How to do witch doctor dance
witch doctor dance tutorial | TikTok SearchTikTok
Rylands a gamer girl
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original sound - christinaginn6
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original sound - Danielle Wilkinson
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Witch Doctor #ロックダンス - Cartoons
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Witch Doctor #ロックダンス - Cartoons
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Witch Doctor #ロックダンス - Cartoons
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Witch Doctor - Q168store
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Booty Swing - Parov Stelar
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Witch Doctor - New Kids in Town
DANCING WITH THE WITCHDOCTOR | Kirkus Reviews
ONE WOMAN’S ADVENTURES IN AFRICA
by Kelly James ‧ RELEASE DATE: Sept. 4, 2001
A San Francisco–based international private eye pokes around the exotic dangers of contemporary Africa.
James specializes in missing-person searches and accident investigation in parts of the world where male gumshoes hesitate to tread. Her memoir consists of four adventure narratives with traces of colonialist tensions, in that James’s clients are boorish Europeans or Americans, but her sympathies lie with the Africans. “Detour” resembles a traditional locked-room whodunit: James unravels a coffee-plantation owner’s alleged suicide in Kenya, first suspecting her piggish stepson, then discovering that an African friend aided the suicide to end her suffering from AIDS. “Gorillas and Banana Beer” presents a grim aspect of the continuing Rwandan turmoil as James shepherds a bratty American teen (whose businessman father sent him to Africa for a tough-love awakening) on an unsanctioned attempt to view rare mountain gorillas that goes very wrong when they encounter venal trackers, murderous poachers, and enigmatic Watusi tribesmen. The author indicts obsessive eco-tourism, yet she seems driven by the same reckless impulses. In the exciting if melodramatic “Biera,” James enters a war-torn Mozambique port aboard a rogue South African trader and in the midst of chaos improbably reunites another anguished charge with his long-vanished mother. These African adventures culminate in the grueling “Witchdoctor.” A reckless employer sends James to find Kali, a Turkana woman who got a Western medical education, then vanished while doing research among her tribe, which regarded her as a witchdoctor. Encumbered by a grating British psychologist also looking for Kali, James is nearly killed by attacking tribesmen, then saved by the Turkanas, who themselves persevere under such appalling circumstances that the PI and the psychologist are nearly dead when found by a Kenyan ranger. Overall, James clearly depicts unusual environments and vividly captures the nitty-gritty process of surviving in contemporary Africa. Unfortunately, her engrossing stories are hobbled by turgid, repetitive prose.
Nevertheless, it’s a remarkably unusual career, adequately presented.
Pub Date: Sept. 4, 2001
Page Count: 256
Review Posted Online: May 20, 2010
Kirkus Reviews Issue: July 1, 2001
Categories: GENERAL BIOGRAPHY & MEMOIR | BIOGRAPHY & MEMOIR
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Magical African dances
There is no such event, for which in Africa dance would not be arranged. Dance welcomes the birth of a child, marriage, dance remembers the dead ... Music and dance are inextricably linked with traditional beliefs.
They are not only entertainment, but one of the main links connecting the African, according to his ideas, with the other world, with the spirits of ancestors, with that supernatural world that is created by imagination and tradition.
Musical instruments, their sounds, dance movements, dance masks and costumes - everything was endowed with magical powers. So, in Uganda, drums were associated with members of the royal family, who, as everyone knew, freely communicated with spirits. Some peoples still believe that spirits live in the sounds of flutes.
Dance in the African view is a link between the world of the living and the world of the dead, it serves to convey the will of the spirits of the ancestors, vigilantly following the actions of the living. Therefore, the dancer, who understands that one cannot joke with the afterlife, hides his face under a mask, and decorates his body with paint.
Each mask leads its own dance with complex figures that reveal its character and emphasize its good or evil inclination. The mask of the Nyoro tribe was put on in a dance depicting a struggle against the spirit of Kaumpuli. The masks of the Toro people showed an ogre who hunted for small children.
Masks and costumes focus on the spiritual essence of the dance. The personality of the dancer does not matter, his skill plays a secondary role compared to the religious meaning of the movements performed.
The dancers' faith in the forces that manifest themselves through the mask is sometimes so strong that the performers identify themselves with the spirits and characters depicted and for a while fall into waste. The elders are waiting for this moment. Each in their own way, they begin to interpret the movements of the dancer, into whom the spirit of the mask has “infused”.
Some dances are directly related to witchcraft. Such, for example, is the dance of the Acholi people. It is named after a very ancient and powerful spirit "jock", which can be good or evil depending on the circumstances. It happens that an evil “jock” takes possession of a person, and then it is necessary to call a healer to help him free himself from his spell.
The ceremony begins in the evening by the fire. The sorcerer appears in the skins of a black goat, which, according to legend, has the magical power to scare away evil. Around him are gathered assistants with rattles in their hands and one drummer. For this dance, there is a small special tom-tom, which is also called "jok".
There are several jocks. For example, "jok anyondo", or "spirit of birth". If he possesses a young girl, she is seated on a stool, and the skin of a black goat is wrapped around her waist. The song begins, monotonous, with repetitive words, rattles and tom-toms sound deafening.
Gradually the rhythm accelerates, the girl in a trance rises, her body begins to dance. It is the body, the Acholi say, for the girl herself does not even suspect that she is dancing: it is the “jock” that is forced to show itself under the influence of magical music.
The faster the rattles go, the harder it is for the jock to stay in the girl's body. Finally, the long-awaited moment comes: the girl falls unconscious and her body freezes. This spirit has left her. The treatment is over, and the medicine man leaves the village.
Of all the jock dances, the most important is the one dedicated to the birth of twins, which is called the gift "jok anyondo". In addition, twins, according to the Acholi, are born only by the will of the ancestors. A dance called "jok rut" takes place at a sacred place where the participants thank the ancestors and make offerings.
Among the Baganda, the ceremonial dance for the birth of twins begins when the twins are brought into the parental home. From this moment on, everyone who crosses the threshold of the house must convey all feelings and experiences in a song, even if the guest wants to drink, he must sing his request.
Traditionally, the twins are then taken out into the yard for all to see. Ritual drums have already been installed near the house.
Relatives of happy parents are divided into two groups and, continuing to sing, surround "their" drums, trying to prevent someone from the other group from touching them. The fight continues until the mother or father of the twins fails to do so.
Then the feast begins, accompanied by dances and ritual songs. A healer sits near the newborns, who from time to time sprinkles the twins and dancers with charmed water and mutters spells, driving away evil spirits.
The Africans themselves ascribe mystical origins to dances and music, endow them with the ability to neutralize evil supernatural forces and help people in curbing the natural environment. And there is a lot of truth in this.
Studies have shown that dances and music, and most importantly, rhythm, have a powerful psychological and physiological effect on a person. Rhythm sets the pace for collective work, relieves fatigue; together with the melody, it leads to an elevated, on the verge of ecstasy, state in which the negative emotional charge accumulated during the day dissipates, anxiety, fear, and feelings melt away.
It is noteworthy that music and dance are an inseparable part of any ritual. To heal the sick, Africans sing healing spell songs and perform dances prescribed by healers. According to healers, music and dance cure all diseases.
Moreover, only by ear, by the squeak of a child or by the voice of an adult, an experienced healer can determine whether a person is healthy or gnaws at an illness. And if someone is unwell, the sorcerer takes tom-toms, sings, dances, and - an amazing thing - often the sick person actually rises to his feet, encouraged by the life-giving rhythm of health.
“Music gives the African additional physical and mental strength. Bembe (Congo) has a guitar - ngonfi, Bembe under the scorching heat will quickly cover 30 kilometers; without a guitar, they cannot master even a kilometer ”(Korochantsev V., p. 213).
In addition to the correct, healing sounds, there are also crippling, deadening ones. They are well known to Africans. They are also known to modern researchers, who confirm the "magic" power of dance, music, rhythm.
Other related news:
published on mirputeshestvij.ru according to the materials paranormal-news.ru
Entry Magical African dances taken from the site World Travel.
Witch Doctors and Rainbow Snake. Religions of AustraliaWitch Doctors and the Rainbow Snake. Religions of Australia
Religions of Australia
Witch Doctors and Rainbow Snake
The introduction of quartz crystals or other magical substances (mother-of-pearl shells or "serpent spirits") into the body of a would-be medicine man seems to be a pan-Australian idea associated with magical practice. Possession of such substances is "absolutely necessary, for the medicine man's powers are bound to and transmitted through them." In fact, the absorption of such substances is considered equivalent to the mystical "transformation" of the medicine man's body. In some southeastern tribes, quartz crystals are believed to fall from the firmament. They are, in a sense, "solidified light."] Almost everywhere in the southeast and southwest of Australia, quartz is associated with the heavenly world and with the rainbow. Pearl shells are also associated with ideas about the Rainbow Serpent, i.e., in essence, they are associated with the sky and waters. To have such substances in one's own body ultimately means to take into oneself the mystical essence of celestial higher beings or mainly a cosmic deity, the Rainbow Serpent.
Indeed, in a significant number of tribes, the medicine men are believed to derive their powers from the Rainbow Serpent. According to early descriptions, residents of the Brisbane area believed that the quartz crystals were vomited by the Rainbow Serpent: "the healers knew where to dive for them, i.e., where the rainbow ends." The medicine men of the Cabi, one of the tribes of Queensland, receive from the Rainbow Serpent not only crystals, but also a “magic cord. ” Matthews reported that the witch doctor, according to the Wiradjuri belief, could go and meet the serpent Vavi, "who leads him to his hideout and sings him a new corrobori song." The medicine man rehearses until he knows the song, then returns and teaches his fellow tribesmen to sing and dance. Among the Lunga and Dyara tribes, in the Holles Creek District, the medicine man "did" Culabel, the Rainbow Serpent, who "killed" the pretender when he bathed in the spring. The person became sick and crazy, but eventually received magical powers that were associated with quartz crystals. For the Unambal, the source of the medicine man's powers is Ungud. During sleep, the soul of the pretender is carried away to Ungud, and he receives crystals from the underground Serpent. Among the Ungarinyin, the calling and power of a medicine man is bestowed by Ungud or, in some cases, by the sky-hero of Valangal.
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