By Theresa Jill Buckland
This groundbreaking assortment combines ethnographic and old recommendations to bare how dance performs the most important cultural roles in quite a few areas of the realm, together with Tonga, Java, Bosnia-Herzegovina, New Mexico, India, Korea, Macedonia, and England. The essays discover a stability among prior and current and consider how dance and physically practices are middle identification and cultural creators. attaining past the commonly Eurocentric view of dance, Dancing from earlier to offer opens a global of dialogue over the position dance performs in forming and expressing cultural identities all over the world.
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Additional info for Dancing from Past to Present: Nation, Culture, Identities (Studies in Dance History)
Without such personal involvement, my description of this third moment would only have been as incomplete as the above descriptions of the first and second moments. To experience a k¯atoanga is to be transported back in time to the rituals associated with propitiation of the descendant of the sky god Tangaloa, the sacred Tu‘i Tonga, or supreme ruler, whose function was to see to the continued fertility of the land and people. Continued fertility necessitated the offering of “first fruits” during an annual presentation of large quantities of kava, staple root crops, pigs, other foods, women’s valuables (koloa) of mats and barkcloth, as well as music and dance performances.
25 The bestowing of titles was (and remains) an important event. Investiture of titles takes place during a ritual in which kava is mixed and served with great ceremony. ”26 All of the niceties and etiquette continue today. In the court of the Tu‘i Kanokupolu, of which King T¯aufa‘¯ahau Tupou IV is the twentysecond ruler, food and valuables are presented and counted in a most ceremonious manner, and the final offering is a music and/or dance performance—the most highly regarded are lakalaka.
It is said that this competition was won by Fuapau of the northern island of Vava‘u. The composers/choreographers (punake) of the time were familiar primarily with the me‘elaufola described above and other traditional dances such as me‘utu‘upaki (a men’s standing dance performed with small paddles) and fa‘ahiula (a women’s dance with complex arm movements), and they essentially transformed remnants of the old dance forms into a “new dance” that became known as lakalaka. Chief Tuku‘aho worked in conjunction with a punake from his own village, Fineasi Malukava, to further develop the lakalaka and train the performers.