WAR Group C RESPONSE [GULE] for AMS Group C

Original Definition:

AMS Group C - DEFINITION Gule For Tampere Group C
KEYWORD: Gule
Language: Chichewa. A Malawian Language
3) Unlike the separation in European performing arts disciplines, Gule in Malawian context sees the elements of music, dance and drama as inseparable. For example, during a dance, drama with identifiable characters and a clear narration becomes part of it.

Original Challenge

TAM Group C Ua Kristina Jocelyn CHALLENGE [Gule] for WAR Group C

1. We would first like to challenge the point that European performing arts traditions separate the different performance forms of music, dance and drama as clearly as it may seem on first consideration. We would like to give classical ballet as an example which combines the three forms, with orchestral music, dance, and mime combined into a single performance.

2. Our second consideration is not so much a challenge, but we would like to raise the point that many Asian performance traditions are similar to Gule in Malawi, in that they also combine many peformance forms - an example would be the traditional Khon of Thailand. Furthermore, traditional Asian performance forms often have a spiritual aspect, adding yet another layer to the performance.

3. Another example from Africa, of a performance form that combines many elements - the Bangoura.

New Response: We agree with your initial challenge in that European practices have a long tradition of a syncretic approach to performance dating back from Greek tragedy. The line can be followed through to Wagner's concept of Gesamtkunstwerk which has in turn influenced many 20th century practitioners.
However, we are wary of seeing the fusion of art forms involved in gule, ballet, Khon, and Bangoura, and other performance practices as necessarily adding artistic value. To pursue this synthesized approach for its own ends without context and content could well result in a weaker final product in which each individual art form suffers. Performances where a synthesis of individual art forms are brought together under the guise of transcultural interaction, as in a 'cultural collage' where performance practices are sometimes combined without concern for context or content, can do more harm than good. If a practitioner wishes to utilize a fusion of various cultural forms they must do so with the respect and understanding of all the traditions they wish to assimilate. A full synthesis of performance is not always the best; each art form contains its own virtues too.