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Dances are facilitated by a dance leader who often plays a drum, guitar, flute or other stringed instrument. For lyrics, dances borrow inspirational poetry, quotes and chants which are sung as the dance is performed. [4] Chants are often sacred phrases put to traditional, contemporary, or occasionally improvised melodies.
The Moko Jumbie embodies more than just entertainment; it serves as a powerful symbol of spiritual protection and cultural heritage. The Orisha , Moko, comes from the various African cultures such as the Kongo (or Congo) and Nigeria , and from the Maasai people .
47. “Remember to look up at the stars and not down at your feet. Try to make sense of what you see and wonder about what makes the universe exist.” —Stephen Hawking 48.
This included Netotiliztli, which had symbolic, spiritual choreography. Netotiliztli, which loosely translates to "expressed by dance," was a communicative dance of worship and rejoice practiced by the Mexica. [6] It was performed by dancers, who could be any member of society, as all members of Nahua society were educated in song and dance.
2. "Dancers are made, not born." –Mikhail Baryshnikov 3. "The body says what the words cannot." –Martha Graham 4. "To be fond of dancing was a certain step towards falling in love."
The Balinese Sacred Dance Sanghyang Dedari involves girls being possessed by hyang, Bali, Indonesia. The theologian W. O. E. Oesterley proposed in 1923 that sacred dance had several purposes, the most important being to honour supernatural powers; the other purposes were to "show off" before the powers; to unite the dancer with a supernatural power, as in the dances for the Greek goddesses ...
In all their forms of Indian classical dance, the mudras are similar, though the names and uses vary. There are 28 (or 32) root mudras in Bharatanatyam , 24 in Kathakali and 20 in Odissi . These root mudras are combined in different ways, like one hand, two hands, arm movements, body and facial expressions.
The ecstatic Kouretes dancing around the infant Zeus, depicted by Jane Ellen Harrison, 1912. Little is known directly of ecstatic dance in ancient times. However, Greek mythology does have several stories of the Maenads; the maenads were intoxicated female worshippers of the Greek god of wine, Dionysus, known for their "ecstatic revelations and frenzied dancing".