This paper examines the role of dance in the resolution of inherent
contradictions within society. Structural analysis is applied to "the
youths' dance (hiyari) " performed by the Koegu in the Lower Omo
Valley, southwestern Ethiopia. Most of the data presented here was
taken during my fieldwork in 1988-90.
The Koegu, 500 in number, is one of the minor ethnic groups in this
area living on small scale horticulture, fishing, hunting and gathering,
and honey collecting. The people have been kept for a long time in a
subordinate position to the Kara, their southern neighbours. On the
other hand, they have also been under the strong influence of the
Nyangatom, who are pastoralists. The Koegu have many Nyangatom
and Kara songs, and some Nyangatom dances in their repertory. They
sing songs not only of these two groups but also of their six adjoining
groups. Why do they sing and dance in the way of their neighbours ?
In a sequence of "the youths' dance", the first stage always begins in
a leaping dance and songs of the Nyangatom, which symbolically express
the world view of the pastoralist. In the second stage, however, the
dance form turns to a couple dance, the variety of languages in the singing
increases, and the meanings of the words become obscene and sexually
mocking against the Kara. In this liminal situation, the peoples'
emotion is thrown into ecstasies and the value of structured life is
overturned. Finally, the third stage is transformed into the Koegu dance
and songs. Stability is restored again. However, the order of this stage
is associated not with the Nyangatom but with the Koegu way of life.
The dilemma within the Koegu society is that the people hope to be
released from their subjection to the Kara, but this implies being taken
under the patronage of the Nyangatom. Consequently, their ethnic
identity as forager might be lost and changed to one as pastoralist. "The
youths' dance" is a political performance which states the dilemma of
their future identity.
採取民コエグの歌とダンス : エチオピア西南部，オモ川下流平原の民族間関係
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