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The Influence of Nigerian Bata Dance on Cuban Salsa by Olorunjuwon

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The Influence of Nigerian Bata Dance on Cuban Salsa by Olorunjuwon The influence of Nigerian Bata Dance on Cuban Salsa BY Olorunjuwon, Emmanuel Oloruntoba (MATRIC NO: RUN06-07/507) A DISSERTATION SUBMITTED TO THE DEPARTMENT OF THEATRE ARTS, SCHOOL OF POST GRADUATE STUDIES, REDEEMER’S UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE AWARD OF MASTERS OF ARTS (M.A) IN THEATRE ARTS JUNE 2016 CERTIFICATION I certify that this project/long essay titled “THE INFLUENCE OF NIGERIAN BATA DANCE ON CUBAN SALSA” is an original work of mine and that it has not been submitted elsewhere for any degree award or certification. OLORUNJUWON EMMANUEL OLORUNTOBA (RUN 06-07/507) …………………………………….. CERTIFICATION I certify that this long essay was carried out by Olorunjuwon Emmanuel Oloruntoba with matriculation number RUN 06-07/507 of the Department Of Theatre Arts, Redeemer‟s University, Osun State. ------------------------------------ ---------------------------- Supervisor Date Dr. John Iwuh ……………………………… …………………………… Head of Department Date Prof. Ahmed Yerima ……………………… …………………… External Examiner Date Prof. Ojo Bakare DEDICATION I dedicate this project to God Almighty for giving me the strength and wisdom to carry out this research. My parents Mr. and Mrs. S.K Oloruntoba and my siblings Bamidele Oloruntoba, Christiana Oloruntoba and Dr. Ife Oloruntoba .My Mentor and guardian Prof. Ahmed Yerima. God bless you all. ACKNOWLEDGEMENTS To God almighty my strength, wisdom, creativity, rhythm and flexibility I am most grateful to you. I must thank the Head of Department, Prof Ahmed Yerima who has been a father to me. You were there for me and cared for me like your own biological son. You gave me shelter, clothes and you fed me. You never stopped making sense out of my nonsense and you encouraged me to write while others were sleeping. To my Supervisor, Dr. John Iwuh ( Papa Chizo), you have loved me right from when I was an undergraduate, you believed so much in me and you got me my first lecturing job at Lead City University. You taught me how to be patient and carry out a quality research and this helped me finish this research work with confidence. To my ever loving Departmental mother Dr. Eunice Uwadinma. As an undergraduate you fed me and guided me, You showed me the true love a son deserves from a good mother. You kept on disturbing me to come back for my masters programme and you gave me your office to stay for months. I say thank you. To my Lecturer, Dr. Julius -Adeoye who made sure he carried on with the dream of his late wife Mrs. Bunmi Obasa Julius-Adeoye who will say to me “ Juwon, you must come back to this school and guide this students the way I have done to you”. To all my lecturers Mr. peter Bello my dance Lecturer, Ms. Susan Badeji, Mr. Damilola Babarinde,Mr. Kunle Abogunloko and Mr. Niji Akanni, I am forever grateful to you all. To my good friends Dapo Adimula (UMC) ,Adedayo Debo (Mr. Macaroni), Julie Akhere and Jerome Adie God bless you for all your supports. ABSTRACT The Yoruba traditional cultural practices has influenced other cultural practices in some parts of the world such as; Cuba, Brazil, Trinidad and Tobago. This study discovered that the Yoruba bata dance had some influences on the Cuban salsa in; performance, costume, music and drums. The study adopts a deep historical approach into existing literatures for history to advance a theoretical framework, while two performances; Cuban Salsa and Nigerian bata dances were studied for comparative analysis to determine the extent of the influence of bata dance on Cuban salsa. Findings reveal that the Yoruba slaves never parted with Sango worship and bata dance even in the plantations.. Cuban salsa became a hybrid bata dance form due to their desire for variation and contemporary flavor. The study recognized other influences of dance traditions in what later became Cuban salsa such as the ballet from Europe and other socio cultural dances of spain. Using existing materials, studies and observing salsa dance in practical forms, the study ended by recommending further and intense research into the hidden treasures of bata dance among its custodians so as to evolve new variants and creative flavours like the Cuban salsa. TABLE OF CONTENT Certification page…………………………………………………………….. i - ii Dedication……………………………………………………………………. iii Acknowledgement…………………………………………………………..... iv Abstract……………………………………………………………………….. v CHAPTER ONE 1.1 Background to study……………………………………………………… 1- 4 1.2 Statement of problem……………………………………………………… 4 1.3 Objective of study…………………………………………………………. 4-5 1.4 Significance of study………………………………………………………..5 1.5 Scope of study………………………………………………………………6 1.6 Methodology………………………………………………………………...6 CHAPTER TWO: LITERATURE REVIEW 2.1 Development of Dance in Cuba …………………… ………………….7-15 2.2 Black Dance…………………………………... ……………………………15-22 2.3 Modern Dance……………………………………………………………….22-23 2.4 African American Modern Dance…………………………………………...23-25 CHAPTER THREE 3.1 Historicism…………………………………………………………………...26-30 3.2 Slavery: Transportation of Culture…………………………………………..31-35 3.3 Dance: Inadvertent Export…………………………………………………...35-36 Dance As a Reflection of Life………………………… ……………………..37-43 The Santeria Worship In Cuba………………………………………………...43-46 CHAPTR FOUR 4.1 History of Bata Dance………………………………………………………. 47-52 4.2 Origin of Cuban Salsa………………………………………………………...52-53 4.3 Sango in Nigeria, Chango in Cuba: One God Two Faces History of Sango………………………………………………………………53-58 History of Chango……………………………………………………………..58-62 4.4 Analysis of Cuban Salsa……………………………………………………….62-79 4.5 Adaptive Influence of Bata and Cuban Salsa…………………………………79-93 CHAPTER FIVE 5.1 Introduction…………………………………………………………………….94 5.2 Findings………………………………………………………………………...94-95 5.3 Recommendation……………………………………………………………….95-96 5.4 Conclusion………………………………………………………………………96 Work Cited……………………………………………………………………..….97-100 PICTURE TABLE Fig 1.1: Yoruba representation of Sango Fig 1.2: Cuban representation of Sango (Chango) Fig 1.3: picture of the Yoruba bata drums Fig 1.4: Picture of the Cuban bata drums Fig 1.5: Yoruba bata drums Fig 1.6: Cuban bata drums Fig 1.7: Picture of Yoruba bata drums Fig 1.8: Picture of Cuban salsa dancers Fig 1.9: Ayansina Khalid Ikeoluwa and his partner doing the gbamu bata dance style Fig 2.0: Johnny Vazquez and his partner doing the back rock basic step. Fig 2.1: Floor Movement of the legs Fig 2.2: Ayansina Khalid Ikeoluwa and his partner doing the gbamu bata dance style Fig 2.3: Johnny Vazquez and Ramark doing the side rock step Fig 2.4: Picture showing Chango turning a lady in a spot turn movement during Chango festival Fig 2.5: Bata dancers taking off to perform a spot turn Fig 2.6: Bata dancers performing a spot turn Fig 2.7: Johnny Vazquez ready to take off to perform a spot turn Fig 2.8: Johnny Vazquez performing the spot turn Fig 2.9: Bata dancers dancing the gbamu bata dance crossing the right leg over the left (exaggerated step) Fig 3.0: Johnny Vaquez and partner dancing the Cuban Salsa, crossing the right leg over the left (hybridized step) Fig 3.1: Picture showing a female and male bata dancers wearing Aso-oke Fig 3.2: Picture showing a bata dancer with bata drummers wearing Aso-oke Fig 3.3: Picture showing a female and male Cuban Dancer wearing the bata cubana and guayabera. Fig 3.4: Bata dancers seating on their waist and jerking their shoulders (ji ja bata) Fig 3.5: Cuban dancers doing the shoulder movement while standing Fig 3.6: Cuban male salsa dancer jerking his shoulder Fig 3.7: Female bata dancers jerking their shoulders Fig 3.8: Female bata dancers whining and jerking the buttocks while dancing Fig 3.9: Female Cuban dancer whining and jerking her buttocks while dancing Fig 4.0: Male bata dancers bending and swinging their arms Fig 4.1: Cuban salsa dancers dancing with backs bent while dancing Fig 4.2: Cuban salsa dancers with their backs bent and arms stretched Fig 4.3: Bata dancers lifting from the ground Fig 4.4: Cuban dancer lifting from the ground Fig 4.5: Bata dancers communicating with the opposite sex while performing. Fig 4.6: Cuban salsa dancers holding each other while dancing Fig 4.7: Cuban salsa dancers holding and communicating while dancing Fig 4.8 & 4.9: Cuban salsa dancers in a frame posture Fig 5.0: Cuban salsa dancers in a frame posture Fig 5.1: A female Cuban salsa dancer performing a split Fig 5.2: A male Cuban salsa dancer performing a split Fig 5.3: Dip movement CHAPTER ONE INTRODUCTION 1.1 BACKGROUND TO STUDY …people who truly dance are those who never bartered the fierce freedom of their souls, never strangled their hunger for rhythmic movement nor frustrated their joyous physical response to music and song. When such beings dance, for them all time stops… (Welshe-Ashante: 3). Dance is the temporal art form, which consist of selected sequence of body movements. These body movements have aesthetic and symbolic values that go along with a particular rhythm that becomes acknowledged as dance by performers and observers within a particular culture. Thus the dance of a group of people is the reflection of their culture. The African dance is polycentric in nature, which makes it very different from other dances 0around the world. The dancers‟ body is always segmented into different areas of movement with each part dedicated to different movements in what is also known as „isolation‟ in choreographic terms. This distinct assignment makes African dances very difficult to master and notate. Most African dances are learnt at a tender age because most of them are performed during storytelling, rituals, rites and among age grades. While these dances are polycentric in nature, different areas of Africa have different dances. For example, the Masais are known for high leaps when dancing, the Calabaris uses their hips and the Yoruba‟s uses more of their shoulders and legs.
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