Bondo of the Opera...

“An opera in West Africa” examines the initiation tradition of the Temme People located in the central region of Sierra Leone. The coming out ritual, translated at “The Play” incorporates a theatrical style inclusive of dance movements, instruments, costuming, singing and their natural environment as staging.
The author discusses the complexities of the ceremony, which out of context, or if perceived strictly within a western context, may be misconstrued as a uncivilized, however holds deep significance and meaning in understanding complicated human, intellectual and spiritual internal and external relationships. The ritual, serves as a rebirthing or metamorphosis for the community, acting as both an affirmation and maturation of a persons membership to both the mortal and immortal realms. One who chooses not to partake is there for a “nonperson,” un-entitled to the privileges of the community, ie. Marriage, burial services, intercourse, etc. As the author describes, the ceremony serves as a “prerequisite for being.” The significance of the ritual engages its participants with an education to cultural and spiritual traditions that inform communication and community for the Temme people.
The initiation process is divided by gender, which up to that point, is not assigned. The initiation process serves as ones affirmation of humanity as well as gender. A notion that western feminist tradition would probably respond to with confoundment, as its construction is seemingly both un-imposed and assumed.
The production itself is staged using the community landscape, allowing nature to serve as a . Over the course of two days and broken into four acts: The transferring, Uprootment of the serpent, Meaning unknown to me (does this imply the authors unawareness or the actual sub-title?) and The Play (the title act).
The description of the first act, broken into four scenes, the first entitled the cleansing of the tower, in which the women enter moving counter clock wise to the east, making sweeping motions while bent over, seemingly alluding to a women’s menstrual cycle according to the author. The description reiterates the use of symbolism and ritual prevalent within many of the contemporary choreographers, specifically in reference to the subject of women’s menstruation, seems a particularly relevant subject of choreographers we have discussed in class.
The use of white face paints in the first scene of the ritual seems to parallel many traditions within African dance, seen at the end of Rize. Not sure if this was a depiction of the Temme People, if I recall, scene seemed to only involve men. However, from what I remember, a similar circular motion was employed.
The elusiveness of the dances also seems a relevant point in the discussion of ritual and traditional dances within Africa. In our previous readings and discussions, the symbolism of the dances themselves, at least to an outside audience, often seem unclear. The authors notes at one point the omission of explanation given to many of the presentations. This is a point I question in intention. Is it that the dances themselves have lost their meaning over time, or that the sacredness of the ritual makes parts of its meaning exclusive …or maybe it is that an over calculated symbolic gesture is only something that we as outsides over examine as an influent audience? This wasn’t clear for me. The author makes a point of discussing this elusiveness, in which metaphor and symbolism are iatrical parts of the ritual. In this sense, the production parallels a space of high intellectualism, in which ones disciplines within the physical and spiritual world are engaged and challenged. The previous point of misconceived incivility is trumped by the complex and involved nature of the production.
The scene of transferring, in which both the initiated and the audience take part in a dance, “all respectability is tossed to the wind as the crown rushes about the village.” This seemed connected to the traditions of carnival and Junkanoo (Bahamas) in the Caribbean and South America, where similar community inclusivity and participation is encouraged. It would be interesting to research this connection further.
The use of props, with the plowing scene, parallels somewhat with the horse tail movements within out routine. However holds deeper significance in the roles of husband and wife. The movements are specific, moving counter clockwise, as they were in the first scene. The use of call and response, as with the most high Bondo spirit, is evocative of African American storytelling and dancing traditions that we have discussed as well.
The scene of “the decent” in the closing act, maintains its counter clockwise motion, moving to and from the center of a circle. The description of the spiraling path, which involves a shifting motion that resembles a serpent recalls traumatic memories of a instruction during the across the floor warm up routine in which the movement of a snake was being recreated. Unfortunately, this physical relation is lost for me, but the visual is still vaguely recognizable.