BY DAISY SCHMITT

In print | Published February 19, 2009

Upper Tarble, typically filled with the sounds of pop music and sneakered feet doing steps and kicks in aerobics, was graced with the rhythm and spirit of the Kulu Mele African Dance & Drum Ensemble this past Friday evening. Kulu Mele, which means “voice of our ancestors,” was founded in 1969 and is the oldest African dance company in Philadelphia.

What was most striking about the performance was the hybrid of more modern dance styles and traditional dances from the cultures of Brazil, Haiti, Cuba, Nigeria, Guinea, Ghana and the Senegambia region. The first dance, for example, was a traditional dance to celebrate the birth of a child. The dance itself was joyous, with many an arm extended upwards and outwards. But the dancers also sang and cried, adding to the sense of excitement elicited by their movements. The dancers were accompanied by various kinds of drums, and also the percussion of the human voice. In the middle of this dance, the audience was introduced to the two male dancers, creating perhaps the most entertaining aspect of the show. Their wide smiles were infectious, and a somewhat comatose audience (no doubt in shock from the exuberance exuded by the dancing and drumming) was soon grinning and clapping along with the rhythm. The male dancers’ style was almost vaudevillian; they used pantomime and created a mini-story within their performance. They infused aspects of traditional African dance, as well as hip-hop and acrobatics, into their performance. “The pop-locking that the two male dancers did was fun and, somewhat surprisingly to me, it complimented the traditional dances the women did nicely,” Cecily Bumbray ’12 said.

Another especially entertaining dance was a courtship dance, which Artistic Director and Choreographer Dorothy Wilkie said would traditionally take place under a full moon. This dance was both sensuous and playful and utilized the comedy of the male dancers well; it featured quite a bit of flirtation and lust, and a rivalry between the men (which was settled, of course, via dance-off). In this dance, the costumes were breathtaking — glittering yellow creations that, during the climax of the dance, created a vibrant scene.

While dancing is an incredibly important aspect of Kulu Mele, the stunning percussion and vocal performances merit equal attention. The chanting and singing was full of heart, especially during a tribute in song to the prime minister of Ghana, in which the drummers sang together and played cowbell-like instruments.

It was strange and almost alienating to sit in the audience and watch this whirlwind of activity. Foot tapping and clapping weren’t enough; to be in the audience for such a beautiful and intimate performance felt wrong, almost invasive. As if in anticipation of this sensation, the performance incorporated audience participation.

The audience learned the importance of the relationship between the drummer and the dancer when they were invited to dance along. Dorothy Wilkie invited everyone to stand up (which everyone did) and learn a dance called the “Fanga.” According to Wilkie, “If you can count to four you can do this dance.” It proved true — soon everyone’s arms were moving and feet stepping side to side. Things were only slightly complicated when the concept of a “break” was introduced: the drummer plays a distinctive beat, and a new section of the dance begins. As Swarthmore’s registrar, Martin Warner, put it, “Of the many laudatory things one could say about Kulu Mele, I particularly enjoy the way it weaves traditional music and dance with modern and even humorful elements, and then includes the educational elements, both at one’s place and up front at the end. It was brilliant!”

It was apparent that people were enjoying themselves. “Kulu Mele was almost intoxicating,” Emily Leach ’12 said. “The combination of music and dance made the entire audience brim with a kind of euphoria. Dancing with them was incredible.”

At the end of the show, the audience was invited to dance with the performers on the stage, which, it must be said, only a few brave souls did. However, the camaraderie between the dancers and the audience was very clear; there was great enthusiasm for the group. Even Martin Warner got up on stage and danced along.

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