Dance As Community Identity in Selected Berber Nations of Morocco
from the Ethereal and Sublime to the Erotic and Sexual
by MOROCCO (Carolina Varga Dinicu)
(For Congress on Research in Dance & Society of Dance History Scholars Conference/ Lincoln Center, New York City, June '93)
Posted, as always, with permission from the Lady.
II. Betrothal Dance of Tissint: Pursuit, Persistence and Victory
Tissint is located in the south of the Anti Atlas, about 40km from the Algerian border. The women's festival clothing is marvelous: a long, flowing black overrobe with multicolored zigzag embroidery at the shoulders and across the chest, tied at the waist with a multi- colored woven wool belt ending in tassels hanging almost to the feet. The black head veil is held in place by embroidered bands hung with silver coins and almost unbelievably elaborate large silver jewelry, chains and ornaments. Very large silver hoop "earrings" hang from both sides of this headwear. Many necklaces of graduated size, made of silver coins, some interspersed with large amber, turquoise and coral beads, adorn the chest. Large silver bracelets circle each wrist.
The men wear flowing blue ghandouras over white kaftans, with black cloth wound into turbans on their heads: similar to, but not as big or elaborate as the dras and tagelmousses of the Blue Men. Each has a dagger at his left hip, its sheath attached to a braided cord hung over the right shoulder and across the chest. Some ghandouras have elaborate, thin-cord embroidered ornamentation on the chest and pocket.
The bendir players (4), clappers and chanters are from the community and not professionals. They sit in a circle, in the center of the dance space, not only musicians and accompanists for the festivities, but chaperones making sure the limits of propriety are adhered to.
After the group of mostly young men and women dance awhile to a relatively lively tempo, one of the young women detaches herself from the group. One of the young men stands, holding overhead the corded belt from which his silver dagger dangles: he offers his protection. It is an official, public proposal of marriage. (Usually known about and agreed to in advance, but not always: surprises do occur.) He dances after her, whirling and swooping, the dagger, held high, swaying on its cord. She constantly flutters her shoulders like a frightened bird, hands palms up, elbows gracefully bent, while she flees from him for awhile, then approaches, coyly whirling and escaping at the last moment.
When done "for real", this "mating dance" goes on for quite awhile, to show that she is "hard to get" and he is undaunted in the face of resistance, because he truly wants her for his wife. Once she lingers in front of him long enough for him to slip the corded belt over her head, they are officially betrothed. He kneels before her beauty and acceptance of his proposal. She, shoulders still fluttering, makes a last circuit of the group, showing off his dagger around her neck: she is under his protection.
This danced ceremony, involving the whole community, predatesIslam. It continues in spite of efforts by conservative religious elements and bureaucrats to convince the people of Tissint to abandon it as heretical and against the Hadith, and use only religious contracts, ceremonies and bureaucratic paperwork to legalize their unions. Fortunately, its continued inclusion in the Marrakesh Folk Festival by the Ministry of Culture keeps the anti - dance wolves in Tissint at bay for the present.
from the Ethereal and Sublime to the Erotic and Sexual
by MOROCCO (Carolina Varga Dinicu)
(For Congress on Research in Dance & Society of Dance History Scholars Conference/ Lincoln Center, New York City, June '93)
Posted, as always, with permission from the Lady.
II. Betrothal Dance of Tissint: Pursuit, Persistence and Victory
Tissint is located in the south of the Anti Atlas, about 40km from the Algerian border. The women's festival clothing is marvelous: a long, flowing black overrobe with multicolored zigzag embroidery at the shoulders and across the chest, tied at the waist with a multi- colored woven wool belt ending in tassels hanging almost to the feet. The black head veil is held in place by embroidered bands hung with silver coins and almost unbelievably elaborate large silver jewelry, chains and ornaments. Very large silver hoop "earrings" hang from both sides of this headwear. Many necklaces of graduated size, made of silver coins, some interspersed with large amber, turquoise and coral beads, adorn the chest. Large silver bracelets circle each wrist.
The men wear flowing blue ghandouras over white kaftans, with black cloth wound into turbans on their heads: similar to, but not as big or elaborate as the dras and tagelmousses of the Blue Men. Each has a dagger at his left hip, its sheath attached to a braided cord hung over the right shoulder and across the chest. Some ghandouras have elaborate, thin-cord embroidered ornamentation on the chest and pocket.
The bendir players (4), clappers and chanters are from the community and not professionals. They sit in a circle, in the center of the dance space, not only musicians and accompanists for the festivities, but chaperones making sure the limits of propriety are adhered to.
After the group of mostly young men and women dance awhile to a relatively lively tempo, one of the young women detaches herself from the group. One of the young men stands, holding overhead the corded belt from which his silver dagger dangles: he offers his protection. It is an official, public proposal of marriage. (Usually known about and agreed to in advance, but not always: surprises do occur.) He dances after her, whirling and swooping, the dagger, held high, swaying on its cord. She constantly flutters her shoulders like a frightened bird, hands palms up, elbows gracefully bent, while she flees from him for awhile, then approaches, coyly whirling and escaping at the last moment.
When done "for real", this "mating dance" goes on for quite awhile, to show that she is "hard to get" and he is undaunted in the face of resistance, because he truly wants her for his wife. Once she lingers in front of him long enough for him to slip the corded belt over her head, they are officially betrothed. He kneels before her beauty and acceptance of his proposal. She, shoulders still fluttering, makes a last circuit of the group, showing off his dagger around her neck: she is under his protection.
This danced ceremony, involving the whole community, predatesIslam. It continues in spite of efforts by conservative religious elements and bureaucrats to convince the people of Tissint to abandon it as heretical and against the Hadith, and use only religious contracts, ceremonies and bureaucratic paperwork to legalize their unions. Fortunately, its continued inclusion in the Marrakesh Folk Festival by the Ministry of Culture keeps the anti - dance wolves in Tissint at bay for the present.
posted by:
|
Houston
|
