Harmony in Motion: Tracing the Evolution and Cultural Exchange of Afro-Cuban and Palestinian Folk Dances Through Time

Abstract

Dance tradition amongst most cultures is presented as knowledge, expression, language, art, and history that cannot be lived without. Some cultures choose to keep their ancient dance traditions private while others share their dances with the public in hopes that it gains popularity and support within non-Indigenous communities. Within this thesis, there will be a breakdown of the research in a comparison and analyzation of dance within two cultures: Afro-Cuba and Palestine. When assessing these communities’ dances, attention is focused on how these different cultural groups teach, share, or preserve their dance traditions. One must also note that these cultural dances are contemporizing with time. Therefore, it is important to include how these folkloric dances have adapted and are shown in concert dance, media, and more. The folkloric tradition of Afro-Cuban dance is rich. Within the Afro-Cuban culture there is almost always a reason to dance: health, weather, a new baby on the way, protection, etc. The dances in the Afro-Cuban culture are heavily based on Lucumí a Yoruba religion. This popular African religion was brought to Cuba by enslaved West Africans. Those who are initiated into the Yoruba religion view the liveliness of God existing through separate entities called “orishas”. Like Greek mythology, each of these orishas has their own duty or area of protection, form of expression, color, animal association, and movement quality. Therefore, dancers use their bodies to imitate all the characteristics and power of whichever orisha they choose. Chants and music have a crucial role in the dancer’s movement choices, as the sound score can determine pace, texture, and character. Afro-Cuban dance, music, and song continue to be spread and utilized outside of Cuba through different cultural lenses, media adaptations, and more. Palestine is popular for its “Dabke”, a dance that combines circle and line dancing. Dabke is performed at large events and occasions, usually for celebratory and joyful purposes. For example, the Dabke is almost always performed at wedding receptions. Dabke focuses on unity and rhythm, as dancers intertwine arms and stomp in an impromptu line or circle. The dancers will sing while live music is played to support them. Like Afro-Cuban folkloric dances, much of the history of the Dabke remains unknown. The Palestinian Dabke stands out the most compared to other Middle Eastern Dabke’s, as Palestinians actively use the dance as a form of art activism. They use the Dabke, a dance full of love and community, to showcase pride in their national identity. The love of dance that many cultures have invested in since the beginning of time must be shared, researched, and discussed by people outside of that culture. My research will add to a field that is extremely underrepresented in academia, as most scholarly reports on fine arts are about visual media, art, or music and tend to ignore the category of dance, especially dance that is not rooted as ‘fine art’ such as western dance. This report will shed light onto some cultural dance forms that are underrepresented and will explore the beauty of their culture through their ancient teachings, preservation, and adaptations.