1. KWA ZULU NATAL

2. The Zulu nation is a nation of proud warriors Their tradition of song and dance goes back to the sixteenth century When the warriors returned home victorious from war the whole community CELEBRATED in song & dance

4. It became custom that every Zulu boy be taught the tribal dances and songs of his nation

5. Not only were the dances performed on the warriors return but also at weddings but also at weddings and feast celebrations as they became a symbol of joy happiness and respect

6. The tradition of Zulu men’s dancing is called ‘Ngoma’ UMZANSI IS A RECREATIONAL DANCE FORM that grew out of the system of migrant (travelling) labour developed by the South African State and MINES

7. Men from far and wide - seeking work in the mines were brought together - living in poorly equipped hostels without their families

8. There was much friction between the different tribes A style of competitive display dancing emerged UMZANSI UMZANSI to channel the fighting between tribe members into recreational dance

9. There are three Ngoma sub styles: There are three Ngoma sub styles:  Umzansi  Isishameni  Ngoma kaBhaca Each style combines: Choreographed group work Individual improvisation Individual improvisation Is danced to singing & clapping Is danced to singing & clapping Accompanied by a marching bass drum Accompanied by a marching bass drum

10. Each style features the kick/stamp with stylistic differences In the UMZANSI style the kick/stamp is the highest and straightest landing the hardest on the ground

11. A dance about power can become a source of power The men working in the mines felt they were given no respect from their ‘white bosses’ This dance was a celebration of a dancer’s virtuosity and a celebration of aspects of his manhood MASCULINITY WAS ON DISPLAY

13. DANCE MOVEMENTS An Umzansi dance begins in a file formation of between 10 – 20 dancers or more An Umzansi dance begins in a file formation of between 10 – 20 dancers or more The opening and closing sections always involve the whole team The opening and closing sections always involve the whole team The beginning is sung and danced with line choreography for the whole group The beginning is sung and danced with line choreography for the whole group In the line dance the team members carry their fighting sticks In the line dance the team members carry their fighting sticks

14. The flow and sequence are determined by the igoso (leader) The flow and sequence are determined by the igoso (leader) He directs the performance with: He directs the performance with:  a shrill whistle  a whip  sung calls for call and response singing  sung/spoken commands for group chanting The dance is interrupted by spurts of action improvised by bold individuals The dance is interrupted by spurts of action improvised by bold individuals High powerful kicks/stamps are used High powerful kicks/stamps are used

15. By dancing alone - improvising, a dancer demands and gets his team’s attention by doing all sorts of acrobatic movements By dancing alone - improvising, a dancer demands and gets his team’s attention by doing all sorts of acrobatic movements This is when the dancers show themselves without fear of interrupting the set dance sequences of the team This is when the dancers show themselves without fear of interrupting the set dance sequences of the team Each dancer is expected to improvise around his praise-call/nickname and the rhythm of the drum Each dancer is expected to improvise around his praise-call/nickname and the rhythm of the drum The whole team chants his name/nickname The whole team chants his name/nickname Nicknames play a critical role as an element in this dance Nicknames play a critical role as an element in this dance The dancer has earned a nickname from past incidents or by his character The dancer has earned a nickname from past incidents or by his character For example: Skheshekheshe (Catch him catch him) a dancers days as a professional soccer player & very fast runner / For example: Skheshekheshe (Catch him catch him) a dancers days as a professional soccer player & very fast runner / Buklenyeklenye njengebululu (he who strikes like a cobra) Buklenyeklenye njengebululu (he who strikes like a cobra) The nicknames, carried proudly by individuals, are expressed in the personality of individual dance styles The nicknames, carried proudly by individuals, are expressed in the personality of individual dance styles

16. COSTUMES & PROPS iBeshu - a skin covering the buttock iBeshu - a skin covering the buttock isiShababa - a skin covering the buttock- longer than ibeshu, extending to the calves of the legs isiShababa - a skin covering the buttock- longer than ibeshu, extending to the calves of the legs Umutsha - a skin covering the loin - extending to the knees Umutsha - a skin covering the loin - extending to the knees umQhelo - a head dress of beads, or skin worn encircling the head umQhelo - a head dress of beads, or skin worn encircling the head iziNcabulela - sandles with straps made of leather, with the sole cut from a car tyre iziNcabulela - sandles with straps made of leather, with the sole cut from a car tyre Fighting sticks Fighting sticks

17. NOTE THE HEAD DRESSES OF ANIMAL SKIN NOTE THE COVERING OF BUTTOCKS AND LOIN

18. MUSICAL INSTRUMENTS / ACCOMPANIMENT The performers require the use of a ‘military drum’ as an accompaniment – this is a large double skinned drum played with two beaters

19. The dancers of Umzansi are often referred to as Amasosha (soldiers) The dancers of Umzansi are often referred to as Amasosha (soldiers) Entrances and exits in the performance are in drill formations and columns Entrances and exits in the performance are in drill formations and columns The introductory songs are referred to as Izinhlamvu (bullets) The introductory songs are referred to as Izinhlamvu (bullets) The drummers must be able to interpret the movements of the dancers precisely The drummers must be able to interpret the movements of the dancers precisely The igoso (leader) uses a whistle / whip The igoso (leader) uses a whistle / whip Use of call and response singing Use of call and response singing Group chanting Group chanting

20. African dance is no longer used ONLY for traditional purposes It has spread far and wide to all corners of the world It has become a very popular and well loved dance form that has been integrated into many contemporary styles