In a casual discussion with a friend – a choreographer – on the significance of dance beyond its general recognition and its ability to induce people of all ages to react to its rhythm, she opined: “it’s the rhythm that comes from within us that drives us to dance. Even the heart, which functions independently, has its own rhythm, beat, and timing of movement. I think dance possesses a unique essence. It reveals aspects of our identity as individuals and as members of a community.”
Through time, I found myself in agreement with her perspective, as I hold the belief that dance possesses a transformative force that breathes life even into individuals/communities, offering them an opportunity to communicate, rejuvenate, and express themselves. In the words of a renowned international artist: “music can change the world because it can change people”. Dancing, as an integral part of it, can benefit the community and its neighbours by enhancing cultural and social aspects for everyone involved and promoting social and cultural engagement.
In our case, every ethnic or language group in our nation has specific dances and movements – albeit with some similarities with others – that convey in their own unique ways, distinct messages while simultaneously leading to a wide and rich variety of dances and movements across the nation.
Within this broad perspective, we will focus here on Shelil; one of several dance genres of the Blien as well as within communities (with some variations) of the Tigre language groups..
Shelil dancing is a type of performance dance for adult women in which the women sway their well-oiled, braided hair in public. The girls can dance in groups or individually, switching roles every time. Together with the song, hand clapping, and the Kelembura (drum), the dancers turn their heads and hairs to the left and right. Opening the hairdo in public is a suitable way for grown women to demonstrate their unique abilities and emotional states, claiming these areas as their own.
Men are not allowed to execute such a sophisticated Shelil dance because of the hairdo and the implicit bias that is specific to women.
The aesthetic aspects of the feminine body and hairstyle are amplified in a subliminal connotation in Shelil which are further crystallized in the lyrics linked to this sort of dance, according to a research paper on Blien dances and songs.
The words express admiration, encouragement, and an intriguing dance. The dancers’ passion and the sung verses propel the performance to a faster pace. Eventually, everyone becomes a little weary of the performance, and another Shelil dance or dance from a different genre follows. A lead vocalist may perform recently composed poetry in celebration of the dances, or they may recite lyrics that are already well-known and part of the community’s culture.
Typically, a group of Shelil artists may give a single performance. These dances bear a resemblance to other Blien dances, such as Beredg and Wessomia, which are predominantly performed by adult males and involve their back-and-forth movements in front of seated girls. Despite the perception that these dances are exclusively for men, women also play significant roles, such as ululating in Beredg and playing the Kelembura drum. Married women in Wessomia commonly express their happiness and welcome a new feast by ululating.
Shelil is mostly danced during wedding ceremonies. This is particularly so during Kxan, when relatives of the groom’s family typically bring the bride to her in-laws’ house, necessitating their participation. Eventually, additional female dancers join the relatives. The most prevalent elements of this style of dancing, which is the most well-liked among the Blien community, are the ubiquitous drum, the use of swaying well-groomed hair, and frequently the sound of sticks striking against each other. All of these elements work in harmony with the rhythmic beats and sounds.
Even when performed in casual and ritual mode, the dances often resemble formal and accomplished theatrical performances with captivating tunes, sound, and body movements.
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