ВИДЕО: Первое заседание Клуба Друзей Руанды прошло как феерическое шоу
Зажигательное выступление руандийского ансамбля Inganzo Ngari, исполнившего танцы, удивительные по красоте, экспрессивности и тонкой жизненной философии всех сторон африканской жизни.
В гостинице Lotte Hotel Moscow прошло первое заседание Клуба Друзей Руанды. Его открыла Чрезвычайный и Полномочный Посол Республики Руанда Жанна д'Арк Мужавамария. Безусловно, гвоздем заседания стало зажигательное выступление руандийского ансамбля Inganzo Ngari, исполнившего танцы, удивительные по красоте, экспрессивности и тонкой жизненной философии всех сторон африканской жизни. Энциклопедию на заседании представляли Президент Александр Федорченко и вице-президент Игорь Микрюков.
Энциклопедия повторяет новость о мероприятии, опубликованную 10.06.2015 и предоставляет посетителям planetguide.ru возможность насладиться танцами Inganzo Ngari и, конечно же, комментировать и оценивать работу наших операторов: Даниила Микрюкова и Максима Кочергина.
Справка Всемирной Энциклопедии Путешествий: ансамбль Inganzo Ngari
Inganzo Ngari means something like "the origins of creativity."
The dances were originally performed for kings by the country’s minority Twa community and has since been adapted by Rwanda’s main Hutu and Tutsi ethnic groups. The group has added several modern variations to their choreography.
For centuries the Dance of Heroes united warriors across all ethnic groups fighting together against a common enemy. The Intore was performed exclusively for the Royal Court, and over time refined itself into the wild, modern day dance.
The women performed their graceful Umushagiriro ballet, a mesmerizing choreography meant to display the beauty of Rwandan women and to emulate the movements of a national symbol of wealth: the Inyambo cow. They stomped their feet and bent their outstretched arms far behind them, resembling the cow’s giant horns that sometimes reach two and a half meters from tip to tip. It was an enchanting demonstration of old-world elegance and the natural rhythm of African dancers – their arms swayed back and forth in perfect alignment until the ferocious beat of the drums echoed off the walls; their upper bodies froze as their hips shook and their feet stomped to the eerie tempo of the folk song.
Something that could explain Inganzo Ngari’s rise to the top of the Rwandan traditional dance industry is that their objective from the beginning was to promote the artists, to encourage Rwandans to embrace their own culture.
Inganzo Ngari was created in 2006 as a student-led group that would work to empower all members based on a system of equality and respect. Recent history had pointed to mismanagement of private dance groups across the country; performers were paid a tiny fraction of what the owners were keeping in their pocket. Inganzo also derived from the fact that most of the country’s troupes consisted of uneducated performers who could not afford the school fees of secondary school or university.
Most of Inganzo’s founders wanted to prove that Rwandan’s could dance and pursue higher education simultaneously. More importantly, they aimed to prove that dancing could not only become economically sustainable, but could provide opportunity for a group of artists aiming for a higher quality of life. So troupe president and the founding members asked themselves, “Why must we quit dancing after our studies?”
The founders quickly gathered performers from troupes scattered throughout the country and created their business on an entirely new model: each member, regardless of his or her status within the troupe, would receive the same salary. It was also structured in a way that allowed members to continue their studies and primary jobs while dancing for the troupe. They would rehearse two nights a week and perform on the weekends. These weekend revenues would be divided equally among all members, with a portion going toward the sustainability of the group as a whole.
The group expanded from just 24 members in 2006 to over 70 members today, each receiving an equal portion of the highest performance fees charged in the country. Inganzo’s quick rise to the top of its industry was a result of being better organized than other troupes.
The success of the group – which has won first place at numerous national and international competitions – is intricately linked with the success of the individuals. Today, all members are either attending university or have graduated from university, made possible by their high troupe salaries and loans provided by the general pool of revenue.
The exceptionality of this group was due to its unified desire to preserve the old Rwandan culture, a culture in danger of being forgotten in Rwanda’s ambitious rise to middle income modernity. Yet it represented both Old and New Rwanda. The only way to achieve this perseverance was for the group to
About Rwandan National Music and Dance
Music and dance are an integral part of Rwandan ceremonies, festivals, social gatherings, and storytelling. The most famous traditional dance is Intore, a highly choreographed routine consisting of three components - the ballet, performed by women; the dance of heroes, performed by men, and the drums. Traditionally, music is transmitted orally with styles varying between the social groups. Drums are of great importance, the royal drummers having enjoyed high status within the court of the mwami. Drummers usually play together in groups of seven or nine.
The 'Dance of Heroes' is performed by men wearing grass wigs and carrying spears. The background is a dance performed by returning warriors, celebrating victory in battle. The dancers move from side to side combining grace and complex choreography with a raw aggression. At certain stages the dancers stop, with arms outstretched and make blood-curdling battle cries.
These calls are individual to each dancer and represent warriors declaiming the details of how many he had slain in battle. Battles traditionally involved Hutu, Tutsi and Twa fighting alongside each-other against a common enemy. The performance of Intore therefore has always consisted of warriors of all groups dancing together.
The dance form took shape in the courts of Rwandan Mwami (The King), it is generally a story telling dance, in which stories of love, war and time of hard ship are put into a dance form. It is more like an opera than a ballet. It cannot be termed as a battle dance alone because, it is performed in different scenarios, it was also performed after winning a battle.
The actual meaning of the term Intore is “the chosen ones”, so basically it was the dance of the chosen ones.
Intore dancers have gained a worldwide status of fame and have become an indispensable part of the Rwandan culture and tradition. The Intore dancers gained popularity in the year 1958 during the World Expo which was held in Brussels. This form of traditional Rwanda ballet is one of the ancient forms of dancing in Africa. The Intore dancing is also known as “warrior dancing”.
There are three main parts of the Rwandan ballet which comprise of Ingoma, Intore dancers and the songs. During the performance, Intore dancers, especially men wear grass wigs and have spears in their hands. They wear little bells on each foot which gives a rhythm to the entire background music. The theme of the performance is the celebration of victory in a battle which is depicted through the medium of dancing. The Intore dancers move sideways combining difficult choreography and grace with a raw aggressiveness in their expressions.
At one point, the dancers stop, with stretched arms and give out blood-curdling battle cries. Throughout the ballet, physical quarrel between the dancers turns into a form of artistic rivalry and at the end of the performance they hug each other as a symbol of friendship.
The most common traditional battles include Tutsi, Hutu and Twa fights against a familiar opponent. The performance of Intore dancers is always associated with the idea of power, raw masculinity, aggressiveness and yet as a tradition of the cultural heritage of Rwanda.