In other dances, individuals step into the circle one after the other.A dancer is rated primarily on his or her ability to stamp out the rhythm of the drum with his or her feet and to follow the musical rhythm of the song with the simultaneous use of the torso and shoulders, and the rapid vibrations or twists of the buttocks and pelvis.Each dancer then steps into the circle and completes the sentence with erotic motions and movement that mirror and reflect an evolving identity and personality, expressing individual freedom and pent-up emotions. And most of the time, an African will dance with no one at all except him or herself.The sensuous abandon leaves little to the imagination as the dancer flirts with his or her audience with the use of the eyes, and as he or she ripples with imaginative erotic movements and overall bodily experience. The tempo of the drumming, singing, clapping, cheers, and ululations all combine to bring the dancer into an ecstatic state.However, we will come to know the historical African courtship cultures, traditions and rituals do not necessarily provide a window into the mindset and soul of the contemporary African.The teachings and beliefs represented in this document belong to the Sub-Saharan African cultures that have not been influenced much by “modern” ideas and concepts, Judeo-Christianity and/or Islam.
The drummers and other dancers respond to a good performance by a lively chorus usually laden with erotic innuendo.
The African subtle, bred-in-the-bone, curiously innocent sensuousness should not be confused with grabbing crotches à la Michael Jackson or table top clutching and flashing breasts. And when ecstasy grips, the dancer is transported into another world, and sometimes has to be woken up by some kind of rude reality — like falling hard on the ground.