UDC: 793.31(680)
     316.422:793.31
COBISS.SR-ID 163939593

Received: Oct 02, 2024
Reviewed: Jan 06, 2025
Accepted: Jan 12, 2025

#4 The Dynamics of Globalisation in South African Black Traditional Dance of Cape Town

Maxwell Xolani RaniCentre for Theatre and Dance Performance Studies, University of Cape Town Centre for Theatre and Dance Performance Studies, South Africa[email protected]

Citation: Rani Xolani T. Maxwell. 2025. "The Dynamics of Globalisation in South African Black Traditional Dance of Cape Town." Accelerando: Belgrade Journal of Music and Dance 10:4

Abstract

Black people represent 79 percent of the total population in Africa, forming the majority of the population. This article seeks to complete a comparative analysis of the positives and benefits associated with teaching South African traditional dances of Black people to ‘outsiders’. Accordingly, the article will be composed of research philosophical epistemology. It will discuss exactly what South African traditional dance(s) is through a South African ‘Black’ lens, how teaching varies from one region to another, and the importance that ‘Black’ South African traditional dances currently hold in most societies. The challenge is that South Africa is urbanized and globally affiliated to other dance fraternities. That is virtuous, however, there is a fear of losing the objectives and authenticity of these traditional dances by most ‘Black’ practitioners. This article will explore the advantages of teaching South African traditional dances to ‘foreigners’ such as preventing loss traditions, global education of South African dance traditions, as well as the economic benefits of disseminating South African dance cultures. It will explore the dangers that come with opening South African ‘Black’ traditional dances to ‘foreigners’ as the result of cultural appropriation and cultural fusion. In addition to cultural appropriation, the article will discuss the potential possibilities of the commercialization of South African ‘Black’ traditional dances, and the loss of innovative dance culture that can happen through these means. It will then evaluate the arguments and contend which course of action ‘Black’ South African traditional dance practitioners should take, if they should expose such practices to ‘outside learning’ for teaching or dancing.

Keywords:

colonisation, globalisation, cultural appreciation, cultural fusion, cultural exchange, religious expression, dance traditions, black culture

Background

The researcher is a senior lecturer at the University of Cape Town’s Centre for Theatre and Dance Performance Studies in South Africa. He has specialized in teaching practical classes that are focusing on making of South African contemporary dance theater productions and nurturing a dancing body to be at its professional performance standard. It has been 22 years that he developed curricula focusing in movement investigating, movement dramaturgy, and embodiment of movement characterization in an Afrocentric paradigm for (TDP3046/TDP3047W, TDP4045W, TDP1088F/S) which is a performance study course in a third yearthird-year level and fourth year. Then the Exchange course that has internaonal students and a community of African dance scholars around Cape Town.

This research article is inspired by the nature of the design of the courses, which is leaning towards South African traditional dance(s) of ‘Black’ people of South Africa. The build-up is a scaffolding from Second Year level to assure a full understanding of South African movement aesthetics, with its dynamics and complexities ranging from gender, culture, traditions, and the involvement of indigenous musical instruments, to name a few. The course unpacks endless research works with aspiring articles, books, journals and research sites for an academic sound and inspiring theoretical understanding of the scholars existing in the genre. The course also provides an understanding of the African continent, whilst exploring the history of the global North diaspora across the Atlantic in relation to performance making of ‘Black’ people.

The nature of the work covered in the course offers an opportunity to interrogate the advantages and disadvantages of globalization in such a complex material covered. The questions and conversations mostly stem from African dance productions performed and the interest of Cape Towns’ dance community enthusiasts. How can people who are ‘foreign’ and not ‘Black’ teach with a full understanding of such an historically significant focus on South African aesthetics and rigor, neither embracing understanding or embodying the history of the ‘Black’ people’s dance cosmology?

Questions such as the one above, and added conversations surrounding the topic, are what provided stimulus for this research article. The kind of robust questioning concerning ‘Black’ South African social traditional dance(s) in our theatres has not been explored extensively in research. Hence, this article aims to add value to our African dance studies of South Africa, with a focus on the Cape Town area particularly.

Introduction

In most cases, South African traditional ‘Black’ dances refer to the history of dance in sub-Saharan Africa and Diaspora in this context. As a young Black dance academic, the author experienced the negativity behind the term ‘Black’. The word was associated with discrimination, being viewed as unintelligent and underprivileged. For some reason, this term has been used endlessly in times of apartheid by Black people for empowerment and politically rebellious reasons. Out of such stigma, Black people reappropriated the word and inserted value by attempting to use it in a positive voice, which reflected intelligence, pride, culture and ownership.

The ideology of ’Black’ has roots of consciousness intact due to its history, and legacy in South Africa (Amin 2011). It refers to the social behaviour and a humane reflection of its people. South African traditional dances traditionally played an essential role in the cultural tradition of tribes. In most African countries, African traditional dances have long been considered a valuable tool of communication and culture. As Judith Lynne Hanna denotes in Africa’s New Traditional Dance, unlike the more individualistically centered cultures seen in Western Europe and North America, African culture tends to focus on the collective experience, and experiencing dance as a group therefore plays a key role in society (Hanna 1965). However, South African traditional ‘Black’ dance(s) itself cannot be compartmentalized into one definition, as diverse cultural traditions and dance(s) in different ethnic groups make it impossible to singularly define or group South African traditional dance as one entity.

South African ‘Black’ people’s dance(s) impact on traditional culture today has significantly declined for a variety of factors in most South African provinces. Firstly, the imposition of Western colonization restricted the spread of South African dance(s), as well as the effect of different colonizer’s drawing state lines and breaking up trial groups (Ibid.). Secondly, the cultural impact of Western colonization and Neo Imperialism fundamentally destroyed much of traditional South African cultures. South African ‘Black’ people’s dance(s) are most traditionally used for ‘religious and socio-economic functions’, and with the spread of Christianity, the importance of South African ‘Black’ dance in traditional religious functions declined (Ibid.). Thirdly, as South Africa became independent, states encouraged the rise of nationalism and deemphasized the importance of individual tribes, which impacted tribal culture. These changes have impacted some provinces more than others. Overall, they have reshaped the cultural fabric of South Africa and impacted the importance of many cultural traditions, most notably South African ‘Black’ people’s dance(s) (Rani 2013).

Currently, African dance is actively being 'brought back', and its importance as a tool in encouraging African culture is more recognized and getting its momentum in most African countries. During the apartheid era in South Africa, South African ‘Black’ dances were used as a political tool against the oppressive apartheid government, not only by ‘Black’ South Africans, but also by ‘White’ South Africans who assisted in times of the struggle (Ibid.). Apartheid was a social and political policy of racial segregation and discrimination enforced by a white minority government in South Africa from 1948 until 1994. The term derives from the Afrikaans (a language of southern Africa, derived from the form of Dutch, brought to the Cape by Protestant settlers in the 17th century, and it is one of the official languages of South Africa.): apartheid word denoting ‘apartness’. It is important to state that not all white South Africans supported the apartheid government and its policies (Rani 2018).

As globalization continues, South African ‘Black’ dances have also been spread across the world. One witnessed this trend from the times of African Footprint, Lion King, Last Face movies and presently The Woman King Film. This article seeks to complete a comparative analysis of the benefits as well as disadvantages of the spread of global cultures, specifically focusing on South African ‘Black’ traditional dances. Comparative analyses are done purposefully to expose some grey area and be unbiased. The author will examine the advantages and disadvantages of opening South African traditional dance culture to ‘outsiders’ and their impact on South African dance(s). To assess the benefits or drawbacks of teaching South African dance(s) to ‘outsiders’, the author must examine a series of questions:

• 1. What South African dance teaching means, and
• 3. Who is ‘qualified’ to teach it?

Teaching of South African ‘Black’ Traditional Dances

Teaching South African ‘Black’ traditional dances has become a niched job, and there has traditionally been a struggle to send out ‘qualified’ teachers to teach South African ‘Black’ dances, as historically there was no institutional framework that could assess and label teachers as ‘qualified’ or not. Specifically in South Africa, this continues to be a problem - there is no lack of institutional framework to assess aspiring South African ‘Black’ dance teachers, but rather there are not as many people who wish to teach South African ‘Black’ dance(s). This problem stems from the loss of the importance of South African ‘Black’ dance in South African cultures, as they themselves are facing “loss traditions” (Rani 2013). However, if a country on the continent of Africa has this problem of spreading and teaching African dance(s), then how will it impact the global spread of African dance(s), particularly in Western traditions such as the United States and Europe?

Traditionally, teaching African dance(s) in most African countries was a role usually relegated to a specific dance expert in each tribe, who was tasked with the responsibility of teaching children the customs and dances of their culture (Edmondson 2001). The importance placed on such teachings continues to prevail in South Africa today, as African dance is still recognized as a valuable part of education in the country, particularly in the greater Cape Town. It is an important preservation of culture and aids in codifying African dance teachings by setting official boundaries around it, making it Afrocentric.

Advancing the conversation, In Tanzania, the Ministry of Cultures offers a three-year course of study focusing on teaching its multiethnic body a variety of Ngoma from across the country, which reflects the diversity of Tanzania’s 120 ethnic groups (Ibid.). These Ngoma(s) are collected into one canon of dance knowledge, and disseminated and taught to successive generations, as students go on to become teachers in “various far-flung regions of the country” (Ibid.). Within a South African context and commonalities to other African countries:

Ngoma dance style has been associated with industrialization and urbanization in the shifting socioeconomic and political context of South Africa. It is based on movement patterns and complex one-legged stance in stamping, with impeccable aesthetic due to the number of dancers and moving in uniformity in a syncopating manner. (Meintjes 2004, 174)

In most African countries, teaching African dance(s) is important because it involves the passing down of cultures and religious practices. Because of this, one can say dance serves a greater purpose, which makes teaching it a remarkably heavy responsibility and obligation.

Teaching African traditional dance in the United States does not hold as much spiritual or cultural importance as in most African countries. This bold statement is personally coming from a place of knowledge, as the author has visited and taught in the United States of America in North Carolina (A&T State University in Greensboro), Philadelphia (Temple University), and University of Wisconsin- Madison, to name a few. If African traditional dance is taught in the United States, it is usually only of a minority education focus. That is, it is usually part of a Black Studies department or a ‘fun’ elective for students to choose from, rather than a deeply spiritual and purposeful education, the role it is given in Africa (Green 2011, Mabingo 2014). It is precisely because there are less deep cultural connections that students can make to dances that it is usually taught as a cultural elective of the sort.

An important question for aspiring teachers of African dance is the idea that one must be racially profiled to ‘qualify’ as an African dance teacher. That is the idea that only ‘Black’ people are supremely qualified to be able to teach and disseminate African dance. It is a controversial discussion, but one that is continually had, especially as African dance disseminates across the globe. The purpose of this article is not to conclude on an answer to this question, but rather to examine the arguments around this question. South African ‘Black’ traditional dance is just that - African traditional dance, and it is part of a culture that existed long before Western colonialism. For many people, it feels wrong to see non-African teaching and distributing a culture that many feel do not belong to them. Some have likened this to another form of Neo-colonialism, where other ethnic groups, especially some white people, have decided that they are able to teach it out of their appreciation of African dances.

However, it is problematic to take and teach it as an ‘obsession of the physical enticement’, especially considering the religious sanctity of a proportion of African dance(s) and its in-depth cosmology. This leads to the question of appropriation versus appreciation. Is it possible for white people to teach African dance without appropriating it, especially if they themselves do not appreciate or fully understand the implications of the dance(s) they seek to learn, perform, and teach?

The positives of globally spreading of South African ‘Black’ Traditional Dance(s)

There are many advantages to opening South African ‘Black’ dance(s) and South African ‘Black’ culture(s) to ‘foreigners’, especially in the increasingly globalised world that we presently live in. Many people in South Africa say that to become a better global citizen, people are responsible for trying to authentically engage with and understand outside cultures and their influences. These broadened perspectives serve to make the world a better place, as a global citizen engages authentically and purposefully in a world fuelled by human connection, compassion, and potential to connect culturally and economically. As South Africa grows more relevant in world affairs, it is exceedingly aware of South African culture(s). This is not necessarily a terrible thing, but rather an opportunity for South Africa to embrace its history and show the western world that modern does not need to equate to western, and that South African culture(s) are just as beautiful and profound as Western culture professes itself to be.

As mentioned earlier, it is impossible to 'pigeon-hole' South African dance into a monolith, as there are many diverse cultures, and many different types of dances that make up the overarching umbrella term ‘African dance’ or ‘South African dance(s)’. There is “South African ‘Black’ traditional dance(s)”, “South African contemporary dance(s)”, to name a few (Glasser 1991). Throughout the research done for this article, it has become clear that the western world tends to have an extremely biased, ethnocentric perspective on what African dance is and looks like (Loots 2006). South African ‘Black’ traditional dance(s) is/are often described as primitive, and savage like. These are words used to continue to impose Neo-colonialism on African and South African culture(s). South African ‘Black’ dance is deeply spiritual, religious, and in every way is aesthetically pleasing. If South African ‘Black’ dance chooses to open itself up more to ‘outsiders’, it should be empowered with the ability to properly teach ‘foreigners’ dances along with the spiritual component, to ensure that proper respect will be given to this art form, and individual aesthetic will be nurtured by understanding the importance of cosmology when learning such an art form. Otherwise, it would be easy for ‘foreigners’ to take the South African dances, appropriate them, and teach them to others while spreading misrepresentation and ignorance. It would also encourage ‘foreigners’ to look past ‘gimmicky’ African tourist dances, which continue to subjugate African culture(s) for the benefit of wealthy tourists who like to see ‘savage, primitive dances’ when they come to an African country (Friedman 2010).

Teaching South African ‘Black’ dance(s) to ‘outsiders’ would also prevent loss of traditions actively happening in South African cultures presently due to urbanization and industrialization. As most parts of South Africa have modernized, it faces a problem among its youth, who are unwilling to continue cultural traditions in their tribes and villages in rural areas, and instead prefer to go to bigger cities in urban areas to pursue other dreams. This has created a ‘brain drain’ of traditional tribal customs and practices that could potentially be prevented if these cultural practices were taught to ‘outsiders’ that at least the culture would be documented and not die out (Reed 1998).

South Africa is a calabash of cultures, languages, and traditions (foreign nationalities and locals alike), showing off an overwhelming amount of diverse cultural practices and traditions. This incredible diversity of culture - including religious practices, music, and dance - is struggling to keep up with the impact of modernization, and most South African ‘Black’ youths opt to move away from such traditional practices (Edmonson op. cit.). This could also be seen because of Neo-colonialism, as the western world continues to treat South African ‘Black’ traditional practices as “primitive, and backwards”, making the continuation of decolonization of the Black consciousness important (Ibid.).

However, no matter how this situation has happened, the result is the same - those cultures and traditions are being lost. If South African ‘Black’ dance(s) and its culture(s) were to be accessible to ‘foreigners’, it is possible that it would open up a bigger opportunity to continue to preserve South African ‘Black’ traditional cultures, instead of just a select amount of knowledge about specific dances. This is the current situation in Tanzania, with a canon of traditional Tanzanian African dance being learned and taught, which has neglected other dances and resulted in them being forgotten and lost (Ibid.).

Globalizing South African ‘Black’ Dance Cultures

Forging cultural understanding and connections

If South African ‘Black’ dance(s) opens and spreads, then it is inevitable that other parts of African cultures will also spread - such as music, costuming, dramaturgy, and art. This could have an incredible impact on the world. As South African ‘Black’ dance cultures get disseminated and become more widely known, it could lead to greater cultural understanding and appreciation for South African ‘Black’ dance art and culture. Not only would this encourage ‘soft power’ diplomacy, but it could also help revitalize South African economies as could encourage exporting television dramas, music, dance, and art.

‘Soft power’ is the ability to affect others to get outcomes one prefers, and that can be accomplished by coercion, payment, or attraction and persuasion. For example, the United States' soft power is cultural exports like fast-food chains, movies, and educational exchange programs (Nye 2004).

This phenomenon is not just a thought experiment, but has successfully happened in South Korea, as South Korean culture spread globally through the Hallyu Wave or the Korean Wave (Kuwahara 2014). There is no reason that this would not be able to happen for South Africa either, in the researcher’s opinion it already happened to most African countries. The Korean wave "Hallyu” in Korean refers to a surge in the international visibility of Korean culture – beginning in East Asia in the 1990s and continuing more recently in the United States, Latin America, the Middle East, and parts of Europe (Ravina 2009). The Korean wave portrays an unprecedented frame of Korean popular culture by the Korean media, alongside the line with commercial nationalism. As a result, the Korean wave is manifested as a regional cultural trend, signifying a triumph of Korean culture (Ju 2018).

There are many positive objectives associated with teachings of South African ‘Black’ traditional dance(s) to ‘outsiders’, but there are also many negatives that could potentially happen. We will examine these negative objectives in the next sections of this article.

The Potential Negatives of Spreading South African ‘Black’ Dance(s)

The biggest fear most South African ‘Black’ dance supporters seem to have with the idea of disseminating South African dance across the globe is the rational fear of cultural appropriation taking place. Not only cultural appropriation, but also increased loss traditions because of appropriation and cultural fusion (Glasser 1991). These conversations are, according to the author, ‘corridor conversations’, when practitioners meet in Theatres and dance societies in Cape Town.

Additionally, there is the fear of commercialization of South African culture(s), which are problematic not just because it would result in appropriation, but also because it fundamentally would disrespect much of the essence of South African ‘Black’ dance(s), which is extremely spiritual and used in social traditional religious practices. Commercialization would also lead to the loss of control over South African ‘Black’ dance cultural traditions, that could result in tremendously disrespectful and offensive practices that would stain the sanctity of South African ‘Black’ dance as a religious expression. Another consideration is cultural appropriation, which is the adaptation of the elements of one culture to be used in another; but more importantly to a particular power dynamic where a dominant culture takes elements from a culture of people who have been systematically oppressed by the dominant group (Johnson 2015). Cultural appropriation is an enormous challenge, but there is a fine line between cultural appropriation and cultural appreciation.

There is another concern that if South African ‘Black’ traditional dance(s) are opened to ‘outsiders’ that these outsiders would then appropriate elements of South African ‘Black’ traditional dance(s) and ignore the culture and historical importance of these dances. It also is not an outsider’s right to have access to these dances and cultural practices. As Ann Cooper Albright says in her piece Channeling the Other:

having respect for an art form does not warrant your using it in any way you want. (Albright 2003)

When teaching African dance and learning African dance, it is important to keep the process Afrocentric. Consequently, the avoidance of cultural appropriation not only lies with students, but it is also the responsibility of the teacher to ensure that appreciation, not appropriation, takes place (Kerr-Berry 2011). Cultural appropriation could take elements of South African ‘Black’ dance(s) without paying true homage and acknowledging the origins of Afrocentric dance cosmology. Cultural fusion, not cultural exchange, would take elements of South African ‘Black’ dance, and make it the dominant culture’s own, which fails to acknowledge the value of the original culture. It allows the original culture to be appreciated, without having to acknowledge their struggle, or their story. It also allows sanctified, important cultural practices to be rethought of, as ‘cool or fashionable’, which is offensive and inappropriate (Johnson op.cit.).

With globalization culture spreads rapidly, there is also the fear of the commercialization of culture taking place. As an African dance scholar and practitioner, the author personally has seen and witnessed other sanctified religious practices, such as Yoga and Tae Kwon Do, and it is important to learn from their history to prevent such an occurrence happening to South African “Black” traditional dance(s).

Specifically looking at the history of Tae Kwon Do, a martial arts tradition filled with a painful history. Tae Kwon Do was formed after the Japanese colonization of Korea, and many believe that it started as a form of rebellion, and self-defence against the Japanese Imperial soldiers (Enkamp 2016). After South Korea became independent, Tae Kwon Do continue to be practiced and taught in honour of Korean history, and it began to spread across the globe. As Tae Kwon Do spread, people began to see the value in commercializing the art and churning out ‘Mc Dojos’ that would hand out black belts like water, without taking time to ensure that Korean culture and Korean history were properly taught and respected (Ibid.). Receiving a black belt from a Tae Kwon Do dojo in the 1990s and 2000s became nothing at all, and the valued history behind Tae Kwon Do began to fade into obscurity, especially because the commercialization of the martial art began to reflect badly on martial arts in general. This caused other schools of martial arts to disassociate themselves from Tae Kwon Do, as the reputations of numerous martial arts became tainted; subsequently losing much of the valuable history and religious meanings behind these practices (Ibid.).

This exact scenario is what makes ‘opening up’ South African ‘Black’ traditional dance(s) to outsiders dangerous. South African ‘Black’ traditional dance teachers are understandably fearful of seeing their culture, and their important religious practices, become heartlessly commercialized and losing their cultural traditions this way. It is significant to acknowledge that South African ‘Black’ traditional dance(s) are made up of many feelings and authentic emotion. If they become commercialized and codified without proper knowledge, it begs the question of whether that would take away the very essence and soul of South African ‘Black’ traditional dances themselves? The biggest and most important potential negative of ‘opening up’ South African ‘Black’ traditional dance(s) and therefore traditional customs is the fear of losing control over the cultural narratives, and having it taken away by either cultural fusion, commercialization, or general cultural appropriation by the dominant Western culture.

Evaluating Arguments

Both the arguments for and against ‘opening up’ of South African ‘Black’ traditional dance(s) to outsiders make substantial informative points. Both these arguments are coherent and well thought out, and ultimately, they are both correct. There is a percentage to gain from ‘opening up’ South African ‘Black’ traditional dance culture to ‘outsiders’ but there is also a share to lose traditional South African ‘Black’ dance culture itself. Ultimately, there seems to be more positive benefits associated with teaching South African ‘Black’ dance to ‘foreigners’ than there are negatives. Teaching it responsibly can ensure that appreciation, not appropriation, takes place. Loss traditions can be prevented through cultural appreciation, and teaching South African ‘Black’ traditional dance to ‘foreigners’ could help increase awareness of South African ‘Black’ traditional dance cultural practices, as well as a renewed appreciation for them. It could also help educate the world and fight back against Neo-colonialism by showing that South African traditional dance(s) are not ‘primitive’ or ‘backwards’ but rather a beautiful language of African culture and religious practices that keeps evolving. Through globalization, spreading South African ‘Black’ culture could be wielded as another ‘soft power’ diplomacy tool, and help these emerging economies grow and flourish even more, whether through the exportation of cultural elements or direct domestic tourism itself.

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Conclusion

As the world gets more globalized, and African countries continue to develop and become greater world powers, it seems unreasonable not to think that South African ‘Black’ traditional dance(s) will eventually spread and become popular. Ultimately, as globalization continues, this outcome is inevitable.

What remains most important are the intentions, and the way that South African ‘Black’ traditional dance(s) is/are taught to ‘outsiders’. It must be taught authentically and with a rich history lesson to accompany it, hence, cosmology. South African ‘Black’ traditional dance(s) should spread through appreciation, not appropriation, and instead of cultural fusion, perhaps cultural exchange can take place, to prevent any damaging loss traditions from occurring.

Not only South Africans, but countries globally can benefit from learning more about South African ‘Black’ traditional dance(s) history and cultural practices. It could lead to greater diplomatic understanding, revitalized economies, and a better-educated global citizenry. Opening South African ‘Black’ dance(s) and cultural traditions to ‘outsiders’ could ultimately generate more positives than negatives. Although, to do this, intentions must be recognized, and there must be effort to keep appreciation at the forefront, not appropriation. Traditional ‘Black’ dance(s) in South Africa are about the social behaviour of the people, and they are close to people’s belief systems, a reflection of their history’s past and present.

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