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Home , Ambilobe, Andilanatoby, Ankavandra, Antambahoaka, Antandroy, Antankarana

GRADES K—12

Education Study Guide SCHOOL-TIME PERFORMANCE

Dance Groupe Bakomanga Study guide written by Fredara Mareva Hadley, Ph.D.

May 21 & 22, 2014 BAMAfrica Howard Gilman Opera House Brooklyn Academy of / Peter Jay Sharp Building / 30 Lafayette Avenue / Brooklyn, New York 11217 TABLE OF CONTENTS

Page 3: : An Introduction Page 4: Madagascar: An Introduction (continued) Page 5: The Language of Madagascar Enrichment Activity Page 6: Merina Culture Page 7: Religious Performance with Ancestors Page 8: Dance in Madagascar Page 9: Dance in Madagascar (continued) Enrichment Activity Page 10: Malagasy Instruments Page 11: Bakomanga Dance Guide Enrichment Activity Page 12: Glossary Instrument Guide

DEAR EDUCATOR

Welcome to the study guide for BAM’s DanceAfrica 2014. This year’s events feature Groupe Bakomanga, an acclaimed troupe from Madagascar performing traditional Malagasy music and dance.

YOUR VISIT TO BAM

The BAM program includes this study guide, a pre-performance workshop, and the performance at BAM’s Howard Gilman Opera House.

HOW TO USE THIS GUIDE

This guide is designed to connect to the Common Core State Standards with relevant information and activities; to reinforce and encourage critical thinking and analytical skills; and to provide the tools and background information necessary for an engaging and inspiring experience at BAM. Please use these materials and enrich- ment activities to engage students before or after the show.

2 · DANCEAFRICA MADAGASCAR: AN LOCATION AND GEOGRAPHY INTRODUCTION The Republic of Madagascar lies in the Indian Ocean off the Madagascar is a land of contradictions. It is a place that conjures southeastern coast of . It is roughly the size of Texas. It is the mystery of the unknown as well as familiar Disney cartoons. the fourth largest island in the world, behind Greenland, New Many of its plants and animals cannot be found anywhere else on Guinea, and . Its ecological diversity mimics its ethnic earth, yet deforestation is destroying its flora and fauna at alarming diversity in that Madagascar is a land that boasts a wide range of rates. Madagascar is an island nation that has been a haven for topographies, including mountains, high plateaus, lush rainforests, pirates, Indonesian, African, Arabic, and Malagasy settlers, and a and coastal plains. The island boasts both active volcanoes and property of the French empire. Madagascar represents a cultural beautiful waterfalls. mix of foods, music, religions, and ethnicities that stretch the boundaries of what is thought of as traditionally “African” culture. The middle of the island is known as the high plateau. The capital city, , is located here, and has the largest population of anywhere in Madagascar. This central region is also home to the Merina people.

40 Mocímboa da Ntsaouéni 45 50 Praia Grande Comore Glorioso Islands Tanjona Bobaomby Moroni () (Cap d’ Ambre) Foumbouni Moutsamoudou Antsiran¨ana Anjouan Mohéli Mamoudzou Nosy Mitsio Pemba Mayotte (administered by FRANCE, Iharan¨a claimed by COMOROS)

Ambanja MOZAMBIQUE Cidade de Nacala Bealanana Antsohihy Namialo 15 15 Lumbo Ilha de Moçambique Befandriana Maroantsetra l e MAHAJANGA n n Mandritsara a Tanjona Vilanandro Soalala M Mananara h a António Enes h Avaratra C Nosy Chesterfield a ja m Besalampy b Soanierana e a Nosy Sainte Marie B Ivongo u e q ts i ib Juan de o b k Nova Island a Fenoarivo Atsinanana m (FRANCE) a Vavatenina z Andilanatoby o M Maintirano ANTANANARIVO I k Anjozorobe Toamasina o p a NOSY BARREN (BARREN ISLANDS) Antananarivo INDIAN Soavinandriana Vatomandry Belo Tsiribihina T Antanifotsy OCEAN siribihina Mahanoro 20 Ma 20 nia Ambositra Varika Bassas da India Mananjary (FRANCE) Manja Fianarantsoa Morombe ngoky Ambalavao Ma

Ihosy Manakara Europa Island (FRANCE) Farafangana Madagascar Province (faritany) boundary Midongy Onilahy Toliara Atsimo National capital Province (faritany) capital Tsivory Railroad Beraketa Road

Ampanihy Track Amboasary 25 Tôlan¨aro 0 50 100 Kilometers 25 Ambovombe

Tanjon’i 0 50 100 Miles (Cap Sainte-Marie) Transverse Mercator Projection

40 45 50 Base 802924AI (C00455) 1-03 Courtesy of the University of Texas Libraries, The University of Texas at Austin

3 · DANCEAFRICA Madagascar in the 9th century and gradually integrated into MADAGASCAR: AN INTRODUCTION Malagasy society.

(CONTINUED) During the era of European global expansion, both the French and Portuguese staked their claims in Madagascar. In 1896, Madagascar officially became a colony of France. Finally on June 26, 1960 Madagascar became an independent country with as its first president. SOCIAL HISTORY The colors of the Malagasy flag are red, white, and green. It refers to the county’s struggles for freedom and independence. While Madagascar is a country of over 21 million people. That is roughly there is no set meaning of the flag’s colors, most theories connect the population of the New York metropolitan area. the red and green to the flag of Queen Ranavalona III who was the last monarch of the when it fell to the French in People from Madagascar are known as Malagasy. Seventy percent 1896. Other theories point to the prominent use of red and green of the Malagasy population lives in rural areas and small villages. in the flags of and Malaysia—the present-day countries Nearly one million Malagasy live in the civic and cultural capital of from which Madagascar’s first settlers arrived. In the 21st century, the country, Antananarivo, which is known as “Tana” for short. many Malagasy believe the red represents sovereignty, the white represents purity, and the green represents hope. Madagascar is a diverse cultural melting pot that reflects its long history of African, Asian, and European settlers. The country has 18 In its more then 50 years of independence Madagascar has ethnic groups: the Antaifasy, Antaimoro, Antaisaka, , struggled to maintain its democracy. The Malagasy have been , Antanosy, , Bara, Bestileo, Betsimisaraka, oppressed by dictators and military coups. , , Merina, Sakalava, , , Tsimihety, and Zafisoro. Groupe Bakomanga is comprised of people Madagascar continues to experience a wave of immigration. from the Merina group. In the 21st century there is a steady stream of Indian (mostly Muslim), Chinese, and European immigrants making their way to The first settlers arrived in Madagascar in A.D. 500. They were Madagascar. Austronesian, from what is now Malaysia and Indonesia. Shortly after their arrival, Malagasy settlers enslaved East Africans and Unfortunately, despite the wealth of natural resources, the majority brought them to the island. Most of the enslaved Africans were of Malagasy live below the poverty line and work as farmers of Bantu origin. Arab traders arrived in the northern area of cultivating the land for food.

4 · DANCEAFRICA THE LANGUAGE OF MADAGASCAR

Both Malagasy and French are official languages of Madagascar. Malagasy is a combination of several languages including Indonesian, African languages (mostly Bantu languages), Arabic, and some Malaysian.

Malagasy is the official language of Madagascar and is believed to be most closely linked to a language spoken within the island of Borneo (the third largest island in Asia, shared by Indonesia, Malaysia, and Brunei).

Madagascar is one of the only African countries in which the national language is not a European language, such as English, French, or Portuguese.

Although Malagasy is the language that most people speak, French is also an official language and is taught in school. French, in addition to Malagasy, is the language spoken by educated Malagasy.

ENRICHMENT ACTIVITY

Trace the influences of Malagasy culture

Locate the different countries that influence Malagasy culture on a map or globe. How far is each country from the island of Madagascar? Make a list of the reasons a person might travel so far from their home.

CCSS.ELA-.RH.6-8.7 Integrate visual information (e.g., in charts, graphs, photographs, videos, or maps) with other information in print and digital texts.

Environmental Origins

Madagascar is renowned for its unique plant and animal life, most Adansonia grandidieri, baobab from Madagascar, picture taken near Morondava (Photo of which can not be found anywhere else on Earth. Its tremendous by Bernard Gagnon) biodiversity is attributed to the fact that it is an island that has been separated from other continental landmasses for more than 88 Its fertile soil makes Madagascar the world’s chief producer of million years. vanilla. Other important cash crops include bananas, cotton, sugar cane, and tobacco. Malagasy also cultivate rice paddies, as rice is a The first animals are believed to have drifted over on rafts of staple of their diet. vegetation. Madagascar’s isolation in the Indian Ocean and the late arrival of humans to its shores nearly 2,000 years ago meant Madagascar has two seasons: dry and rainy. The dry season is from that animals and vegetation evolved and flourished in Madagascar May until November while the rainy season is from December to in ways that they could not elsewhere on the globe. Over 90% April. While the dry season is a time of very little rainfall, the rainy of Malagasy plant life and 82% of animal life can only be found season averages nearly three feet of rain annually. in Madagascar. Its national tree is the statuesque baobab tree, which is also found in continental Africa and Australia, but six of Current Political Instability the eight species of the baobab tree are only found in Madagascar. Lemurs, furry mammals known for their long limbs, were brought to worldwide fame by the character King Julien II in the Disney film Since gaining its independence from France in , Madagascar. Lemurs are one of the most populous animals on the Madagascar has struggled with maintaining democratic rule. island and Madagascar is home to over 100 species of them. Madagascar has a healthy tourism industry, but tourists should exercise caution in traveling around Madagascar.

5 · DANCEAFRICA MERINA CULTURE Malagasy Myths of Musical Instruments

The Tsimihety myth states that the creator god, Zanahary, invented musical instruments. However, the people neglected to play the instruments and so Zanahary punished the people by turning men and women into dogs. The myth highlights the divine origin of instruments and their connection with ancestral spirits.

Hira Gasy

Hira Gasy is an important form of Madagascar musical perfor- mance. It is a combination of oratory, music, and drama. It origi- nated in the Malagasy royal court; a Malagasy prince wanted more people to pay attention to his political speeches, so he added music, drama, and dance to his presentation. The popularity of hira gasy endured during French and became even more popular after Madagascar became an independent nation.

Today, hira gasy performances are common throughout Madagas- car. Performances are done by hira gasy troupes that often number Merina girls of highland Madagascar: Photo by Hery Zo Rakotondramanana 50 or more , dancers, and speakers. Troupes are usually comprised of relatives who tour around the country performing hira The last major kingdom in Madagascar was the Merina kingdom, gasy outside in villages and towns. The performances draw signifi- which was based in the center of the country and established its cant crowds and last most of the day. dominance in the 1700s. The Merina people are one of two cultural groups in Madagascar known as “highlanders”—people who dwell in the high plateau of the central region of the island. They share Royal Music this region with the Betsileo people. Merina people are of Indone- sian and Malaysian decent but over the centuries they have mixed with both Africans and the French. The music of the Malagasy courts dates back to the 1500s and the reign of , in which villagers organized and dancing The Merina people are the largest ethnic population in Madagascar. competitions for the young women. Eventually the from the In the 19th century they consolidated power over all the other sev- competitions were performed on their own and were known as hira- enteen ethnic groups to bring them under one rule. The rulers that tsangana. These songs were the precursors to hira gasy. governed Madagascar prior to the French arrival were all members of the Merina royal family. In the 21st century the majority of afflu- Future royals championed the use of music in the Merina courts. ent, educated, and politically engaged Malagasy citizens are Merina. Radama I and Queen Ranavalona both went to great lengths to create official court music. Princess Rambolamasonadro introduced sacred songs that praised the king/queen to the court and those Music in Madagascar songs were called antsa. Antsas remained a staple of court music until the fall of the Merina kingdom in the 1800s.

The reflects its ethnic diversity and cultural influences. It incorporates music from diverse regions, including Africa, Indonesia, Southeast Asia, , and Arabia. Africans and Austronesians—people from the Pacific Islands such as Indonesia, the , Malaysia, and Singapore—brought instruments with them to Madagascar and those instruments became a central part of Malagasy musical culture.

Malagasy music is both traditional and contemporary in that it incor- porates instruments and musical aesthetics that have been a part of local communities for decades, as well as styles that draw heavily from genres such as rock-and-roll and hip-hop.

6 · DANCEAFRICA By the 20th century there was a well-established group of Malagasy RELIGIOUS PERFORMANCE who could write, read, and sing in the Western music tradition, WITH ANCESTORS and they formed the musical elite. In the same period, another European style was imported to Madagascar. After World War I ended in 1918, the soldiers who had fought abroad introduced Family members who have passed away still play a central role a form of opera that the Malagasy called kalon’ny fahiny. These in Malagasy culture. There are several ceremonies dedicated to performances were popular among Malagasy high society and communicating with the ancestors. Throughout Madagascar, those featured productions about daily life and with patriotic themes. ceremonies may be called doany, bilo, sandratse, sabo, osika, and Currently, kalon’ny fahiny, is akin to Malagasy and is tromba. They all share the same goal: to petition the ancestors who what students study at the University of Madagascar. are believed to be intermediaries between the living and the creator god. Malagasy Myths of Musical Instruments All of the services also share the same order: musical introduction, invocation to the spirits, manifestation of the spirits, thanksgiving, Andrianampomgatany was prince of the heavenly drums. His final dances, and songs of the audience. Music is only explicitly included words to his children and elders were, “If it happens that I must in the beginning and final elements of the ceremony, but it serves a die, I would like to buried here, at Fanongoavana, during the night. crucial role because the Malagasy believe that each ancestor has a And I would like that the people of Imerina loose their hair, without favorite melody. distinction of gender (a sign of mourning), for I have departed – I,

the drum to which you have danced.” The musical instruments used in the service are valiha, but a marovane (a case ), lokanga (bowed ), or a goradao () may be used instead. Before any of these instruments MALAGASY HIP-HOP can be used in the ceremony they must be purified with special type of clay (tane fotsy) and then consecrated. In Madagascar, hip-hop is known as “Haintso Haintso,” which means H.H. or hip-hop. Hip-hop came to Madagascar in the late 1980s and closely follows the lyrical structure and production techniques of hip-hop in the . However, groups such as Oladad, are fusing hip-hop with Malagasy instruments and traditional melodies to further solidify the unique sound of Malagasy hip-hop.

ENRICHMENT ACTIVITY

Identifying Cultural Influences

Malagasy culture is influenced by many cultures including that of the French, Indonesian, Malaysian, East African, and American cultures. American culture is also influenced by many cultures. Think about your own neighborhood. Are there restau- rants, stores, music, food, or languages that you identify from other cultures? Make a list of these things and identify where Malgasy Trio with a lokanga in the middle and Valiha on far right you think they originate. Discuss your list with those around you and note the ones you have in common and the ones that are different. POSTCOLONIAL MUSICAL LIFE CCSS.ELA-Literacy.SL.7.1c Pose questions that elicit elaboration and respond to others’ questions and comments with relevant observations and ideas that bring The European presence in Madagascar helped to establish the the discussion back on topic as needed. musical traditions of the Malagasy elite. European missionaries brought with them their church music, European instruments, and Western . Their conversion efforts were successful in the Central Merina region, but met resistance in the outlying regions of the island. The legacy of this religious movement is church music that uses biblical texts for its and Malagasy melodies and music.

7 · DANCEAFRICA DANCE IN MADAGASCAR DANCE IN BETSILEO CULTURE

Malagasy dance is an important means to communicate emotions. The Betsileo live in the Central Eastern region of Madagascar, which These emotions include happiness, joy, and reconciliation. There is called the Fianarantsoa region. One of their central dances is the are dances to mark a wide array of life events including first kidodo. It is performed at religious and healing ceremonies and is haircuts, circumcisions, inaugurations of new office buildings, also popular at weddings. During a wedding ceremony, a storyteller, and even dances to keep the peace between village communities called a mpijijy, tells a epic tale, called an isa. The dance move- (Famptitaha). ments are concentrated in the feet while the mpijijy shares the story.

Although there are many commonalities between dances found throughout Madagascar, what distinguishes one style from another are the movements of the hands and feet and various body postures. DANCE IN BETSIMISARAKA CULTURE The different movements may reference nature, mythical creatures, or coded messages. The Betsimisaraka live in the east coastal region of Madagascar, The formations in which dancers perform communicate meaning. which is called the Tamatave region. They perform a dance that is Malagasy dances are often performed in a circle, which represents tied to their agrarian lifestyle called the . This dance is done Malagasy strength and unity. In contrast a straight line represents by both men and women dancing alone or in twos. The salegy is a direct message, and a half-circle facing the audience represents performed as a part of animal sacrifices and during the coffee and openness. banana harvests.

In Madagascar, dances are also performed in tribute to family In the salegy, the dance movements imitate sea waves as dances members who have passed away. Thus dance is an integral part move their body from side to side and the women stand in place of funeral ceremonies. Family members who have died are still and turn in circles. The rhythms of the dance are slower pace and important to the family members who remain, so after a period of time Malagasy stage elaborate ceremonies called famadihana to dancers may sing along with the dance leaders. The principal salegy honor deceased family members where they exhume and re-bury instruments are the korintsana and the valiha vata. their relatives. DANCE IN TANDROY CULTURE Malagasy dance is an important way in which culture is maintained and communicated. The Tandroy live in the Southern region of Madagascar, which is called the Tollara region. The predominant Tandroy dance is separat- DANCE IN MERINA CULTURE ed by gender: the tsinjaka is the dance for young women while daka is the dance for young men. The women wear long stripped skirts and hairstyles that are meant to resemble goat droppings, while The dances of the Merina are the most representative of Malagasy men wear two long skirt and animal skin sandals. The men also culture because they represent the largest percentage of the popula- decorate their bodies with white clay (called taniravo) to symbolize tion of Madagascar. The three signature Merina dances are the purification and beauty and they carry a spear as a sign of strength. Latsitanana, Sy Dihy Soroka and the Afindrafindrao.

Groupe Bakomanga will perform the afinfrafindrao, a court dance that both men and women perform as an opening to a formal ball. The dance was created under the reign of Queen Ranavalona III in the Merinian court. The dance is performed in a line formation in which the men and women are placed alternately along the line.

The latsitanana has very specific hand movements and is often performed by both women and men. It is performed at important ceremonies including the famadihana (re-burial ceremony) and the famorana (circumcision ceremony).

The dihy soroka is a specific shoulder movement done during the hira-gasy.

8 · DANCEAFRICA Elio Ramboni DANCE IN MADAGASCAR CONT. Photo courtesy of Beowulf Sheehan

DANCE IN SAKALAVA CULTURE

The sakalava live on the West Coast of Madagascar, known as the mahajanga region. The predominant Tandroy dance is separated by gender: the kahoitry is the dance for women and the jabano is the dance for men. Both dances are performed during spirit possession ceremonies, animal sacrifices, and a full moon. The dances symbol- ize freedom and independence.

The movements of the kahoitry are similar to those of the salegy in that the dancers rock their bodies from right to left. The costumes are an example of the Muslim influence in Malagasy culture. The women are completely covered with only their faces exposed. The women decorate their faces using a yellow powder extracted from wood while the men wear a long skirt that is fastened at the waist.

The instruments that accompany the kahoitry are the accordion, a small drum, and the handclapping (lamako). There are two distinct types of lamako: heavy and light. The heavy handclap is the rombo matavy and is done by clapping hands with hyper-extended palms. The light handclap is called rombo mahia and is done the same way except with open palms.

GROUPE BAKOMANGA INSTRUMENTS

The instruments that Groupe Bakomanga uses illustrate the cultural diversity of Malagasy history.

ENRICHMENT ACTIVITIES

Malagasy and Western Musical Instruments

Look at the instruments on the next page and label them with an American instrument that they resemble. Present your findings in class citing an instance in which you might hear these instruments played.

CCSS.ELA-Literacy.SL.9-10.1.a Come to discussions prepared, having read and researched material under study; explicitly draw on that preparation by referring to evidence from texts and other research on the topic or issue to stimulate a thoughtful, well-reasoned exchange of ideas.

‘

9 · DANCEAFRICA drum that subdivides and syncopates the beat. MALAGASY INSTRUMENTS

THE GORODAO

The ampongabe drum. Image Courtesy of Canadian Heritage Information Network Museum of Art and Archeology of the University of Antananarivo, Madagascar

(Photo: Beowulf Sheehan)

The French colonialists brought the gorodao to Madagascar in the late 1890s. The instrument was central in many music traditions including tromba, which deals with spirit and ancestral worship.

THE N’LAPA

The langoroana drum, Madagascar: Photo by Beowulf Sheehan

VALIHA

The valiha is a family of instruments of varying form used throughout Madagascar.

The n’lapa is similar to a drum. The djembe, pictured above, is one of the most popular drums across the African continent. Africans who were enslaved in Madagascar brought it to the country. Many Malagasy music genres incorporate the djembe, but its most prevalent use is in the coastal regions of the country.

THE AMPONGABE AND LANGOROANA

The ampongabe and langoroana are two other types of drums that are found in traditional Merina music in Madagascar. The ampongabe is with a low voice that steadies the beat to which the dancers move. It is similar to the bass drum that exists in Europe and the United States and is a drum that only men are Valiha; Photo Courtesy of Beowulf Sheehan permitted to play. Women may play its smaller and higher-voiced counterpart, the langoroana. The langoroana is similar to a snare

10 · DANCEAFRICA BAKOMANGA DANCE GUIDE

GROUPE BAKOMANGA

Groupe Bakomanga is one of the most well-respected performance organizations in Madagascar. Led by Malagasy singer Mariette Rasoarinala, Groupe Bakomanga is known for performing traditional Merina songs and dance. Its repertoire draws from the hira gasy as well as other traditional and contemporary Merina genres that pay tribute to ancestors, usher in the harvest, and preserve Merina traditions.

The group’s appearance at DanceAfrica marks its debut performance in the United States.

The dances that Groupe Bakomanga perform are tied to aspects of everyday life. Those dances can be grouped into five different Malagasy boy playing a bush kabosy, otherwise known as a mandoliny, in Fort types of activities: welcome, holiday, party, recreational, and Dauphin, Madagascar, Photo by Jhob reconciliation.

As we discuss the dances, can you identify instruments or parts of Bakomanga is a stage name given to Mariette Rosoarinala and the dances that connect with Indonesian, African, or French culture? the Bakomanga Troupe performs two pieces dedicated to her. The first, Sahala amin I Bakomanga, was discussed earlier in the section. It is a men’s dance of welcome for a visitor, in this case WELCOME DANCE the visitor is Bakomanga. The second is Eee R’Lay Bakomanga. Eee R’Lay is a song that praises the beauty of Bakomanga and of all Malagasy girls. This dance is called “Sahala amin I Bakomanga” and is performed by male dancers to greet a visitor.

Groupe Bakomanga performs two different recreational dances, UNITY DANCE including Tonga hiseho sehatra, and Afindrafindrao. These are spirited dances that set the tone for the performance. In Tonga Dihy Tambatra is a dance of celebration after a conflict is resolved. hisheo sehatra, dancers expresses how happy they are to perform. It is up-tempo and involves all the dancers and the musicians. It is fitting that it is the last dance in the Bakomanga performance. Afindrafindrao is based on the 19th century quadrille which is a partner dance for four couples. The dance was prominent in the 19th century Malagasy royal courts while Madagascar was under French influence. ENRICHMENT ACTIVITY

Dance in Everyday Life

INSTRUMENTAL SONG Many of the dances that Bakomanga performs connect with aspect of everyday life. The Mamboly vary Bestileo dance is one that shows how to plant rice and is done at harvest time. Kabosy is an instrumental piece named for the instrument of Think of a task you do at school, home, or work and create a the same name, which is a wooden that was brought to dance that celebrates that task. What would you name your Madagascar centuries ago by the . It is related to the Arab dance? instrument, the oud. Another dance that Bakomanga performs is the Raha manina anay. It is a dance that women do in a time of happiness. Is there a dance, gesture you do when you are happy?

CCSS.ELE-Literacy.SL.7.1a Come to discussions prepared, having read or researched material under study; explicitly draw on that preparation by referring to evidence on the topic, text, or issue to probe and reflect on ideas under discussion.

11· DANCEAFRICA GLOSSARY INSTRUMENT GUIDE : An instrument in which sound is produced by ampongabe: a instrument that is similar to a bass vibrating air. The instrument itself does not vibrate drum. It can only be played by men. See Page 10 nor does it have vibrating membranes or strings. Examples are the saxophone and . gorodao: anaccordion in the tsofina/aerophone instrument group. See Page 10 In Madagascar this group of instruments is called tsofinaI, which means, “to blow.” kakanikakanika: an instrument in which a plank is laid over a hollow mortar and struck. The mortar serves as the resonator. ambaviny: the drum with the “female skin” that sits on the left The instrument is played to welcome a king, chief, or and is played with the fingers. other noteworthy visitor. amadahiny: the drum with the “male skin” that sits on the left kabosy: a chordophone that resembles a box-shaped wooden and is played with a stick, which is a phallic symbol. guitar. They can be found in various regions of Mada- gascar. See page 11 Austronesian: People from the Pacific Islands including Indonesia, Malaysia, Singapore, , and other nations. langoroana: a membranophone small drum that can be played by both men and women. chordophone: An instrument in which sound is produced by See Page 10 vibrating stretched strings that are attached at both ends. Examples are and the . n’lapa: a type of West African drum that is the velezina/mem- branophone instrument group. See page 10 In Madagascar this group of instruments is called tendrena, which means, “to play.” rattles: an made of and filled with seeds. Throughout Madagascar rattles are known by various electrophone: Instruments that require electricity in order to regional names including: kritsakritsa, tsikatray, korint- produce sound. Examples are and sana, tsakaiamba, voamaintilany, foray, kaiiamba, and music production computer software. doka.

Famadihana: Important Malagasy ceremonies in which they : a flute-like aerophone exhume the remains of deceased loved ones and re-bury them. struck tubes: kapohina/idiophone instruments composed of a long bamboo tube that is held horizontally. The bottom end idiophone: Instruments in which the vibration of the instrument of the tube may rest of the ground or be held up at itself produces sound. These instruments are most belly level by forked sticks. Players line up alongside commonly struck in order to produce sound. the tube and strike it with small batons. Striking the Examples are the cowbell and rattles. tube at different points alongside the tube create notes with different tonal qualities. In Madagascar this group of instruments is called kapohina, which means, “to strike.” In Madagascar instruments in this category have dif- ferent regional names that include: tsikaretika, raloba, lamba: a rectangular piece of cloth that is worn around the kimbolo, karatsaka, farai, peripetika, tsipetrika, or body. It is the traditional garment of Madagascar volo. and is worn by both men and women. tsikatray: a frame rattle constructed from a square frame of wood : a type of chordophone that has strings that run along covered by rushes, and filled with seeds. It is in the the neck of the instrument and a hollow resonator. kapohina/idiophone instrument group. The strings of a lute can be plucked or bowed. valiha: is a chordophone zither made of bamboo. It is the membranophone: Instruments that have a stretched membrane that most popular instrument in Madagascar and traces its is struck in order to produce sound. Examples origins to Indonesia. The valiha accompanies speech- include the and the bass drum. es, other instruments, other valihas, or can be played alone. See Page 10. In Madagascar this group of instruments is called velezina, which means, “to beat” or “give life to.” vatany: the resonator or truck part of the instrument. In Malagasy culture it is the most important part of the instrument. vodony: the “buttock” of the instrument. In Malagasy culture it is the inferior part of membrane drums.

12· DANCEAFRICA BIBLIOGRAPHY

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13· DANCEAFRICA BAM 2014 Winter/Spring Season sponsor: The BAM facilities are owned by the City of New York and benefit from public funds provided through the New York City Department of Cultural Affairs with support from Mayor Bill de Blasio; the New York City Council including Council Speaker Melissa Mark-Viverito, Finance Committee Chair Julissa Ferreras, Cultural Affairs Committee Chair Jimmy Van Bramer, the Brooklyn Delegation of the DanceAfrica 2014 is made possible by the New York State Council on the Council, and Councilwoman Laurie Cumbo; and Brooklyn Borough President Eric Arts with the support of Governor Andrew M. Cuomo and the New York State Adams. Legislature: Your tax dollars make BAM programs possible through funding from:

Major support for DanceAfrica 2014 provided by: BAM Education & Humanities The mission of BAM Education & Humanities is to ignite imagination and ideas through programs that enrich the audience experience, spark conversation, and generate creative engagement. DanceAfrica 2014 is part of Diverse Voices at BAM sponsored by: Education BAM Education connects learning with creativity, engaging imagination by encouraging self-expression through in- and after-school arts education Major support for Global BAM provided by: programming, workshops for students and teachers, school-time performances, and comprehensive school-break arts programs.

After-School Programs & In-School Residencies: Major support for BAM Education programs provided by: Young Film Critics Arts & Justice Dancing Into the Future Shakespeare Teaches Students Shakespeare Teaches Teachers Support for Dance Africa 2014 provided by Travelers Foundation. Young Shakespeare AfricanDanceBeat Additional support for DanceAfrica 2014 provided by the Travelers Foundation and GGMC Parking, LLC. Additional endowed support for DanceAfrica is Department of Education and Humanities Staff: provided by the Lila Wallace-Reader’s Digest Endowment Fund for Community, Stephanie Hughley: VP Education & Humanities Educational, and Public Affairs Programs at BAM. Steven McIntosh: Director of Eduaction & Family Programs John P. Tighe, DMA: Assistant Director Leadership support for BAM Education programs is provided by the Altman Foundation; The Irene Diamond Fund; The Rita and Alex Hillman Foundation; Violaine Huisman: Humanities Director Martha A. & Robert S. Rubin; The Della Rosa Family Foundation; and Judith and Shana Parker: Director of Operations for Education & Humanities Alan Fishman. John S. Foster, Ph.D.: Education Manager Verushka Wray: Program Manager Expansion of BAM Education and Community programs made possible by the Eveline Chang: Program Manager support of The SHS Foundation. Jennifer Leeson: Operations Manager for Education & Humanities Nathan Gelgud: Box Office Manager Leadership support for school-time performances, pre-show preparation Cathleen Plazas: Internship Coordinator workshops, and educational film screenings is provided by The Simon and Eve Molly Silberberg: Humanities Coordinator Colin Foundation, Inc. and Lemberg Foundation. Tamar MacKay: Education Assistant The DanceAfrica Education Program is conducted in collaboration with Bedford Rebekah Gordon: Administrative Assistant Stuyvesant Restoration Corporation. Support for the program is provided by Victoria Collado: Education Intern Charles Hayden Foundation. Daniel Balkin: Humanities Intern

Development of new education and community initiatives at the BAM Fisher About the Writer supported by Brooklyn Community Foundation; Rockefeller Brothers Fund; and Fredara Mareva Hadley, PhD is a visiting assistant professor at Oberlin College. The Skirball Foundation. She is an ethnomusicologist who specializes in researching, writing, and teaching African-American popular music. Fredara is the founder of Jooksi, a company BAM Education programs are supported by: Altman Foundation; Jody and John Arnhold; Barker Welfare Foundation; Tiger through which she provides tours of New York City through the lens of African- Baron Foundation; the Pierre and Tana Matisse Foundation; The Bloomingdale’s American music. She is the managing editor of Musiqology.com—a web platform Fund of the Macy’s Foundation; The Simon and Eve Colin Foundation; Constans that provides thoughtful analysis of Africa-American music through the lens of Culver Foundation; Robert and Mercedes Eichholz Foundation; William and . Fredara has been a regular contributor to Okayplayer, Revivalist, Mary Greve Foundation; The Hasty Pudding Institute of 1770; Charles Hayden and PopMatters. Fredara was the 2010-2012 Laura Boulton Junior Fellow in Foundation; Jaharis Family Foundation; Emily Davie and Joseph S. Kornfeld Ethnomusicology at Indiana University. During her fellowship, she conducted Foundation; Lemberg Foundation; National Grid; The Jerome Robbins Foundation, extensive research on the history of black music divisions at major record labels. Inc.; The Rockefeller Fund; May and Samuel Rudin Family Foundation; Fredara conducted research related to the African Burial Ground Memorial, Carn- In Memory of Robert Sklar; Sills Family Foundation; Joseph and Silvia Slifka egie Hall, and 651 Arts. She has presented at conferences such as the South by Foundation; The Alvin and Fanny B. Thalheimer Foundation; Travelers Foundation; Michael Tuch Foundation; Turrell Fund; and the Joseph LeRoy and Southwest (SXSW), and the Experience Music Project’s PopCon. the Ann C. Warner Fund. Copyright © 2014 by Brooklyn Academy of Music BAM Education programs at BAM are endowed by: Lila Wallace-Reader’s Digest Endowment Fund for Community, Educational, & All rights reserved. No part of this book may be reproduced or transmitted in Public Affairs Programs; Martha A. and Robert S. Rubin; William Randolph Hearst any form or by any means, electronic or mechanical, including photography, Endowment for Education and Humanities Programs; The Irene Diamond Fund; recording, or by any information storage and retrieval system, without and The Robert and Joan Catell Fund for Education Programs. permission in writing from the Brooklyn Academy of Music. BAM would like to thank the Brooklyn Delegations of the New York State Assembly, Joseph R. Lentol, Delegation Leader; and New York Senate, Senator Velmanette Montgomery, Delegation Leader.