Wednesday, 1 May 2013

African Principles Of Dance

African organizing principles of song and dance -dominance of a percussive performance movement—vital aliveness in sound + motion, even w/out a membranophone the voice is percussive/ percussive colorise, high affect colors—i.e. pure white, means unspotted reputation +color of the separate world, spiritual whiteness, face consort white , that person conversing w/ dead -inner pulse determine— safekeeping a beat in midst of diff. meters, “metronome sense”— wide power to hear deuce-ace dimensionally, freeze all orthogonal distractions it’s common denominator that gives control—prepares u for every(prenominal)thing else * visual equal weight—meditating forms, scar face, dismay eyes looking straight, pursed lips, i.e.
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char with jar on head, ties w/ aesthetic of cool - duple meter—Blackest of both Traits—unique to fatalened Atlantic, quintessentially black competing meters sounding all @ once *visual identical—seen in quilts, they migrate, that is how multiple meter got around - mutilate beat vocabulary—suspensions of beat, either for every separate accent or suspending entirely phrases *visual equivalent—staggered entrances and windows propel evil away—seen as constantly shifting entrances/ to a fault seen in grinding millet, move out beat phrasing of comminute so ppl don’t smash into individually other -call and sideboard—solo/chorus, voice/instrument, co-occur call and response diff from western antiphony b/c of “supportive interruption -get knock off range—descending step-wise course of African melody, trait of institution—seen in horizontality of Kongo, b-boys, + capoeiristas -syllabicity—performing/ dance one-note-to-a-syllable, every note stop up to a syllable visual equivalent—brass tack order of afro-atlantic embellishment, theory + presence of “tack-head” in hiphop listening -contests of aesthetic virtuosity—battles of dance, carving contests in jazz,...If you want to get a full essay, order it on our website: Ordercustompaper.com

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