki culture (Hawaiian shirts etc))
Hula categories by instruments
Hula pa ipu
Hula pahu
Spiritual Contexts Laka (goddess of hula)
2) Tonga
Faiva faka-Tonga, ta’anga (poetry), hiva (song) and haka (dance)
Lakalaka
The lakalaka is supposed to have evolved from school children learning mathematics
Lakalaka Said to be the national/main dance of Tonga in context (traditional). It is a large group
dance. The Term (walking briskly). The dance was an invention by Tongans in the 19th century after
the European settlers. There is a focus on the upper body display. Lakalaka is one of the few or only
traditional dance of intangible heritage of Tonga.
It is the Ideal dance in Tonga for celebrations. It is associated with the royal line of Tonga
It is the product of a particular royal line, not associated with Catholic line (somewhat political
elements for the royal blood line).
_from watching video in class – Quote from man speaking “I believe we used to sing in minor, when
the European settlers came in, they affected change by majorizing everything)
Structure: Introduction (recognising royality, chiefs and Christian god,)
fakatapu, lakalaka tempo speeds up, tatau (ending recognising same as above)
(four basic positions for the dance structure) Positions: vahenga, ta’ofi vahenga,
malie taha, fakapotu, heliaki
How the space is used shows different social positions (political). i.e. people in the
middle, the chiefs or most important (rank) Vahenga. Fakapotu second high ranking
on the outsides. ta’ofi vahenga second row 3rd rank. malie taha (best performer
regardless of chiefly line.
This dance is very much a representation of the chiefly line/ reflects the society
3) Samoa
Siva Samoa
Ma ‘ulu ‘ulu
Fa ‘ataupati
Sasa
Taualuga (taupou, ‘aiuli) (with a solo performer and small group)
Used to be tabu to perform it (male -) (it is supposed to be a female dance) –
importance of using gender for political statements with dance ad these traditional
dances.
4) Tahiti
Ote ‘a
‘ori Tahiti
General term for traditional dance.
aparima
Issues
Movements, Genre
Dance as Power, Embodied Society
Political Status, Religious Affiliation
Gender, Age
Cultural Heritage
Transmission