Draft:Agwara Dance
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Comment: This article looks great but I couldn't verify Wachsmann in a quick skim. Future reviewers should double-check the sources carefully. asilvering (talk) 20:05, 4 February 2024 (UTC)
Agwara Dance is a traditional dance of the Alur people, an ethnic group that inhabits parts of north-western Uganda and north-eastern Democratic Republic of Congo.[1][2] The dance is performed by both men and women, usually in large groups, accompanied by drums, flutes, and horns. The dance is characterized by vigorous movements of the arms, legs, and torso, as well as rhythmic clapping and singing.[3][4][5][6]
History[edit]
The Agwara Dance is said to have originated from the Luo people, the ancestors of the Alur, who migrated from South Sudan to Uganda and the Democratic Republic of Congo in the 16th century.[7][8][9] The dance was initially a form of communication and entertainment among the Luo warriors, who used it to celebrate their victories, mourn their losses, and send messages to their allies and enemies. The dance was also used to mark important occasions such as weddings, funerals, and initiation ceremonies.[5][10]
The Agwara Dance evolved over time as the Alur interacted with other neighboring ethnic groups, such as the Acholi, the Madi, and the Lugbara. The dance incorporated elements from these cultures, such as the use of horns and flutes, and the variation of the drum beats and the dance steps.[11][12]
Performance[edit]
The Agwara Dance is usually performed in open spaces, such as fields, courtyards, or stadiums, where the dancers can form circles or lines. The dance is led by a master of ceremony (MC), who coordinates the drummers, the singers, and the dancers. The MC also introduces the dance, explains its meaning and significance, and engages the audience with jokes and stories.[3] The dance has seven pitch levels, and the dancers follow the rhythm dancing in linear or circular movements characterized by leg and waist movements.[6]
The dance begins with a slow tempo, as the drummers play a steady beat and the singers chant a call-and-response song. The dancers then enter the stage, one by one or in groups, and join the circle or the line. The dancers wear colorful costumes, such as skirts, shirts, hats, and beads, that reflect their identity and role in the dance. The dancers also carry props, such as spears, shields, sticks, or umbrellas, that symbolize their status and function in the dance.[13]
The dance gradually increases in speed and intensity, as the drummers vary the rhythm and the pitch of the drums, and the singers change the lyrics and the tone of the song. The dancers also change their movements and formations, as they move in and out of the circle or the line, and form smaller groups or pairs. The dancers display their skills and creativity, as they improvise new steps and gestures, and interact with each other and the audience.[14]
The dance reaches its climax, as the drummers play a fast and loud beat, and the singers shout a chorus or a refrain. The dancers then perform their final and most spectacular moves, such as jumping, spinning, kicking, or balancing. The dance ends with a loud applause from the audience, and a bow or a salute from the dancers.[14]
Significance[edit]
The Agwara Dance is more than just a form of entertainment; it is also a means of cultural expression and social cohesion for the Alur people. The dance reflects the history, the values, and the identity of the Alur, as it showcases their origin, their traditions, and their diversity. The dance also fosters a sense of belonging, solidarity, and pride among the Alur, as it brings them together, across generations, genders, and regions, to celebrate their culture and their community.[15]
The Agwara Dance is also a way of educating and empowering the Alur people, especially the youth. The dance teaches the young Alur about their heritage, their language, and their customs, as well as their rights, their responsibilities, and their aspirations. The dance also inspires the young Alur to preserve and promote their culture, as well as to participate and contribute to the development of their society.[4]
The Agwara Dance is not only a source of joy and pride for the Alur people, but also a cultural treasure for Uganda and the world. The dance showcases the richness, the diversity, and the beauty of the Ugandan culture, as well as the resilience, the creativity, and the spirit of the Ugandan people. The dance also contributes to the cultural exchange, the mutual understanding, and the peace among different peoples and nations.[3][16]
References[edit]
- ^ Shiroya, Okete J.E. (1982). "ALUR CULTURE AND SOCIETY c1650-1850". Journal of Eastern African Research & Development. 12: 13–20. ISSN 0251-0405. JSTOR 24325710.
- ^ "Alur". Uganda Info. 2013-06-15. Retrieved 2024-01-09.
- ^ a b c Wachsmann, K. P. (1953). "Musicology in Uganda". The Journal of the Royal Anthropological Institute of Great Britain and Ireland. 83 (1): 50–57. doi:10.2307/2844153. ISSN 0307-3114. JSTOR 2844153.
- ^ a b Mabingo, Alfdaniels (2019-01-18). "Dancing with the "Other:" Experiential and Reflective Learning of African Neo-Traditional Dances Through Dance Education Study Abroad Programs". International Journal of Education & the Arts. 20 (2). ISSN 1529-8094.
- ^ a b Isabirye, James (April 2019). Sustainability of the Bigwala musical heritage of Busoga kingdom, in Uganda (Thesis thesis). Kyambogo University (un published work).
- ^ a b "Celebrating the wealth of ethnicity". Monitor. 2021-01-05. Retrieved 2024-01-09.
- ^ "The 'encyclopaedia' of Alur leaves unforgotten legacy". Monitor. 2021-01-09. Retrieved 2024-01-09.
- ^ polly (2019-11-13). "Ethnic Groups in Uganda". Uganda Safaris. Retrieved 2024-01-09.
- ^ "Alur". 101 Last Tribes. Retrieved 2024-01-09.
- ^ Cooke, Peter (2015-09-01). "A Response to Sylvia Nannyonga-Tamusuza and Andrew N. Weintraub's "The Audible Future: Reimagining the Role of Sound Archives and Sound Repatriation in Uganda"". Ethnomusicology. 59 (3): 475–479. doi:10.5406/ethnomusicology.59.3.0475. ISSN 0014-1836.
- ^ "House of Talent celebrate Uganda in dance". Monitor. 2021-01-04. Retrieved 2024-01-09.
- ^ Pier, David G. (2015), Pier, David G. (ed.), "Beyond the Senator Extravaganza: Marketing Ugandan Music to International Not-for-Profits", Ugandan Music in the Marketing Era: The Branded Arena, New York: Palgrave Macmillan US, pp. 139–170, doi:10.1057/9781137546975_7, ISBN 978-1-137-54697-5, retrieved 2024-01-09
- ^ "Nkwanzi performers touch the spirit of African rhythm". New Vision. Retrieved 2024-01-09.
- ^ a b Oneka, Dennis (2011-05-06). "Agwara dance".
- ^ "Background on the Music of Northern Uganda | Singing Wells". 2012-10-29. Retrieved 2024-01-09.
- ^ Wachsmann, K. P. (January 1954). "The Transplantation of Folk Music from One Social Environment to Another". Journal of the International Folk Music Council. 6: 41–45. doi:10.2307/835207. ISSN 0950-7922. JSTOR 835207.