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Author: Eduardo A. Zamora Martínez En las sociedades

tradicional los conocimientos africanas is transmiten oralmente, the cult of "word" made it a key vector of transmission and contact throughout the continent. Since ancient times, Africans have been displaced by the world, bringing with them their knowledge, their origins, their techniques, their beliefs, their traditions, their different dialects, their morale, the secrets of nature and the universe.

The "Griots" have a plethora of knowledge, endowed with an extraordinary memory are responsible for preserving the tradition and propagators of it. They also became negotiators, mediators, conflict ambassadors, musicians, poets, historians, world travelers, etc.., Play a considerable role in the circulation of ideas, these speakers are the witness unifier of men. YESCO

Hampaté BA (1899-1991) "The Griots are the active agents of the talk, Teachers of the Word, have two languages in their mouths."

oral transmission for the African peoples, is pure and free education for all encompassing morality, philosophy, mathematics, geometry, history, genealogy, customs and all that human knowledge is called cultural opinion and worship.

The dances are part of the teaching of knowledge. The lessons are given by the great pioneers, the masters. Lessons go through the initiation, learning, development, repetition, control "to a hard school of life."

are divided into three cycles in human life:

to 7 years the child is a home school where the principal teacher is his mother.
After 7 years, subject to initiations by region, district or village to which it belongs. Later
cycles of 21 years to 42 years: The individual and reinforces their knowledge and at age 42 will be "a grown man." He has the right to speak and become a man should be taught in turn, transmit this knowledge back to benefit.
After 63 years the man is retired, you can not demand anything. Just be prepared to go to death with all his knowledge. YESCO

Hampaté BA (1899-1991) "When an elder dies, a library disappears."
African Dance and the Western World.

An indisputable fact is that the dances in Africa are not exported in their original forms in Western countries, for some it is a lack of respect for their culture, and moreover is seen as a sociocultural phenomenon evolving artistic and it depends on the approach to address this issue. It is difficult to delimit the dance in Africa, covering only a plurality of meaning, a variety of concepts and a variety of meanings. Unable to unify all the currents of this art and make them into a mold, but you can try to find a common denominator for purposes of expression. The dance of African expression strives to give men the great reconciliation of the head and body, thought and instinct, for the liberation of expression and neglect the monotonous rhythm. In other words, is an approach that leads man to meet his body, even at the most depths of his being, to discover their latent qualities, the expansion of his personality, both physically, intellectually, social, therapeutic and spiritual. A - beyond about learning a technique, a mechanical dance is characterized as a state of mind, is a dance that requires a true physical investment, an initiation that leads to self-knowledge.
Those who practice it, feel changes in their bodies, their functioning and balance, is placed in communication with the natural elements (fire, air, soil, water). As every body is a readily understandable language, universal. When sensitized with African dance, the person picks up his powerful energy, your strength, its sap, the lifeblood that allows to exceed it.

Sources:
- Castañer Balcells, Marta (2000). Body language and dance, Ed INDE, Zaragoza, Spain.
- Zamora, Eduardo (2006) "Dance, African percussion and body expression in subjects aged 17 and 18" Thesis work

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oral Reflections on Contemporary Dance From an anthropological perspective. Bounce

The dance is accompanied by the execution of movements with the body, arms and legs .

By: America Larraín / Anthropologist U. Colombia National Student / Master of Social Anthropology / U. Federal de Santa Catarina, Brazil

When we think contemporary dance is hard to find a definition that encompasses the vast range of technical possibilities, aesthetic, intentions and music that can be found in a work of this kind.

In fact, for the dancers themselves sometimes is hard to explain what it is your job to people who have partial or total ignorance about this genre of dance.

However, that does not mean that contemporary dance does not have a foundation or a story, in fact it is one of the results of the recent and rapid processing of intent and aesthetics experience of the last century, that account for historical changes: social, political and economic factors that have framed the production we now call contemporary art.

The origins of contemporary dance us back to a time of social upheaval in which an artistic proposal revealed in anti-establishment: the rigidity of classical ballet. Points are removed women, inhibitions movement, seeks to be consistent with the social reality of the time. He joined the theater, while the eastern body techniques, in a way "goes to the roots" but with a modern focus and objective: to claim the body and expressive dance through personal research.

is difficult to determine when the modern dance movement gives rise to contemporary dance, but it seems the intention was to change the basis of this transition. In addition to the wide dissemination of this genre with the tours made by U.S. companies, from the 1970, announcing the new style around the world.

In recent years, contemporary dance has been very open to using different languages in which it is common the coexistence of classical, modern and the contemporary. It has also absorbed early movement of other body practices such as martial arts, Eastern theatrical techniques, the popular and folk dance from various world cultures, among others.

There is no identifiable common thread or a direct relationship between the various forms of contemporary dance and its performers. The element that I think the league and allows them to be classified as such, is the fact finding different aesthetic languages of movement or drawing on elements of cultural traditions and share a common historical origin: come from an initiative transgression patterns arising in the case of dance through the modern movement.

Bella's Camera In New Moon

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Dance ... here I ... I found something that is very similar to me. When I dance, I feel that I fly, I am full of life, is like dancing on clouds ... and it seems actually very dreamer but when something seems agraderte, there is no other feeling than idealization.

I do not know how it happened, perhaps this concern was awakened by a person who could have loved you with all that intensity of love that dwells within my soul for some time. In short, I started with modern dance and I turned to love, those stretches, jumps, turns ... whole body language that anyone fall in love. Experiment, experiment and more of these artistic experiments in the human body ... confusing and at the same time clear and precise, I showed that side-transparent so little I used to have, and so far I'm learning to be transparant, to stop being afraid of who I am, to show that every millimeter of my body, there is a little spark of life. Then I learned to fly aerial dance, a wonderful experience, it made me feel at some point, which could be those stars with which always dreaming. Knowing that you can dance between fabrics from above, is truly amazing, the soft feel of these fine fabrics at times makes me feel that they embraced, as if penetrated my skin and started to own myself, never thought making moves do. I was amazed and a bit shocked to know and realize that I had made those moves so unusual to me, that I was able to dance on canvas, and I really felt that what I am, born at last. Shortly after I learned about African dance, the movements are much more expressive, clear every type of dance is expressed in different ways, "but the African, in my opinion, is not only a dance, but all a culture, a life story. I soaked a piece of that culture and I keep looking to see what else this is all about. I feel full and if you just knew this morning, he must have felt my walking, my dance, and everything that surrounds my body language ...

love to know that I love dancing, although I still have far to go, learn and experiment. Keep looking until you find that my body just danced, and I follow his footsteps. I will continue with this until I ceased to be, because that's what I chose and that's what makes a bit of concern such body ...