Dance in Ethiopia: Traditionality and Contemporariness

Abstract

Dance practices in Ethiopia remained vibrant, albeit transformed, as thecountry transitioned from feudalism to socialism (1974), and then to neoliberalcapitalism (1991). For centuries, a vast array of movement traditions has beenessential to religious and communal rituals in Ethiopia. Today, traditionalEthiopian dance is most visible in tourist restaurants or YouTube videos. Thetrajectory of dance from ritualised practices to commercialised performancespresents a seeming paradox: traditional Ethiopian dance as we know it today is,in fact, a modernised performance genre serving multiple functions: memorytransmission, ideological dissemination, and profit generation, among others.In the 1980s, the socialist state harvested dances from around the country toproduce “modernised” performances on the stages of government theatres,propagating the ideology of national unity amidst border wars and internaloppression. In the 1990s, as Ethiopia opened to the West, these dances continuedto be performed on restaurant stages, not so much to propagandise for thestate as to generate profit for the industry. The modernisation of traditionaldance continues in Ethiopia, under the auspices of neoliberal privatisation,which has also led to the westernisation of youth culture. Since the late 1990s,a group of young Ethiopians have devoted themselves to contemporarydance by adopting Western aesthetics and distinguishing their practice fromtraditional dance. Recently, they have grappled with the imperative to infuseEthiopian dance traditions in their work in order to be recognised in the globaldance field. Through dance ethnography, oral histories, and video archives,this paper illuminates both traditionality and contemporariness as historicalconstructs – categories of differential powers used to organise the currentdance field in Ethiopia.
 Keywords: Ethiopian dance, contemporary dance, traditional dance, multiple modernities, decolonizing dance