Introduction
This research paper highlights similarities and differences between four dances: the dancing role of the shaman, Los Seises, Spanish Fandango, and Jig. It analyses the history and geographical context in which the four dances were born as an essential part of their artistic content. It also focuses on the elements of BESS (Body, Effort, Space, and Shape) of each dance, emphasizing similarities and differences.
Shamanic Dancing
Shamanism is one of the earliest spiritual practices that has influenced people of many nationalities and religions across the world. It involves a practitioner – a shaman – who is believed to interact with spirits and navigate spiritual energies and hidden powers of nature into the physical world. Shamans are believed to have healing powers, communicate with the dead, and influence weather by directing these invisible forces (Ruiz & Ruiz, 2018). Dancing is one of the ways Shamanic Journeying aims to demonstrate to the viewers the connection with the unseen energies of the universe through an altered state of consciousness, such as trance.
In dancing, a shaman reaches a deep state of trance by breathing and movements. He wears regalia, and the spirits are brought in with the sound of his drum (Beaman, 2017). The attributes used by shamans across the world highlight her role not only as a healer or a custodian but also as a performer, who actively uses his body language (Winkelman, 2018). An essential part of dynamic shaman dance is special effects, such as fire and, in some nations, a smoking tree, and the assistance of the shaman’s helper, who takes part in the practice (Beaman, 2017). Fire, light, and shadows are used to fascinate the audience and help them visualize the invisible powers of nature. In combination with dynamic and powerful body language and narrative, shaman dance became a fascinating exploration of spirituality in many cultures, from Siberia and China to American indigenous peoples. Today shamans still play an active role in many societies as healers and custodians. The popularity of Shamanism also prevails among scholars and the general public. Scholars and professionals teach shaman dancing as a practice that helps people be more confident and free.
Los Seises
Originating from Seville, Spain, Los Seises, or the “Dance of the Six,” dance is performed by a group of children, ten singing boys, dancing in a cathedral. The dance was born in medieval Andalusia and initially included only six singing dancers. The number of performers varied in time, yet the dance has kept its original name (Maloy, 2020). The Six was the name for the choir boys attached to the Cathedral of Santa Maria (Salomons, 2017).
The tradition of first singing, then dancing boys of about twelve or thirteen, emerged after Reconquista when Christianity was blooming in Andalusia. In the fifteenth century, the idea of a group of young performers was accepted by the clergy and supported by Pope Nicholas V, who offered a special teacher for the boys (Maloy, 2020). Los Seises became an important part of Catholic celebrations; the boys performed in the Cathedral during the service, in an atmosphere of divineness and sacrality.
Today, Los Seises remains a tourist attraction of Andalusia that is only performed three times a year, in the Octave of Corpus Christi, in the Octave of the Immaculate Conception, and the Carnival Triduum. The boys wear traditional medieval clothing, hats, and plumages and hold ivory castanets (Salomons, 2017). Performed before the Holy Sacrament, with the clergy kneeling during the ceremony, the dance of young boys is associated with innocence and joy. The dance’s reflection on spirituality, internal and external, and visible and invisible power link this deeply religious performance to shamanist journeys searching for spirituality. The old Catholic tradition of Los Seises singing and dancing in the Cathedral of Santa Maria is one of today’s most unusual and beautiful religious dances.
Spanish Fandango
Fandango is a lively dance, that originated in the Iberian peninsula in the early 18th century. Originally a folk song and dance, fandango became very popular among the Spanish aristocracy. Very energetic, the dance has two versions: one is performed by couples who tease each other and depict passion. Another form of fandango is performed by two men, who challenge each other in skill (Christoforidis, 2018). The speed of the dance increases with time, and the dancers’ steps are accompanied by singing and clapping. Interestingly, the passionate dance popular among the European aristocracy was disproved by the Catholic church (Raussert, 2019).
In the Spanish version of fandango, guitars and castanets were used since the 18th century. Sensual, fast, and rhythmic, fandango greatly influenced our perception of Spanish dance, along with flamenco. Its meaning of it quickly went beyond dancing, as fandango music inspired prominent European composers of the 18th and 19th centuries: Gluck, Rameau, Rimsky-Korsakov, and Boccherini (Christoforidis, 2018). As it ironically depicted love, passion, power, and anger, the dance went beyond the language of movement, impacting whole cultures across borders.
The Jig
The jig is a folk dance originating in 16th century Ireland and other parts of Great Britain. Today it is strongly associated with Irish and Scottish folk tunes and dances, characterized by rapid and energetic feet and legs movements. A typical folk dance, the jig shortly entered Great Britain and continental Europe’s courts and grabbed the attention of well-known composers (Leach, 2019). The jig can be performed by groups, solo dances, and couples, who make quick steps, following the rhythm.
Just like fandango, the jig became very popular for its lively and ironic depiction of human characters. It blended the spirit of carnivals and fairs with musical joy and strong leaps and quick steps (Claire, 2018). Captivating audiences, the jig stormed the stages of the 17th century, becoming a professional dancer. All social classes loved the dance, and soon, it became highly popular not only in Great Britain but in other European countries. The movements were inseparable from humor that were particularly appealing to the 17th-century audience. Professional jig performing included clowns and other simple, traditional characters: husbands, wives, servants, and soldiers (Leach, 2019). A mix of professional dance with comedy and theater, jigs remained popular and were performed in taverns and at fairs until the late 17th century.
The jig’s cultural impact is hard to overestimate: it crossed the ocean and became a popular dance genre in Canada and among Irish migrants in the US. Soon it blended with dynamic North-American culture; danced to banjo, it became an essential influence on modern tap dance that emerged in the early 20th century. Today, the gig is associated with the folklore of England, Scotland, Ireland, and Canada. It is known for its energetic and strong footwork to playful folklore motives, while its popularity as a stage dance performed by artists, clowns, and minstrels, remains a lesser-known part of its legacy.
Conclusion
The practice of dancing is inseparable from human history. As we see it in Shaman journeys, dance was more than a movement. It was a human attempt to discover oneself and reflect on the world, filled with unknown and mysterious powers that allow free movement. The connection between dance and spirituality evolved throughout history and brought dances inside churches. While some physical portrayals, such as the poetic modesty of Los Seises, were accepted by Christianity, other forms of dances, particularly expressing love and passion, were criticized. A unique ability to express ourselves through body movements makes dance a special artistic practice that deals with physical and spiritual aspects of human lives.
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