throughkaleidscopeeyes:

soul-asylum:

anotherfashionbook:

Amber Rose

YAAAASSSSSSS DAT ASS DOE.

lmaooo stop sleeping on amber yo

(via artofkawaii)

@2 days ago with 22948 notes
#amber rose 

brownglucose:

note-a-bear:

nattyganjapuffr:

0h-luxuri:

ridge:

let me bless yalls dashboard with this video again

I just want to learn how to DO THAT HOW DO YOU SHAKE YOUR BOOTY LIKE THAT YO?????

i couldn’t do this in 100,000,000 years

*sobs* I’ll never be that good

So effortless

(Source: the-anal-rapist, via kenyabenyagurl)

@2 weeks ago with 44033 notes
#twerking #talent!!! 

Some kuduro from Angola with Titica

@1 month ago with 15 notes
#titica #angola #kuduro 

Chakacha from Comoros

This video looks like it was put together for a wedding and the chakacha dance here is part of the wedding festivities. There have been a few academic essays on how chakacha was/is part of rites of passage done at weddings.

@1 month ago with 22 notes
#comoros #chakacha 

thefemaletyrant:

"Infidelite"- Vitale (aka La Beyonce d’Afrique)

Coupe decale from Ivory Coast

@1 month ago with 112 notes
#coupe decale #ivory coast 

dynamicafrica:

New Music: Ay ft Titica - Pelos Menos 50.

Two seriously talented and incredibly gorgeous Angolan women team up for this kilapanga song that, from the look of the video, addresses society’s obsession with superficiality, beauty and the inconsiderate worship of the self - from skin bleaching to steroids.

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All Africa, All the time.

OkayAfrica says that this video is a “striking visual nod to Angolan dance”.

@1 week ago with 91 notes
#angola 

Anonymous asked: Do you consider belly dance a part of the diasporic dance?

There are many African ethnic groups that dance using the belly and the waist…so yeah.

As long as we’re not talking about the belly dancing that white people have appropriated from Arabs. I would not consider that to be part of the diasporic dance.

@3 weeks ago with 1 note

"

At the onset of puberty, the girl child- Mwanamwari- sets on a new journey in her life through formal instruction. In an enclosed and secluded space, a traditional instructor; somo/kungwi, fulfils the role of transferring knowledge and skills acquired throughout generations to the young girl. The kungwi/somo usually identifies her own candidate as the girl grows. The Kungwi could be an aunt or a very close companion of the girl’s mother. Soon after the onset of puberty of the Mwanamwari, the kungwi, who should be a successfully married woman, takes upon herself to instruct her on personal hygiene, especially on how to take care of her body during the days of menstrual flow, self adoration, beauty and acceptance. She is warned to love her body by keeping away from sex before marriage.

[…] The candidate is also instructed on how to take care of her body in a symbolic manner. She is taught to love and to take care of her body. The body is massaged daily. The Kungwi is the masseuse. She puts the girl in suitable different positions and proceeds to aid movements of the limbs and joints. She strokes, pinches and kneads her candidate’s body with a lot of abandon and commitment. By these means, any signs of obesity are removed from the girl’s body.

[…] in Unyago the women revere the beauty of their bodies and by means of their dances seek to develop a body that is perfectly proportioned and graceful in movement, balance and tone. Throughout the seclusion period, the initiate is tested. She has to do exercises and show off her dancing skills and is introduced into the symbolic marital language. Sometimes the initiates compete in an open arena. However, only their kungwi and women relatives are present. Drumming and clapping to the rhythms accompanying well-known women’s songs take place.

[…] More notable is this training of the girls to seek harmony between their mind and body. The girls’ bodies are trained to respond to the expressive power of the mind. Further, the girls are taught languages of the body. The girls are forewarned to treat sexual encounters with their partners as dialogue between bodies.
They are therefore prepared for all types of dancing, especially in the marital chamber. Ability to dance in the marital chamber is foreseen as the symbol of the girl’s victory through her body. . She learns to dance (including the dance on the marital bed) to exercise by rocking and swaying, and to sing. The dancing movements are tests of skill, some relate to domestic chores, others to sex, while others to graceful walking.

The dancing styles also differ. For instance, there is that which should make the girl’s waist very flexible “chakacha” and that which makes her move pleasurable during love making, msondo. Chakacha is danced in an upright position and msondo in a lying position. Generally sexual practices like the bed dance are carefully taught for they are believed to drive the husband wild with lust, while knowledge of herbs, miti, and correct spices, to keep him faithful and sexually active by awakening his desires, when low, are disclosed.

The candidate’s ability to swing the waist, kukata kiuno, can be said to be a ticket to marriage. Whoever acquires the skill faster, gets a suitor sooner. This is because word about her flexibility and agility goes round and soon, her hand in marriage is sought.

"

- Nurturing Multiple Intelligences through African Indigenous Education: A Case Study of Unyago, a Swahili Girls to Women Nuptial Institution by Professor Wangari Mwai

On belly/booty dancing as part of initiation rites for women among indigenous African people.

@1 month ago with 207 notes
#swahili #unyago #chakacha #msondo 

thefemaletyrant:

"Tremblement De Reint" - La Congolaise

The thing I found while watching Vitale’s music videos on youtube.

She says she’s the best dancer in Ivory Coast and I can see why.

@1 month ago with 46 notes
#mapouka #ivory coast 

I don’t really know what style of dance this is…

This should be funana from Cape Verde

@1 month ago with 1 note
#Cape Verde #funana #submission