How to do the zulu dance

Zulu Dance - Eshowe

Traditional Zulu dancing is an important part of the Zulu culture. Dancing is usually performed during a traditional Zulu ceremony, and is accompanied by vibrant singing and sometimes the beating of drums. Zulu dancing is something quite spectacular, especially when the men and women are fully dressed in their traditional attire.

Shembe Dancers
Zulu Women Dancing
Sangomas Dancing

It is customary that unmarried and young men dance, alternating in separate groups, occasionally the married women and men break in and join the festivities. Married women utter a quavering shrill (ukukikiza). When the young women (izintombi) dance, the young men clap and play the drum and vice versa.

Ingoma (isizingili)

This is a dance performed by boys and girls without drums and accompanied by a chant. The girls wear woolen skirts and are usually bare-chested. They also wear rattles made of seedpods around the ankles to accent the high kicks.

The Ingoma is one of the purest remnants of Zulu tradition. Boys and girls perform the dance for transition ceremonies such as coming of age, weddings. In the past it was performed before a hunt as well as before battle. For the youth it instils the tradition of sharing experiences and building solidarity through communal dance.

Ingoma (isishameni)

A harmonising performance with boys and girls together but dancing separately. The boys clap while the girls dance and vice-versa.


This traditional dance is most often associated with Zulu culture. It is performed with drums and full traditional attire and is derived from the war dances of the warriors.

This war dance is untouched by Western influence probably because it is regarded as a touchstone of Zulu identity. Full regimental attire, precise timing and uncompromised posture are required. It is danced by men of any age wearing skins (amabeshu), headrings, ceremonial belts, ankle rattles, shields and weapons like knobkerries and spears. While indlamu uses similar steps as girls do for ingoma, it has a much more calculated, less frantic feel, showing off muscular strength and control of the weapons with mock stabs at imaginary enemies. Dancers are more likely to make eye contact with the audience. Various drums and whistles accompany the dance.

Both indlamu and ingoma are performed at weddings; women perform the Ingoma and men perform the Indlamu.


This dance is only performed by one participant and is a parade to show off the traditional attire of the Zulu men and women. Imvunulo is also the traditional attire in this dance, representing one’s role and position in society.

Dress is determined by age, rank and gender. Young ones do not cover their thighs, but adults should. Men wear amabeshu and women wear leather skirts and beaded aprons. A leather skirt worn by a women is connected with being pregnant or a desire to be pregnant. Over that she wears beaded aprons, presented on her wedding day by her father. Colours in the aprons can signify where the dancer comes from. Girls’ beadwork girdles are called ‘isigege’ and should not contain red beads as these are reserved for married women.


This is performed by men or boys standing in a straight line or arc. The music is balladic and the lyrics pertain to modern issues but use ancient melodies. Issues like aids, crime and migrant labour. The lead singer provides the counterpoint or rhythm. The music form symbolises life in rural Zululand and the townships. This dance has become internationally known.

There are special wedding songs and dances called ‘umBholoho’ and form a structured ritual to channel mutual antagonism between families of the bride and groom. Families take turns to outdo each other in beautiful dancing and song.

Zulu dance

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Expressiveness, power and exuberance are hallmarks of dances from South Africa. Characteristic at South African Zulu dance is rhythmic and legs and feet work and smooth hip movements.

Zulu is a South African tribe, and one of the largest ethnic groups. With their traditional dances they celebrate, as indeed in many other cultures weddings, the inauguration of a new king, choosing a bride, contact with the ancestors, rites of passage to adulthood, finding a partner.
In a typical Zulu dance large and high steps and jumps are made, and is hard and rhythmically pounded on the ground. The dancers stand in a line. Hands are piled high, often decorated with weapons and shields. Sometimes the dance is subdued and almost a shuffle. On other occasions, the dancers sometimes are kicking above their head before falling to the ground to jump up with high kicks again.

Types of dance
The Zulu Reed Dance is an opportunity for young girls to get noticed by the king, who is also looking for a wife. In this dance, the girls get reeds by the river and bring them to the king.

"Ingoma (isizingili)" is performed by boys and girls only accompanied by singing (no drums). The girls dance bare-chested and wear seedpod - rattles around their ankles to accentuate kicking’s. It 's a rite of passage, and a fight - and hunting dance.
In "Ingoma (ishishameni)" the boys and girls dance separately. A group claps while the other dances.

"Indlamu" is the dance that is most associated with Zulu culture. It is derived from the war dances. It is a men's dance and it is carried out in full regalia: head ornaments, ceremonial belts, rattles, shields and weapons. They show the mastery of their strength and weapons.

"Imvunulo" is a solo dance to show off the traditional attire, with the dancer showing by what she wears her marital status or desire to become pregnant.
"Isicathamiya" is performed by men and boys in a line or arc, and accompanied by a ballad singer.

Traditional clothing is made from animal skins for men and skirts decorated with hardwood beads for women. The children walk in the nude. Unmarried women walk with bare breasts, and never wear red beads in their skirts, because that color is reserved for married women. If a woman wears a skirt of animal skin that could mean that she is pregnant or wants to be it.

By practicing the dance, you work on rhythm, technique, basic movements, dance combinations, space and your condition. The repetitive rhythmic movements ensure that blockages disappear and that energy can flow freely.
(Says one. On almost all primitive dances. Increasingly in this formulation. Whatever it means...?


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African dance |

The concept that conditionally unites the original dances of the peoples inhabiting Africa. A. t. is inextricably linked with the life, religious beliefs, folklore of every nation that has its own historical. and ethnic. past. Dance. culture of the countries of the North. Africa (Algeria, Lebanon, Morocco, Egypt, Tunisia) developed under the influence of the common Arab-Muslim culture of the Mediterranean. An independent place in the development of A. t. is occupied by the cultures of the countries of the Ethiopian highlands and the peoples of the coast of the Southeast. Africa (the latter have long maintained ties with South Asia). Tropical zone, or so-called. Equatorial, Africa, despite the diversity of its ethnicity. composition, is characterized by an undoubted similarity in the conditions of cultural development and, according to the traditions of African studies, is considered separately from the sowing. and east. regions. Dances of the peoples Central., Zap. and Yuzh. Africa has been little studied.

Due to the originality of the historical fate of the African continent prof. dance the art of African peoples arose relatively recently and before the 20th century. was limited to the realm of folklore. The first information about A. t. give rock paintings (so-called petroglyphs) in the mountain ranges of the Sahara (8-6th millennium BC). The rock art of the Bushmen (South Africa) testifies to the role of dance in the life of Africans. The image is fantastic. creatures and dancing people in animal skins with horns and in elephant or antelope masks indicate the connection of the dance with the mythological. African perceptions. Terracotta figurines found in the area of ​​Lake Chad, called "disguised dancers", whimsically combine the features of human figures with animal heads, which indicates the presence of masks as an indispensable attribute of dance. A. t. developed over many years. centuries is synthetic. genre, a bright fusion of sounds, colors and movements, full of meaning for an African who knows how to "read" it. His main rhythmic the pattern is associated with the rhythm of percussion instruments, primarily the "talking drums" of tom-toms. The dance is accompanied by choral singing, often accompanied by wind instruments - hunting horns, reed flutes, ocarinas, pipes made of elephant tusks and tree trunks. The brilliance and expressiveness of the dance is emphasized by the use of masks - ritual, cult, play, etc. (sometimes weighing up to 6-8 kg), bright makeup, tattoos, as well as costumes, stilts, bells, decomp. jewelry (bracelets, feathers, etc.), weapons.

Most of the African dances. performances lasted several. hours (from sunset to morning). Tropical peoples. African dance was associated primarily with hunting and farming. Man used the language of dance, hoping to influence plants, animals and nature, to win them over. The hunters imitated the habits and cries of animals and birds; totemic performers dressed in animal skins. dances promised good luck in hunting. Before hunting for large animals, Africans arranged a big dance. representation. In costumes made of leopard, monkey, antelope or deer skins, with ostrich feather decorations on their heads, the dancers portrayed animals pursued by hunters. These dances were exceptional. richness, variety and sharpness of the rhythmic. drawing, for example. the Ndlamu dance of the Bantu peoples (South Africa), which has survived to this day, is performed by participants (up to 300 people) in costumes made of animal skins, fur bracelets and headdresses made of bird feathers. The composition of the dance is built linearly, the accuracy of the ensemble and the severity of discipline indicate a connection with the training of hunters. Sticks adorned with white monkey fur replace spears. The participation of a soloist is obligatory, singing a song and setting the rhythm to the dance, gradually accelerating and becoming more and more complicated. Traces of the old hunting dance are worn by the muchongolo dance of the Pedi tribes (northern Basuto), one of the few that have survived in the tropics. Africa dancing with shields. The high skill of the muscles of the torso is demonstrated by the Hausa dances, united under the name uteiro (Northern Sudan). The Zulu deer hunting dance (South Africa) is interesting.

Farmers, trying to bring the rain necessary for crops, recreated musical plastic. pictures of floating clouds, peals of thunder, pouring streams of water. Many tribes were widespread dances of birds that protect crops from pests, dances of "thanksgiving to nature". The dances performed in the agricultural ceremony have a more fluid character of play and dance movements (for example, the tashada dance in Western Sudan, performed by men in brightly painted headdresses with birds attached to them, holding a snake in their beak, the round dance of the ngoma of the Nguni tribes in South Africa). The dance, which symbolizes the power of man over domestic animals, is accompanied by the waving of whips from the tails of buffalo and is accompanied by songs about the earth and the harvest. An important place in the folklore of African peoples is occupied by ritual dances associated with the cult of ancestors. Their great emotional arts. the impact is aimed at creating a sense of collective community with the ancestors of the tribes. The ritual dance of worshiping ancestors and the desire to propitiate them requires great skill and lengthy preparation from the performers (for example, the solemn dance of chikone during the ritual of sacrifice to the ancestors by the leader). A special place is occupied by dances-rites of initiation of young men, which exist in many. areas of modern Africa (Ghana, Nigeria, Kenya, Tanzania, Congo, etc.). The dances, symbolizing the new birth of man, were so complex that they required 3-4 months of rehearsals (for example, the Venda python dance). Improvisation dances were not allowed.

Most of the peoples of the Central, Western. and Yuzh. Africa before the 20th century did not have a written language (it was replaced by oral literature, music and dance art). Historical traditions, legends and myths were preserved and passed down from generation to generation by musicians-narrators (in West Africa - "griots", in South Africa - "imbongs"). People's speeches musicians and dancers are widespread in many places. African countries. Accompanying yourself on some music. instrument, they sing and dance, talk about the great events of the past, broadcast the news of today. These traditions continue into the 20th century. The leaders had singers and dancers in their retinue, whose duties included singing and dancing to praise the leaders themselves and their guests, inspire the members of the tribe in the fight against enemies, mourn the heroes, ridicule the unworthy. In connection with the victory, whole performances were arranged. With the disintegration of the tribal organization and the gradual disappearance of the ancient traditions, art lost its ritual and cult character. In some African countries, prof. dancers performing to the public at rural holidays. In parallel with ritual performances, comedy began to develop. masquerades are purely entertaining.

The long domination of the colonialists in Africa disrupted the natural process of cultural development of the African peoples. The colonialists destroyed culture and arts. values ​​of the local population. The age-old heritage of the African peoples was declared inferior, and antiquities were eradicated as "barbaric" and "idolatrous."

With the success of the national liberation. movement of the peoples of Africa and the emergence of independent African states, the question of the development of African culture became acute. The problems of cultural development are not resolved everywhere in the same way, not all countries can allocate sufficient funds for these purposes. In many African states created cultural centers, which, along with the collection of muses. folklore organize song and dance ensembles, hold festivals and reviews, which are of great importance for the preservation and dissemination of cultural heritage. Progressive cultural figures are trying to develop and renew the Nar. art in accordance with the needs of the present. They associate the development of folklore traditions with mastering the best achievements of world art.

First prof. The ensemble of A. t. was organized in 1948-49 in Paris by the Guinean Keita Fodeba. Since 1950 under the name African ballets this group toured Europe. The experience of the African ballet team was used by other dancers. teams from Guinea - "Joloba" and Nat. ballet of Guinea, toured with the dance. compositions ("The creator is the people", "New Guinea", "Midnight") in Bulgaria (1960), the GDR (1961), the USSR (1968) and other countries. In the repertoire of the National Ballet of Guinea includes dance. pantomime from the play "Stages", showing peaceful labor before the arrival of Europeans, colonial slavery, rebellion and liberation. Many performances are staged by the leading dancer of this troupe, Cisco Amadou.

The development of African national dance was especially active in Senegal. In 1961, under the direction of Maurice Sonara Senghor and Abu Mama Diouf formed the National Ballet Ensemble of Senegal, which showed, in addition to dance numbers, genre sketches "Scenes from the life of the people" and muses. performances. National The Senegal Ballet Ensemble toured Great Britain, Belgium, Holland, France, Germany, and Switzerland. The ballet "Dianka Vali" was shown by the ensemble in Moscow in 1975. In Dakar there is also an art school with a dance department. Dance. Ensembles have also been set up in a number of other towns in Senegal. At 1964 in Dakar, another music and dance group began to work, showing the play "The Adventure of Rhythm".

In the Republic of the Ivory Coast at the Center for Culture and Folklore Nat. Institute of Arts in 1959 in Abidjan was established theater. a troupe whose repertoire consisted of dances and small skits based on folklore material. In 1960 the troupe performed at a festival at the Théâtre des Nations in Paris. On the day of the independence of Upper Volta, the first performance of dances took place in Ouagadougou. collective of the country "Daughter of Volta" (headed by Musa Savadny).

In Nigeria, in 1964, the ballet troupe Ori Olokun Dance Company was founded at the University of Ife in Ibadan, whose experimental productions caused great controversy among African cultural figures. The leader of the troupe, P. Harper, seeks to synthesize elements of Yoruba folklore, the traditional A. t. with some modern techniques. European and Amer. ballet. In 1971, at the competition of the magazine "African Arts", the experimental performance "Alatangana" was recognized as the best. In this play on a mythological plot, dances of different peoples of Nigeria were used. At the seminar "Oral tradition of the Yoruba", held at the Institute of African Studies at the University of Ife, the troupe showed the play "Ogun Onire", where the language is classical. European dance combined with African elements. The production of "Purakpali" based on a story from Australian mythology has the same character.

By the time of the independence of the Congo (Brazzaville) in 1960, the Congolia ballet company was formed, demonstrating the art of the Equatorial province and other regions of the country. Later, the ensemble "Nguakatour", or "Ballet Diabua" (headed by M.I. Diabua) was created. In 1972, the National Ensemble of the People's Republic of the Congo.

In Africa and abroad, the ballet troupe of Sierra Leone (created in 1963, under the direction of D. Akar), the Ensemble of the Republic of Chad (headed by Ngerio Butl Sektil), and Dance are also gaining popularity. Ensemble of the Republic of Zambia (headed by Mofiya), Nat. ballet company of the Republic of Benin (headed by E. Gay). At the Algiers Festival 1969 was awarded the Nat. the Liberian troupe (in its repertoire the ballets "Farmers", "Child of Sorrow", "Gratitude to Africa"). In 1975, the Ensemble of the Republic of Mali came to Moscow on tour. Permanent prof. opera and ballet theaters were created in Ethiopia (headed by R. Hagen, a musician from Australia). Several folk ensembles. dance exists in Sudan. In 1961, a dance department was organized at the Council of Arts in Ghana, on the basis of Legon University, the Institute for African Studies, and the National. ensemble (headed by A. Onoku).

Ways of development prof. ballet in the Republic of South Africa are difficult because of the apartheid regime and racial discrimination against the African population. Universities provide training. The University of Cape Town has a music faculty, including a ballet school (with a department for Bantu). Despite the opposition of the authorities, folklore dances are included in many. dramatic performances ("Umbata", staged at 1972; adaptation of Shakespeare's "Macbeth" in Zulu. full of dances of the Bantu peoples).

First experimental post. theaters of the East. Africa "Chikkvakwa Theater" (created by M. Ezeron in 1971 in Lusaka on the basis of the Arts Department of the University of Lusaka, Zambia), a troupe of the theater department. arts at the University of Dares Salam (Tanzania) and others are saturated with folklore dances. Numerous competitions, conferences and festivals dedicated to African music. culture and ballet, popularize the activities of dance. groups in African countries. Traditional African culture and, in particular, dance have a meaning. influence on modern European and Amer. choreography. From 1966 in Dakar festivals of Negro art are held, where numerous people perform. dance teams.

Ballet. Encyclopedia, SE, 1981

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The Zulu Reed Dance is a ceremony that the Zulu people celebrate every September in South Africa because girls sing and dance for the nation. They do this to maintain their culture of cleanliness, traditional dances, music, arts and crafts. The Zulu tribe in South Africa is proud of its culture and traditions. Because of the threat of globalization and modernization, the Zulu tribe celebrates the Mhosi Womhlanga (Reed Dance) to tell the younger generation about their roots.

Undoubtedly, uMkhosi Womhlanga is a three-day event that showcases Zulu traditions such as dance, music, arts and crafts. But most importantly, the event celebrates girls and young women for maintaining and protecting their virginity. In fact, the purpose of the event is to provide girls from the villages, cities and towns of KwaZulu-Natal with an opportunity to prove and celebrate that they are still virgins.

The driving force behind the success of the Zulu reed dance

Zulu Cane The dance is one of the ceremonies in which the entire community participates. It brings together men, women and the younger generation. Because of this unifying factor, the king, King of Goodwill Zwelitini, is the center of attraction. In 1991, when he reintroduced the ceremony to his people, the world took notice. For this reason, the beauty of the ceremony lies in the power of its success.

In this case, the girls play an important role in the success of the Zulu Reed Dance. Similarly, these young and old girls are no strangers to the temptations of social media. They are like any other girl, except that they hold onto their virginity with all their might. No matter the ups and downs teenagers face, there is nothing to stop them from attending the next Zulu Reed Dance.

So the girls are looking forward to the next Zulu Reed Dance because the ceremony gives them so many opportunities. For example, meeting new people, reconnecting with old friends, fashion, singing and dancing. But the most important thing is to come together for a common course - the celebration of virginity.

Preparing for the Zulu Reed Dance

In any case, trust is a problem and everyone has to earn it. Now that the Zulu Reed Dance is approaching, the girls will have to pass a virginity test. In this case, the preparation takes place three weeks before the main event. Virginity testing covers girls from the age of seven through their late teens. And sometimes it comes to the twenties, until a woman is ready to part with her virginity or has not found a suitable groom.

However, during the virginity test, which takes place in all eleven district municipalities of KwaZulu-Natal, girls are gathered for the test. They line up outside the hut or room where the virginity test takes place. Accordingly, enter one at a time for a complete check. According to the laws of the Zulu nation, the girls are examined by a wise old woman to ensure their virginity before they can take part in the Zulu Cane Dance.

According to these wise women, virginity is confirmed by various factors. These include having a tight hymen, firm muscle tone, firm buttocks and breasts, and a flat stomach. Other factors include the innocence in the eyes and the way the girl walks.

Excitement around the ceremony

Although the girls are in line for testing, they also use this time to anticipate the joy they will experience at the ceremony. As a result of waiting, they sing and dance to achieve the desired mood, being in different places. In this regard, the theme of virginity testing becomes "We go to the cane dance."

Before the reed dance events

As the sun shines on the royal estate on Wednesday morning, the family gets together to prepare for the Zulu reed dance. Hence, it is important in Zulu culture to speak to the ancestors from time to time for guidance and protection. In this regard, after the family meeting, the men slaughter the cow. They do this to inform the ancestors of the dance ceremony that will take place over the course of three days.

At the time of slaughter, the cow's gallbladder is carefully cut out, emptied and left to dry in the sun. Meanwhile, the king chooses a princess to lead the ceremony. The criteria by which the king chooses the main princess among the princesses are related to nature. In this case, the princess who has her last period before the main event is the leader. In addition, the princess wears a cow's gallbladder on her head, symbolizing her chosenness.

Ancestral connection before the reed dance

After the ritual ceremony before the Zulu reed dance, the main princes and local girls go on a journey by bus. The purpose of the journey is to prolong the friendship between the kings. In this case, the girls visit King Biel in Obuka village. In turn, King Biela slaughtered a goat to greet the girls and a cow as a special gift to the main princess. In the same way, men cut open a cow's gallbladder, empty it, and dry it. The princess then puts on a second cow's gallbladder to emphasize that she is the chosen one.

At this time, the main princess and the girls feel at home, and the girls break into a song that symbolizes joy. The next morning, Thursday, the main princess, along with the girls, including the girls from Buka, went to the bend of the Umkhlatuse River to take a bath. While bathing, the main princess cut off the first cane with a brush and marked it for identification. That is, the first cane belongs to her.

Nevertheless, the girls return to the manor of King Biela with songs and dances. On Friday morning, they pack their bags and head back home to GwaNonggou, where the main event is taking place.

Maidens arrive by numbers for the ceremony

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Friday finally arrives and the land of KwaNongom turns into a spectacle. Young women are starting to arrive in large numbers from different places. Upon reaching the royal palace of Niokeni, the girls register their names in the attendance log. Usually girls travel with a matron from different regions. These guards perform virginity testing and often help the girls behave.

Due to the large number of girls who arrived at the Zulu Reed Dance, the organizers hired a tent to stay. For this reason, the tent turns into a jubilee house, the girls sing and dance excitedly.

In anticipation of this, on Saturday morning the girls go down to the Ntonyane River to bathe. After bathing, the girls go to the Osutu Royal Palace to collect their canes. Culturally, the main princess is the first to raise the cane. It is noteworthy that she takes a special cane with a mark on it.

Parade to the Royal Palace of Nyokeni

In light of the current mood of the girls, they all hold on to their canes and proudly walk towards the Royal Palace of Nyokeni. Which means the Zulu cane dance is in full swing because the girls are already marching. In fact, the Zulu people attach great importance to the Zulu Reed Dance.

In short, one day in the country of KwaZulu-Natal, a group of girls who lived in the Royal Palace went out to get firewood. While collecting firewood, a group of men talk the girls into trying to steal their virginity. Undoubtedly, the girls fought and won. Then they left the wood and instead went to the river to cut reeds, stack them like firewood. On the way to the Royal Palace, they sang hymns (amahubo) to tell the story of the victory.

In the same way, during the parade of girls, they remember this story and individually begin to talk with a cane in their hands. On this occasion, the Maidens implore the reeds to give them the strength to keep their purity until the next dance of the Zulu reeds. Obviously, the Zulu cane dance gives the girls a sense of belonging. It also gives the Zulu people the opportunity to admire their roots of keeping clean until the girls reach maturity.

Maidens laying reeds

In the same fashion, the girls walk a steep two-kilometer trail that leads to the presentation hall at the Nyokeni Royal Palace. As usual, the girls sing, chant and dance all the way until they reach their destination. In Zulu culture, the head princess is the first to place a special cane in front of the king, her father.

After placing her special reed, all the other girls give each other a chance and one by one lay their reeds before the king. For many girls, it is an honor to be so close to the king. However, after laying the cane, the girls go outside to prepare for the next stage of the Zulu Cane Dance.

The king addresses the girls

After the reed section is finished, the king and his entourage move from the Royal Palace to the Arena. In this case, they were accompanied by a regiment. When the retinue arrives at the Arena, the attendants escort them to the VIP tent. Then they take their places in different hierarchies. Such as the royal family, chiefs, shepherds and their entourage, as well as dignitaries from the government and wealthy entrepreneurs.

In the same way, the king arrives at the Arena and gets out of his car. When he walks around the Arena, all the men take off their hats and stand up. While all this is going on, the imbongi (praise-singer) recites and sings praises to the king.

As soon as the king takes his place, he is followed by his retinue, the last of which is the nation. Such an orderly course of action with the king signifies respect. After waiting a little, the king gets up and addresses the people, especially the girls.

Undoubtedly, in his speech, the king thanked the girls for abstaining from sexual intercourse until they were mature. And also for making the dreams of their ancestors come true by contributing to the realization of the Zulu Reed Dance. In particular, he admits that without the girls' resolve, the Zulu Reed Dance failed.

The last day of the reed dance

First thing on Sunday morning the girls wake up and go to the Ntonyane River to bathe. After that, they wear colorful traditional beaded clothes. It is important to note that traditional beadwork plays an important role in the Zulu people. For example, the Zulu peoples use beading to communicate. Such communication, which is symbolic in nature, is rooted in the mists of time. And it still goes on like the Zulu Reed Dance.

Although the girls play with beadwork in accordance with the requirements of the XXI century, they adhere to the basic rules. Which, in this case, is related to the shape, pointer position and color. Firstly, all embroideries must be triangular in shape, which symbolizes father, mother and child.

Second, the indicating position provides information about gender and marital status. For example, the triangle of beadwork for girls faces upwards. To indicate that she is an unmarried girl. In addition, the color of embroidery with beads is of no small importance. And the Zulu nation uses a maximum of seven colors. For example, 1. black means marriage, 2. blue - loyalty and hope, 3. green - satisfaction, 4. pink - high standards and promise, 5. yellow - wealth, 6. red - strong emotions and love and, 7. white color means purity, spirituality and true love.

Rescue of the Last Dance

As soon as the girls finish dressing, they go up to the Arena, where they dance and sing for the king and the people. Undoubtedly, different groups from different regions showcase their dancing skills, eye-catching beadwork and melodic voices. It should be noted that these Zulu Reed Dance performances have nothing to do with competition.

The main purpose of showcases is to improve relationships between girls and increase self-confidence. But the most important thing is to demonstrate the culture and traditions of the Zulus. For this reason, the girls take pride in elevating their culture and traditions through dance, song, and beadwork.

Due to the mood of the last day of the Zulu reed dance, the king invites his guests, girls, and the entire community to join him for a meat feast. In this case, everyone respects the invitation and climbs Machobeni in Ngwavume. After the festivities, the king bids farewell to all present, and the Zulu reed dance comes to an end.

The cultural significance of ceremonies in anthropology

The beauty of ceremonies affects the life of society for various reasons. These factors include unity and culture, among others. Hence, Zulu Reed Dance brings people together and unites them under one culture.

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