Kalela, Beni, Asafo, Ingoma and the rural-urban dichotomy.

Abstract

The author provides a critical examination of the arguments and support for conclusions in "copperbelt writings" about the urban Kalela dance and the relationship to urban and rural differences. There is a critical discussion of relationships between the dance forms: the kalela, asafo, beni, and ingoma. The origins of the dance are traced to the rural Beni in the writings of Mitchel, however Ranger's treatise on the Beni in east Africa indicates a locally quite distinct tradition associated with Swahili dance associations in towns. The author finds strong parallels between the Beni and Swahili dance associations and derivation from the Akan asafo companies. It is suggested that both east and west African dances reflected a European impact and the fundamental values of African people as well as a form of entertainment. It was a public display of progress and skill. The spread of the Swahili Beni between the 2 World Wars was complex and varied, but the form conformed well to rural villages which traditionally competed against each other. The Mitchel assertion that the costumes which imitated the uniforms of colonial civil and military hierarchy allowed vicarious participation in social relationships which they were excluded from is refuted. It is suggested by the author and Ranger that African dancers were asserting as traditional their individual and collective status and prestige in their own society and the costumes were the new fashion. The change to modern dress is though by Mitchell to reflect similarly a fictitious upward mobility and urban influence, and is considered to be unsubstantiated by the lower class population assuming the behavior. The author views the behavior as directed to unskilled, uneducated migrant workers groups which included them and provided a strong link to their rural homes and children. In dispute is also the Mitchell interpretation of lyrics to the songs which the author finds reflect rural themes and influences as well. It is recognized that there were new urban references. The Kalela dance is considered by the author to be an example of the encapsulation of rural migrants within an urban environment. This view is reflected in Mayer's Townsmen and Tribemen and the writings of H.J. Thomas on the ingoma dance groups of Durban, which also reflected lyrics pertained to rural life. The songs are a traditional, spontaneous, unsolicited testimony to rural life.