AMS Group C - FINAL POSTING Gule

(Our synthesis is at the end of this thread)

AMS Group C - DEFINITION Gule For Tampere Group C

KEYWORD: Gule
Language: Chichewa. A Malawian Language

1) In loose english translation this word means 'traditional dance'.

2) Gule refers to the combination of music (drumming, whistling etc.) song, dance and drama.

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.

Posted by: Lonneke, Mele, Catherine

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

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.

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.

WAR Group C RESPONSE [GULE] for AMS Group C

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.

FINAL POSTING/SYNTHESIS by: Lonneke, Catherine, Mele

What has happened in this proces of posting and responding today? We can take this as a sociological test-case for intercultural dialogue.

Tampere contested the point that European performing arts traditions are separated in disciplines by using the example of ballet. However, the point we were making in the beginning was that the west tends to taxonomise the arts into seperate disciplines, of which ballet is one (it has a very strong emphasis on dance and is thus taxonomised). Gule does not fit in this taxonomy. The challenge to the international scholar is to be aware of these differences and find ways to address them. Most importantly to find a suitable theoretical framework for analysis.
We would also like to thank Tampere for providing examples of other similar performative traditions in other parts of the world.

Warwick compared Gule to the Wagnerian Gesamtkuntswerk and applied this to the intercultural theatre practice. It is interesting to note that both Gesamtkunstwerk and the contemporary intercultural theatre practice have a creator-based process, thus an emphasis on a unified “director/creator” vision. Here we see fundamental paradigmatic difference between the notion of Gule in its Malawi context as an intrinsically integrated concept, and the Gesamtkunstwerk as an aesthetics put forward as a theory.

To conclude:
If we go beyond the exercise of defining and challenging definition, and If we put these discussions in the context of our objectives in MAIPR, we could propose the investigation of Gule as a framework for production-making and theory.