Tribal dance

A tribal society is essentially a self-contained system. While it may possess sophisticated

cultural and social structures, its technological and economic structures are generally primitive.
Consequently, by the late 20th century such societies had become increasingly rare, and many
tribal dances had either died or become transformed.
Some tribal dances have been preserved, however, even in cases where tribes have been
absorbed into other social structures, as a means of preserving cultural identity and a sense of
historical continuity. This is quite common in many African states. A frequently cited case is that
of King Sobhuza II, the Ngwenyama (“Lion”) of Swaziland, who in 1966 joined his people in a
six-day Incwala, or ritual ceremony. Dressed in animal skins and elaborate plumage, Sobhuza
performed dances that would ensure the renewal of the land, the king, and the people.
South African performing a tribal dance in a traditional animal skin costume with elaborate
plumage during a ceremonial gathering of regional bands.
South African performing a tribal dance in a traditional animal skin costume with elaborate
plumage during a ceremonial gathering of regional bands.

U. Bagel/ZEFA
In extant tribal societies, such as the Hopi Indians of northeastern Arizona, dance retains most
of its traditional form and significance. The Hopi still dance as a form of worship, with specific
dances for different ceremonies. Such dances, however, as in any other tradition, have
undergone inevitable change and development throughout history, and they cannot be used as
accurate evidence of what the tribal dances of early man were like. Generalizing about tribal
dance is made difficult not only by the lack of evidence concerning its origins and the rapid
dying of extant forms but also by the fact that the term tribal covers so many different kinds of
dance. Tribal dances not only vary from one tribe to another but also fall into many different
categories, such as weapon dances, fertility dances, Sun- and Moon-worshipping dances,
initiation dances, war dances, and hunting dances.
The following are two examples of tribal dance that survived into the 20th century. The
musicologist Curt Sachs quoted a description of the fertility dance of the Cobéua Indians
of Brazil:
The dancers have large [artificial] phalli…which they hold close to their bodies with both hands.
Stamping with the right foot and singing, they dance…with the upper parts of their bodies bent
forwards. Suddenly they jump wildly along with violent coitus motions and loud groans.…Thus
they carry the fertility into every corner of the houses…; they jump among the women, young
and old, who disperse shrieking and laughing; they knock the phalli one against another.
Joan Lawson described the tree-worship dance performed both in Australia and up the Amazon
River:
A solemn circling of the tree is followed by an ecstatic raising of the head and hands to the
branches, leaves, and fruit. Hands are then gradually run down the trunk and finally the men
kneel or lie grovelling at the roots. They hope that by so doing the strength of the tree will enter
into them.
An interesting parallel with tribal dances may be found in the break-dancing and “body-popping”
craze that swept the United States and Britain in the 1980s. While the dancers clearly were not
members of a tribe in any strict sense, they were often members of a distinct group or crew that
had its own style and identity. These crews were part of a larger group of young people, again
with its own style and customs, that could be differentiated from other groups such as punks or
skinheads. The two dance forms were characterized by an energetic spinning action, whereby
the dancer propelled himself around on his neck, head, or shoulders and by small, jerky
movements of the joints that traveled in a wave through his body. Rival crews often competed
with one another in the street, showing off the skill and ingenuity of their moves.

Filipino Tribal Dance includes the repertory of sacred and secular traditional dances of the
Philippines, notable for its combination of grace and vigor. In the southern regions, the tribes of
Mindanao create dances that directly reflect their rich natural environment. Dancers imitate the
graceful movements of birds, fish and boats, celebrate fertility in vigorous movements to the
accompaniment of resonant drumming or gongs, and welcome visitors in delicate swaying
dances using fans and scarves. Other dances include the unique blend of Spanish, Arabic,
American and other cultures that have influenced traditional and contemporary styles.

Tribal Dance
The music of the Native Americans was very important to each culture, with various ceremonies
and dances passed down from generation to generation. The dance and music is said to come
from deities and spirits, or from individuals in the tribes that were very highly respected. Dances
performed by the Native Americans represented many things- stories, war, and family, to name
a few. Each dance was symbolized by specific costumes and music. Men and women usually
had specific roles that they would play in a lot of the various tribal dances. However, there are
dances that men and women would dance together. Each tribe would have their own tribal
dances, each with their own meanings.
There are many tribal dances that were performed for various reasons. The Banobo dance,
performed from the Higaonon tribe, used this tribal dance in the hopes of a good planting and
harvesting cycle of rice. The Dandiya dance, performed by the tribe Gujarat, is a tribal dance
done with the use of sticks. Each dancer holds two sticks, and strikes them to the left and to the
right as the whole group dances. Some dances were performed in the hopes of rain or for a
great crop, or for a wedding to wish luck on the new bride and groom.

Geocities Indian folk and tribal dances

Dance Forms Information on tribal dances

Tribal Dance Tribal dance

The belly dance is one of the most common tribal dances known today. It combines the Middle
Eastern dances with many ethnic movements, such as classical Native American dances. Belly
dancing is a form of dancing reserved for women, and consists of a flamboyant costume made
from tribal jewelry, adornments, beads and bright clothing. Tribal dancers use their hip and
stomach muscles throughout the dance, and perform a fast and complex series of movements.
Belly dancing is one of the more intricate and difficult dances, and is also thought to be the most
sexual.

Belly Dance History of the belly dance

Tribal dances are usually simple, and many times performed simply out of happiness and joy.
They may simply celebrate a new birth or wedding. Many of the dances are simple, involving
very few steps. Tribal dances continue to be a simple way to express happiness, and to have
fun.
Mindanao, the Philippines' southernmost island, is the country's cultural melting pot. It houses
influences from Spain, China, Indonesia, and the Middle East. Although Mindanao carries a
strong flavor from other lands, there are people who have lived there before it became a
breeding ground of foreign trade. Tribes such as the T'boli, Bilaan, Manobo, Bagobo, and other
groups inhabit the vast regions of Mindanao.
Like their Northern Luzon counterparts, these groups honor pagan gods for the fruits and trials
of daily life. What distinguishes them from other tribes in the Philippines is their intricate
craftsmanship in metal, clothing, and jewelry. These tribes pride themselves in their concept of
beauty and are known for creating colorful sets of jewelry and clothing out of dyed pineapple
and banana fibers with are showcased in their traditional dances.

Malakas at Maganda
(a national folklore) Cradled amidst thick rain forest, shrouded with the mists of legend and
ancient traditions, one folklore has it that a weary bird perched on a large bamboo heard
strange noises inside. It pecked the bamboo, split open and from inside came the first man and
woman, Malakas the strong, Maganda the beautiful, the parents of all peoples of the island.

Kadal Blelah
Tribe: T'boli Origin: Lemlosnon, South Cotabato
Dancers perform a simulation of movement of birds.
Kadal Tahaw
Tribe: T'boli Origin: Lake Sebu, South Cotabato
A bird dance performed by the T'boli during planting and harvesting which simulates the flights
and hops of the tahaw bird.

Binaylan
Tribe: Higaonon Origin: Agusan
The Bagobo tribe from the central uplands of Mindanao originated this dance which imitates the
movement of a hen, her banog, or baby chicks, and a hawk. The hawk is sacred, and it is
believed thatthe hawk has the power over the well-being of the tribe. The hawk tries to capture
one of the chicks and is killed by the hunters.

Bagobo Rice Cycle

This Bagobo tribal dance protrays the cycle of planting and harvesting of rice.

Dugso
Tribe: Talaindig Origin: Bukidnon
A dance of thanksgiving.

Seedling
The Seedling dance pays homage to the rich history of farming within the culture. Before the
start of this dance, take a round basket in your arms. A wicker or wooden basket best
represents the feel of the traditional dance.
Bend your knees as that represents climbing and descending.
Keeping your knees bent, step forward with one foot, then with the order. Go left and right as
you do this.
In a fluid motion, lift the basket to the left. Doing the same motion, lift the basket to the right.
Keep your steps alternating between stepping to your left and stepping to your right. When you
step to your left, coordinate the lifting of the basket to the left. When you step to the right, lift the
basket to the right. The fluidity of motion is key to doing the dance correctly.
Repeat step 3 multiple times - the length will depend on the music. You should appear to be
effortlessly carrying the basket.
Keeping your movement fluid, sit the basket down in front of you. Step to the left and step to the
right around it. Never stop moving. You may improvise in your dance around the basket.
Take the pretend "seeds" from the basket and make tossing movements as you would offer
them to Diwata, a dryad-like spirit in Philippine mythology.

Dugso, a Tribal Dance

While the majority of the Philippines' cultural dances are formed by adding the influences of
foreign groups to their own traditional dances, there are corners of the country where no foreign
influence has yet changed the traditional dances of the region. These areas are in the hills and
mountains of the country and dance is used as a form of worship, bringing a special and
significant meaning that goes beyond basic folk dance. Dugso is a stand-out among tribal
dances, and it is choreographed in portions to please and entertain the various tribes' gods and
deities.
Dinatag
As part of the Dugso, the Dinatag serves as the introduction to the dance. For the Dinatag,
dancers should join arms in a T-shaped position and movements should be as fluid as possible.
Brush your left foot backwards, then bring your left foot to meet your right foot.
Step to the left with your left foot, bringing your body sideways.
Brush your left foot backwards from your new position, then bring your left foot to meet your
right foot.
Step to the left again with your left foot, bringing your body sideways again, so you are now
turned around from your original position.
Step to your right, then tap your left foot to meet your right foot.
Step to your left in a sideways motion.
Step to your right again, then tap your left foot to meet your right foot.
Step to your left in a sideways motion.
Brush your right foot backward, then tap your right foot to meet your left foot.
Step to your right in a sideways motion.
Step your left foot across in front of your right foot.
Tap your right foot to meet your left movement, moving to the right.
Step your left foot behind you, across your right foot.
Step to the right sideways.
Step your left foot behind you again, across your right foot.
Step to the right sideways.
Repeat all steps 1 to 16.
The Itik-Itik
Have fun with this dance. The Itik-Itik is sometimes described as humans making the motions of
a duck, so feel free to improvise along with these basic steps.
Step to your left and raise your left arm up in a flowing motion.
Step to your right and raise your right arm up in a flowing motion.
Repeat steps 1 and 2 seven times.
Step forward and bring your hands into your chest, bending your elbows and making sure to
point your hands inward. Repeat seven times.
Step in a circle as you sway your arms to the right, then to the left.
Raise your arm and step hop to the left.
Raise your arm and step hop to the right.
Repeat steps 6 and 7 five times.
Sway to the right, then to the left. Repeat six times.
Repeat all steps three times.