Banga

The banga dance is reflective of the graceful and undisturbed beauty of mountain life for
springs about.
Figure 1.

The women walks as if they were tracing the edge of a mountain trail, the right arm is extended
in order to trace the narrow flat surface of the field as seen by the leader so they don’t fall of their heads
remain poised to balance the banga properly

Figure 2.

The maidens rock would light bouncing movements if they turn around and move from side to
side. Footwork begins from the right foot, the arm movements are very slight consisting of small swing
while walking these are the natural walking movements taking a step and turn to the right they rock to
form two parallel lines.

Figure 3.

They walk to the center to merge into straight line to introduce the couple standing straight.

Figure 4

They now face the audience and stretch their arms side ward palms facing the front and wrists
moving up and down, they then wheel on both feet as their hands move downward to their lap.

Figure 5

They stand with the ball of the right foot, they stabled repeatedly on four counts one by one and
beginning from the rear. The maiden step in turn as they separate to form two lines. They continue this
movement as they present the maiden with the banga.

Figure 6

Exit of the maidens. They repeat some of the armed movements and the stamping movements
before the dance ends for the maidens walking one after the other as they exit.
Salidsid
Courtship is then portrayed in the salidsid it involves the kalinga warriors dexterous manipulation of a
blanket called the tapis a widest play of footwork’s as he claims his future mate in this highly spirited
death. The salidsid steps is a step imitating the rooster scratching the ground this is done by both male
and female in this courtship dance.

Figure 1.

The maiden enters walking to the left side with a banga on her head , while the man enters from
the left side for ido and alla, with palms facing down and arm stretched out to the side, the woman
continuous walking to the left she goes to the back and waves to her friends who are honouring her, she
ends in the left side doing a step turn to the right . now she goes around the men to show her consent.

Figure 2

They both go to the center were the woman stop and sit.

Figure 3

Two of the maidens are put the banga on the top of the woman’s head

Figure 4

The man now approaches the woman lifts all the bangas and puts them down on the floor.

Figure 5

The other maidens walk towards the women, a pair at a time they carry one banga each and
carry to the woman, the woman adds one banga on the top of another until she has a pile of 10 bangas.

Figure 6

The man begins to dance around the woman he manipulates his blanket texturally while
displaying his footwork, he does a step hop with his knees slightly bent to the straight foot forward and
flexed and he invites the woman to dance with him.

Figure 7

She stands and accept the invitation she then execute her defection and blameless

Figure 8

They both do the salidsid step. They dance while looking at each other intensify expressing their
love through movement.

Figure 9

The woman slowly sit as she prepares to balance up the bangas.

Figure 10

The man lifts the pile of banga from the floor and puts them on the woman’s head.
Figure 11

The woman skilfully balancing the pile, the woman now stands and they both begin to dance
around , the man dance vary depending on the direction hes going , gallops as he goes side work and a
step rush when he goes backward.

Figure 12

The man does the salidsid step imitating the footwork of a rooster scratching the foot on the
ground, the woman uses a variety of walking and mincing steps as well as heel and a ball touch step.

Figure 13

The dance end with a man moving the cloth in right to left this is his way of saying that he will
detect.