BLACK PEOPLE’S DANCE
Starting with the very first communal gatherings of earliest Africans there was an assortment of things which served as a bridge between their Seen World and the Unseen Metaphysical Realms or between phenomena and Ideas. Examples included the “Poetic” mindset which embraced Dance, Music, and Poetry. Such a mindset was brought about by encountering the beauties of Nature–from problems faced related to daily living–from diasters of earthquakes, floods, wild animal attacks–and from emotionally disagreeable gods in the Unseen world. The “handling” of the gods demanded using Magic and Religious practices. This story starts with the Cosmic Realm’s “Beings Creators” imparting Spiritual Elements into the Selfhoods of those destined to be humans immediately following conception. This meant each fetus in the mother’s womb was a system of Vibrations and therefore bubbling with a series of complementary rhythms all working interdependently to create a harmonious newborn–each with Dance basic to her/his nature–the only birthgift Art of which every human is made. Though born with developed Right Brain faculties of Imagination, Feelings, and Emotions–but not reasoning, intellect and common sense–coordinated rhythms in Music and Poetry (the earliest language of humanity derived from imagination and verbal creativity) developed slowly. Yet, Primitive Africans considered Dance as both Music and Poetic Speech.
Dancing, the source of all Arts, is the “Seed” for, and the cradle of, Music and Poetry–each coming out of the Foundation of Vibrations–each representing the most refined and profound form of communication–each sharing this Foundation with animals. All three convey, by means of Symbols, what cannot be said. Its symbols are invested with such significance as to stand for something special beyond itself—something that puts one in touch with or supports ones highest (or Real) Self—something that helps make life more bearable or understandable. The activity of all three has the effect of generating an inner peace in the setting of mental inactivity. All three, by being Spiritual Elements Based, express themselves in ones Private Self. Today’s Click, Whistle, and imitative (e.g. the bird’s “cau, cau, cau”) unspoken voice sounds of Sans (Bushman as called by Europeans) of Kalahari are descendants of Primitive Africans. Their form of language suggests they were able to communicate directly with animals. The point: spontaneous Unconditional Love flowing throughout ones Selfhood generates a Spiritual bond between all Dance forms of Complementary Opposites within ones Selfhood. Because Unconditional Love flows spontaneously outside ones Selfhood, it has the capability of Bonding with those ready, willing, and able to receive it. Hence a bond between all concerned has Unconditional Love as its ingredient and that enables those willing to be spiritually connected to communicate by Instincts (i.e. vibratory Feelings).
For this bond to continue between all Dance forms of Complementary Opposites, Unconditional Love must remain spontaneous and Natural so as to stay within the realm of the Spiritual. Meanwhile, Dance is the vehicle for conveying abstract ideas into concrete form (i.e. communicating thought as matter). Primitive Africans’ used Dance as a symbolic way to express these concepts–expressions of reverence for the life-giving earth. For later Africans, by being part of the dance of the entire Cosmic Organism–the true spirit of delight–the exaltation–the sense of being more than a single individual, became their touchstone of the highest excellence. Thus, they saw Dance as the loftiest, the most moving, and the most beautiful of the Arts because it is no mere translation or abstraction from life but rather its rhythm represents life itself. To be one with the Complementary Opposites of Music and Poetry flowing throughout ones inner nature means when one moves, the others move–a perfect moment brought about by ones body and total Selfhood experiencing a total unity, as if by strong Magic. Its Magic is attributed to the ability of Dance to “work” the imagination in dealing with everything in Heaven and Earth. So, Sculpture joins with Dance; Dance with Music; Music with stories and proverbs–all transferrable to daily living practices. Thus, Africans taught children by demonstrable Affect Symbolic Imagery–and what child could forget a Proverb’s life-shaping meaning danced to music with rhythmic maneuvers? jabaileymd.com