ABSTRACT
Contemporary Nigerian dances are as diversified as the
culture from which they emerge. This project is an exploration of the use of
semiotics in contemporary Nigerian dance. Contemporary Nigerian dance is deeply
rooted in the semiology of images because it is not merely an agglutination of
symbols, but symbols contained in the language content of any given society.
The place of semiotics in this instance dance, becomes an expression of
linguistic pattern of a choreographed contemporary Nigerian dance. Semiotics
interpretation is a concept that would help in the understanding of
meaning-making inherent in activity. Semiotics involves the interpretation of
signs, a study of how meaning is derived from both simple and complex knowledge
of images, sounds, words gestures and objects. “The place of semiotics in
contemporary Nigerian Dance” is thus, aimed at educating choreographers and
dance scholars on how semiotics can aid the understanding of a dance through
the appropriate channel of interpretation. It is a conscious call to the
realization of the role of semiotics in understanding life, where culture codes
form a basis of communication. This project has been able to establish an
understanding of the way semiotics operates as an interpretive connecting rod
between thought, ideas and impressions.
CHAPTER ONE
1.1 Introduction
and Background to the Study
Dance is an
ageless art from the history of creation. Dance made its debut into the theatre
as embellishment for formal drama, opera and musicals. Dance is a primordial
art which was used in rituals, hunting, communication, mock-fight, war,
festival and initiation. According to Sarrel. “The dance of primitive societies
is always serious because it is religious in a self expressive and
communication sense” (7).
In every
work of art, especially, dance, what makes it more effective is its ability to
follow a particular rhythm. So the rhythmic nature of African dance or any
other culture is ever-green in the minds of its people. Dance in every
community is appreciated, because of its aesthetic appeal as well as its religious
and sacred significance. According to Ejike;
Sacred dance is the only
effective means of communication between the ancestral spirit and the living
and also the easiest way to awaken them from slumber, especially with the
ageless movement accompanied with the Iroko drums. (4)
Dance as an
art uses non-verbal forms to communicate with its audiences. The non-verbal
form always comes in form of gestures, movement and mine. In non-verbal
communication rhythm and movement are important. The rhythm in every dance in
Africa tells us the situation of event at a particular time. Dance rhythm in
Africa in not static, it changes. With the dancers movement, the difference
between ritual dance and social dance can be highlighted.
In ritual
dances, symbols, metaphors, music and sometimes silence may be used to
highlight the essence of worship and reverence for the presence of gods. Social
dances on the other hand are less serious in content and form. Although they
also have specific occasions in which they are performed. Some of these social
dances are purely celebrative in
nature. Dancers are free to add or subtract from the known movement to the
unknown movements, but the movements have to be creatively and aesthetically
beholding. This way the dancers are part of the religious worship to evoke and
worship the gods and goddesses who are the guiding fathers or mothers of
certain cults within any given society. Ritual dances are serious, for they
have specific movements, rhythm and pattern to the dances. Also the occasions
for performances are fixed by the chief priest of the gods after due
consultations and the reasons for the ritual dance must be relevant to the
community. Usually it is for burial of the dead, the evocation of the favor of
the gods, the ancestral deification of the dead to the world of the spirits, or
the cleansing of the society of the ills that hamper their progress. Some of
the ritual dances are accompanied by ritual sacrifices and songs. Dance
experience of a given society uses human body to produce action and passion in
the dance. Dance in the primordial era is used to highlight the experience of
the community at any point in time. This can be fully portrayed in the songs,
costumes and movements.
The
environment plays a vital role in the art of dancing. It has much influence on
the dance steps, songs, instruments, costume and make-up. Dance as an art
belongs to the community in which the culture is embodied based on how they
move their bodies majestically. Rhythm and movement are indispensable in
African dances. According to Primus;
“Dance in African context
translates every day experiences of Africans into movement” and therefore
concluded that dances in Africa is totally of African life.
(8)
Dance cannot
communicate effectively without the dancers. In African dances, the dancers are
the mediators between the dance leader and the audience. The dance leader in
African dance always emerges as a performer who showcases great artistic
tendency to make him a leader. Those qualities may be that of a good drummer, singer or a good dancer. He
directs dance movements on stage. His work can also be compared with that of a
choreographer in the modern theatre. The dance leader uses his body to pass the
effective message to the audience.
Dance is
always colorful and enjoyable when performed with the actual costume and
make-up which may suit the dance objective at that particular moment. With the
right costume and make-up, the audience will be able to appreciate and understand
the dance fully. But in a situation where there is no costume and make-up in a
dance performance that may not only be able to engender aesthetic appeal but
its interpretative discuss, then the dance may not be well appreciated.
Dance in the
modern theatre is not just a pastime engagement, it also boosts the economy of
both the dancers and their managers. Dance makes statements about the society
that owns it. Dance may have fast rhythm or slow rhythm depending on its
message. For instance in ceremonial occasions, the rhythm of the dance movement
is always slow, to signify the majestic nature of the ceremony at that
particular time. Rhythm of dance movement in modern theatre determines and
interprets the choreographer’s inmost ideology while creating the dance
movement.
The
movements in African dances are very communicative in nature. Movements in
dances vary, depending on the peoples culture. In every dance movement, its
rhythmic nature concentrates more on those parts of the body that serve as the
communication point. For instance, in Ohofia war dance, the rhythm is always
fast and the concentration is on the chest and shoulder. In Onitsha, for
instance, the occasional dance movement is always slow and same as the rhythm.
The movement depends on individual dances. African traditional dances can be
loosely classified into two major categories; ritual and social dances. The
origins of the dances are embedded in legends, and folklore. The description of
the myths or folklores formed the context of the dance
performance. Music and dance are regarded in most communities as gifts from the
gods, to allow man to survive and enjoy the mystery of life. Ritual dances are
deeply rooted in the religious sphere, and in most cases, the dancers are involved
in authentic spirit possession on initiation into esoteric religious societies
or cults to become members and dancers of the cults. Dance is an ephemeral art.
It is an art that takes shape at the moment of performance. Thus, as one of the
most direct artistic forms, dance affords its observers an immediacy of
perception unlike any of the other art forms.
The
realities are dictates of isolated realities, which mean that each dance exists
within its own ritual origins, social milieu, and its performative functions
and objectives within a given location. Dance is as old as the Nigerian man or
indeed, the African man or better still man himself whether white or black.
Dance starts with the notion of crawling as a child or of walking as a man. For
both activities, “rhythm” is the keyword here.
In Africa,
each dance has a context, a story within the performance. The context is the
meaning of a particular dance. Whether it is a ritual dance or ceremonial
dance, the context of the dance is most important because it guides the dancer
on the tempos, the mood and even the images and metaphors. The dance must
reflect the process of performance. Malborg states that;
The meaning of dance should be
interpreted in its context, that context denotes not only historical, social or
cultural context which are extrinsic. But also an intrinsic context that exists
as intention on the part of dancer.(27)
The body of
a dancer is an instrument of expression based on the mood required for the
dance performance. Dancer are taught to use their bodies in the following ways;
to tell the story in all African dances whether social or ritual. They are
usually taught to be part of a bigger picture. The chief priest may be the star dancer while the other dancers
dance in unison to form part of the total evocation. The body becomes the
silent musical instrument which is used to form the wider rhythm or picture of
the images which the dance is supposed to create. The traditional dancer is
taught how to create mood, some dances have fast tempo and some are slow. The
agility of the dancer in reacting to the rhythm of the music, the songs and the
sounds of the drums often dictate the tempo of the dance. The dancers are also
taught how to arrange symbols in an order that will make meaning to the
original owners of the dance. Since it is emerging from their cultural
consciousness and is also an aesthetic whole when danced. The processes of the
arrangement of symbols allow the dancer to tell the complete story of a
particular dance. Whether it is Bata dance of the Yoruba, Atilogwu of the Igbo
people, or Korotso dance of the Hausa. The key ideology is that dancers are
taught the primary use of the body, as a process of highlighting the specific
aspects of the body in order to speak the language of the culture of the
particular ethnic group.
The Igbo
world view contributes a lot in shaping African traditional dances.
Anthropologists inform us that an Igbo man is a story telling creature. The
Igbo culture recognizes the need for imaginative development through creative
storytelling. Storytelling in Igbo culture holds a preeminent place among the
people and affords them the best chance to define and enhance their humanity.
Storytelling has many uses in Igbo life and culture. First and foremost, it
fosters the continuity of the cultural heritage through what is generally
designated as akuko-ala (stories about the earth) which encompass what in
western categories are called myths and legends. In addition ‘akuko-ala’
explains the mysteries of life and death, of the visible and invisible world,
of gods, spirits and ancestors, of the origin of things, their relationships
and underlying unities. It describes essential beliefs, philosophical ideas, social codes and approved modes
of action. Storytelling tells of the human community in its confrontation with
its environment and its adventures of human neighbours, highlighting all the
time, the qualities of courage, endurance, heroic self-sacrifice of those whose
actions gave shape and solidity to the community. Storytelling goes beyond
tales of exemplary courage meant to inspire people in the present through an
appeal to hero-worship. It more significantly, erects communal icons which are
the permanent benchmarks in the existence of those gods like ancestral heroes
which give credence to the received code of social conduct with its myriad
injunctions and prohibitions known as Omena-ala (people’s culture).
In Igbo
world view, the myth of origin and creation explains significant phenomena in
the Igbo culture. The myth consolidates realities which have already been
entrenched in culture and history giving them imaginative anchorage for easy
assimilation by the memory and transmission from generation to generation. The
Igbo oral stories about myths and legends are important for use in educating
the Igbo child into the culture of the people and -into the ethical principles
and moral values of Igbo society and in addition to providing recreation and
entertainment. Chinua Achebe is of the opinion that; “It is the story that
outlives the sound of war-drums and the exploits of brave fighters… The story
is our escort, without it we are blind”. (124)
Although
many Igbo people are now Christians, traditional Igbo religious practices still
abound. The traditional religion includes an uncontested general reverence for
Chukwu ala (earth goddess), beliefs and rituals related to numerous male and
female deities, spirits and ancestors who protect the living descendants. The claim
that the Igbo acknowledge a creator God or Supreme-Being, Chukwu or Chineke is
however contested. Omenala encapsulates both politics and religion in Igbo
society by fusing together space, custom and ethics as constitutional deity of
the
Igbo. The living, the dead and
the unborn, in Igbo world view form part of a continuum. The living pays
tribute to their ancestors by honoring them through sacrifices. Dance as an art
encapsulate the totality of African lifestyle and experiences and celebrates
the ritualistic nature of African experiences. This work, therefore, studies,
Jigawa States Farmers’ Dance and Harvest of Good Wil,l which are core
contemporary Nigerian dances.
Semiotics,
the science of signs in human society has a significant impact on conventional
approaches to the analysis of body movements and communication systems. It has
proved a special instrument in non-verbal communication studies, especially, in
the area of dance where it provides a crucial theoretical basis for the analysis
and examination of the structure and production of meaning. Saussure is of the
opinion that:
A semiotic landmark in
understanding how human beings communicate is based on relationship between the
sign, either verbal or non-verbal or both and the object it designates or
refers to. (24)
The link
between the sign and its object is the concept. Semiotics may be the link
between a scientific discipline and a world view but it is always well
constructed. The word semiotics come from the Greek word Seemeiotikee (sign)
which denotes the study of signs; what they represent and interpret. The study
of semiotics in dance is based on the notion that the human body can
communicate message through movements, especially in dance that has
traditionally been located in the Humanities and Social Sciences. In the field
of dance, Rudolf Laban’s approach is the semiotic study of dance through the
analysis of human movements, which he considers basic and essential both to
daily activities and the ability of human beings to express themselves. Laban
states that “dance has undoubtedly re-entered the realms of the arts” (27). Semiotics in dance serves as mental interpretive
tools in the minds of the choreographers.
Drewal explains the relationship of mind to body saying:
In dance the vehicle of
aesthetic expression is physical movement, so the importance of being clear
about the relation of mind to body, of how mental things can be expressed
physically is directly apparent. (34)
Semiotics
elicits in the minds of the dancers not the final signified object, but a
mediating thought that promotes understanding. Pierce states that:
A sign is something which
stands to somebody for something in some respect. It creates in the mind of
that person an equivalent sign or perhaps a more developed sign” (46).
For
Pierce, the sign has a triadic relation among object and interpretant. He also said that a sign includes the idea or interpretant to
which it gives rise. In turn, this interpretant becomes a sign which is open to the same
interpretive process of unlimited
semiosis. Eco opines that:
The object of representation
can be nothing but a representation of which the first representation is the
interpretant. But an endless series of representations, each representing the
one behind it, may be conceived to have an absolute object as its limit. (67)
Kinesithetics
in semiotics is a comprehensive analysis of the various and specific body gestures which take a composite and
all-encompassing approach to the whole body as a communication medium. Birdwhistell states
that: “Kinesic is the study of body
motion as related
to the non-verbal
aspects of interpersonal communication”
(12).
The
semiotic of kinesic takes a truly structural approach to the analysis of body codes and a comprehensive
examination of various body expressions and their inter-relatedness. In
contemporary dance, it emphasizes greatly on semiotic implication of dance
movements as a mode of communication. The core communicative semiotic elements
in contemporary dance are; symbolic gestures, mime, props, mask, costumes and
body painting. The use of semiotics in analyzing contemporary dance emphasizes
critical examination of the various parts of the body like the upper body,
torso, feet or different body parts and intricate actions such as fact
rotation, ripples of the body as well as variation in dynamics, levels and use
of space. As a primordial art form dance is used in rituals, hunting,
communication, mock-fight, war, festivals and initiations. According to
Doubler;
The semiotic dance movement of
the primitive era, is religious and self expressive and communicative. It is
social because it is an integrated part of the life. (10)
Semiotics in
contemporary dance is treasured, because it is very significant to life and
understanding of the dance movement. Semiotics in contemporary dance is an art
form which is inculcated into the child from birth. It follows a process of
imbibing the culture of his fathers, and training during rehearsal for a
festival or ceremony. The art of semiotics in contemporary dance involves
exercises such as shaking of the waist, shaking of the body, as well as
shuffling of legs. Sometimes it may also include jumping and rolling. Semiotics
in contemporary dance fosters mutual understanding among individuals living
together in a given society. Even at times communities with diverse cultures
are united by dance. Hence according to Fonteyn; “the practice of dancing
brings people together in a friendly spirit”. [87]
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