It would not be a mistake to say that folk dance reflects the essence of a culture. It combines three authentic elements: music, dance, and costumes. While watching the performance of a folk dance group, one can make guesses about how this dance appeared, what kind of group activity shaped it, and how it evolved as a piece of art. This essay examines folk dances of Bulgaria, India, and Ghana ‘ three completely different cultures. However, they all have something in common. The musical accompaniment is simple: it has no beginning or end as rhythm is more important than melody. Since these are group performances, symmetrical repetition of movements is more important than improvisation. It is especially effective when many people are involved (like in Bulgaria). While simple dances impress by their ‘scale,’ performers of more intricate dances bring accuracy of their movements to perfection (like in India). Sometimes, the lack of scale or complexity is compensated by energy, which is true for Ghana dancers.
Bulgarian dance is performed by a large number of people. One should watch it from afar to get a full impression. It is often performed in open spaces and filmed from above, because dancers, holding each other and thus forming a long chain, create changing patterns which resemble kaleidoscope. The rhythm is always the same, and movements are simple, with few variations. But the music is also very fast, and the dance requires perfect synchronicity. Apart from this, the dancers are ‘chained’ in a long line, which restricts their movements. It only seems simple, but the balance is hard to keep. If someone gets off the rhythm, he confuses his neighbors, which can break the whole line. The skill demonstrated by Bulgarian dancers is hard to develop, but the energy of this dance is produced by their community. You can only feel it when dancing along with your friends.
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Indian classical dance is a striking contrast. From the first glance, it is obvious that for Indians, dancing is art rather than collective entertainment. Synchronicity is no less crucial than in Bulgarian dance, but now it is a matter of individual skill rather than unity of the group. Indian dance is usually performed by few dancers and is better to look at in a close proximity. It includes a great variety of movements made with high accuracy. The whole body repeats the rhythm ‘ starting from the foot position and ending with the facial expression. The rhythm is complex; it is constantly changing. A performer is required to repeat it unmistakably. The “picture” of dance is more important than its mood or energy. A typical moment in the Indian classical dance is pause: a dancer takes some intricate pose and stands still. A group of dancers may thus make a composition which looks like an illustration.
Kpanlongo dancers in Ghana are much less delicate in their movements. Neither do they form moving patterns like those made by Bulgarian dancers. But their movements exude energy which depends both on individual and the group. For a Ghanaian tribe, dancing Kpanlongo is a way of having fun after a day of hard work. The dance is performed by a group, and performers adjust themselves to each other and the rhythm. At the same time, they as not as restricted as Bulgarian dancers; the energy of Kpanlongo is generated by individuals, not by the unity of a group. One needs to feel free space around him to dance like this. Unlike Indian dance, it is pure entertainment: hands weaving free, legs wide open, movements are relaxed but energetic. Out of all dances, Kpanlongo is a living art, not a historical artifact crystallized by professionality.
- ‘BG Folk Dance Masters ‘ Sofia Region.’ YouTube, uploaded by Bulg Folk, 20 Nov. 2011, www.youtube.com/watch?v=ysLF7Ij-QiY.
- ‘Jason Aryeh Research Project. Kpanlongo Dance from the Ga Tribe in Ghana.’ YouTube, uploaded by Jason Aryeh, 11 Sept. 2013, www.youtube.com/watch?v=MGZ9rDoMEs4.
- ‘Shiva Shambho: Bharatanatyam. Best of Indian Classic Dance.’ YouTube, uploaded by IndianRaga, 15 Sept. 2017, www.youtube.com/watch?v=JWhA3ldZcyY.
