I picked up a delightful very old (1932) little book at Lifeline Bookfest – The Culture of the Abdomen by F.A. Hornibrook. In an Appendix at the back it has some wonderful observational extracts from writings of anthropologists on dance.
Mr. P. Amaury Talbot: In the Shadow of the Bush.
Pages 293-5: “All other pastimes pale before the attractions of the dance which to the Ekoi (natives of Nigeria) is one of the main occupations of life and as with the Greeks of old provides an outlet for the dramatic instinct and religious fervour of the race. It affords one of the means of expressing as perfectly as possible that otherwise inarticulate sense of the mystery of existence the power of supernatural influences which enfold them the ecstasy of joy in life – of youth and strength and love – of the deeper and more poignant feelings so far beyond expression by mere words…Every atom of the body dances but the point which distinguishes accomplished dancers from others is the never-ceasing wave-like ripple which runs down the muscles of the back and along the arms to the fingertips.
Mr George T. Basden: Among the Ibos of Nigeria.
Pages 131-4: “Dancing is the great national pastime and it is practised by everybody capable of movement. There are many forms – for boys for girls for men and for women and for mixed companies the last being especially associated with religious observances and festivals.
The stereotyped set dances are all performed by professional men and they are very elaborate and extraordinarily difficult and exhausting. The movements are perfectly rhythmic and the time is set by music…The instrumentalists squat on the ground in no prescribed order with neither programme nor conductor. Presently one of the musicians sounds a few desultory notes which gradually evolve into a recognised melody the others join in and time and tune are thus established. The dancers range themselves and begin slow rhythmic movements unconsciously swaying their heads in time with the music. As the dance proceeds they appear intoxicated with the motion and the music the speed increases and the movements become more and more intricate and bewildering. The dancers work themselves into a veritable frenzy and the spectators keep silence from sheer excitement. The twistings turnings contortions and springing movements executed in perfect time are wonderful to behold. Movement succeeds movement in rapid succession speed and force increasing until the grand finale is reached. By this time the onlookers as well as the dancers are almost breathless. Then in a flash music and dance cease abruptly the performers remaining rigid in their last pose. For a second absolute silence prevails followed by an outburst of applause. The sign for the dance to end is given by the chief drummer.
The practice of dancing leads to a wonderful development of the back and abdominal muscles. Moreover the movements are free there is nothing rigid about them and they produce no sign of ‘physical exercise’ stiffness. Every movement is clean sure and decided showing absolute control of muscles.
In all native dances each man (and woman) acts independently of his fellows and yet fits into his proper place in the general scheme. When men and women are dancing in company they do not even touch hands.
Some of the movements are peculiar as when the lower limbs are kept perfectly rigid the feet are not lifted from the ground but all the progression is made by swaying the body only and by sinuous movements.
Mons. Adolphe Louis Cureau: Savage Man in Central Africa.
Page 260: “Elsewhere the dance is a caress; a song proceeds by short chromatic phrases in a minor mode and with dropping inflections while the ballet-dancers advance and retreat in turn sometimes down the front and again in oblique lines. Their faces and arms take no part in the action and the mask simply shows a desire not to make any mistake. Their elbows are held against their sides whilst their hands beat time; the whole expression and action is in the pelvic region and the legs. The waist undulates the hips move rapidly or twist slowly the knees flex in quick time while the feet touch the ground with the end of the great toe alternately in front behind or at the side. There is no marked gesticulation and no vivacity; all the motions are supple cadenced harmonious languorous and delicate. The coryphees adapt the figures of the dance to the amorous and plaintive melody and move back and forth in the gleam of the dying torches like black Bacchantes.”
Dr C.G. Seligmann The Melanesians of British New Guinea.
Page 154: “The rhythm of these dances is further exemplified by the movements of the girl dancers which consist essentially of a slow rocking of the pelvis on the thighs each leg being alternately slightly flexed and the heel being lifted from the ground. At the same time the muscles of the back give a rotatory movement to the pelvis causing the petticoat to swish from side to side. When dancing in columns the movement is usually slow and dignified but when one or two girls dance by themselves behind or at the side of the columns it is customary for them to dance so violently that the component strips of the petticoat tied over the right hip fly up in a spray of fibres allowing the tattoo on the buttock and thighs to be seen.”
Mr Herman Melville Typee (describing the dances of the natives of the Marquesas):
Page 190-1: “The young girls very often danced by moonlight in front of their dwellings. There are a great variety of these dances in which however I never saw the men take part They all consist of active romping mischievous evolutions in which every limb is brought into requisition. Indeed the Marquesan girls dance all over as it were; not only do their feet dance but their arms hands fingers ay their very eyes seem to dance in their heads. In good sooth they so sway their floating forms arch their necks toss aloft their naked arms and glide and swim and whirl that it was almost too much for quiet sober-minded modest young man like myself. The damsels wear nothing but flowers and their compendious gala tunics and when they plume themselves for the dances they look like a band of olive-coloured sylphides on the point of taking wing.”
D. A.C. Haddon The Expedition to Torres Straits:
Page 290 Vol IV: “The natives have always been very fond of dancing. They were very important social events and gave opportunities for the girls to judge of the activity and stamina of the young men.
It was the custom for the young women to propose marriage to the young men indeed this custom may have given a certain advantage to the women. A young man who was a dancer would find favour in the sight of the girls. This can be readily understood by anyone who has seen the active skilful and fatiguing dances of these people. A young man who could acquit himself well in these dances must be possessed of no mean strength and agility qualities which everywhere appeal to the opposite sex.