The Pain And Suffering Of The Voiceless People In Cinema - Essay Example

? “Action speaks louder than words.” This universal adage is the essence that can be found in the exercise of a non-verbal communication. Such is thecase in the documentary film, “War Dance,” which was set in Northern Uganda where Patongo Camp is located. The film which speaks of the atrocities inflicted on the people captured and enslaved by the rebel group, the Lord’s Resistance Army, is effective in conveying the hopeful message to the audience about the truth of how life is lived and how the children struggle for survival in the camp of Patongo. Although for some critics, the film is full of exploitations, on the contrary the content of the documentary film seemed realistic. For the directors to have achieved a very heartwarming display of the pain and suffering of the voiceless people of the tribes, they were successful in ferreting out from the children the line that dance is their tradition, and no amount of war can take it away from them. The necessity of resorting to non-verbal communication is indeed apparent in the film, for the obvious reason that the perceived victims in the film are voiceless and powerless. In the absence of words, what is left for them is body language, through dance accompanied by music. The definition of dance as a form of expression that uses bodily movements that are rhythmic, patterned, sometimes improvised, found in every culture and is performed for purposes ranging from the ceremonial, liturgical and magical to the theatrical, social and simply aesthetics (Britannica 2011), relatively connects with the film. The music that was devoid of words and the dances were quite entertaining in the film. The movements were expressive, which was demonstrative of the reflex response of the children when in danger, which is to either flee or let go to hide the fear. The choreography is in support of the desire of the captured children to immediately do something about the negative emotion bottled up inside their system, which they hope to free. The competition in the capital city of Kampala was again entertaining, the excitement can be likened to the much talked-about worldwide show, “American Idol.” Through their participation in that competition, they were out to prove that they can be giants amidst the suffering in their real life. The value of the dance however in this film and the beats of the drums, set some limitation concerning the messages that are needed to be said in public, which at times, only words can do. Emotionally, in a personal context for the children, they were able to pretend that everything can be alright, but in general, the hope for help and call for rescue are quite elusive. The way they jump and smile and sway to encourage cooperation, activity and fun, although temporarily enjoyed, are all for the purpose of extracting ritual power from bwola, their five hundred year old intricate dance that can possibly heal broken lives. Their manner of dances that are connected to their tribal roots, are indicative of their free-spirited characteristic inspite of the wars and atrocities around them. For all those destined in Camp Patongo, it is only through music and dance that they are able to let go and in the process shrink the emotional giants brought about by the negative experiences such as kidnappings and killings that happened right in front of them. The dances and the drum beats lent emphasis on the hopes and dreams of the children, to gain freedom and make something of themselves in this cruel world. The documentary film Kumu Hula-Keepers of Culture, which is about the master teachers of the hula dance and its history, depicts the real beauty of the hula dance, which had evolved over all these years courtesy of the Hollywood movies. The improvisation of the modern hula dance might not have destroyed the meaningful message behind each dance, but the stories of the Kumu Hula in the film coupled with the demonstration of the traditional dance were so animated and out to prove the gentleness of the Hawaiian renaissance. The rich and colorful Hawaiian culture is totally unique, and the film was able to reveal ancient traditions that were expressed through the hula dance, with not so much of swaying palms that are popular nowadays. The graceful rendition of one hula dance with overweight performers but apparently authentic in an ancient way, was able to symbolize the yearnings to end loneliness. Their body movements provide for certain amount of preparation on how to impart agility as a warrior ready for combat, or for love lost awaiting to be rekindled. The dances in the film, Kumu Hula, were expressive, in a way that lends accuracy to one of the definitions of a non-verbal communication, which is; “the ability to understand and use non-verbal communication is a powerful tool that will help you to connect with others, express what you really mean, navigate challenging situations and build better relationships at home and work.” (Helpguide 2011). In order to be considered of religious value, each of the very elaborate and long songs (in Hawaiian) must be sung and performed without a single error. Mastering the skills to do this takes many years of practice and study (Fountain 2011). Kumu hula teaches the art of anticipating the moves that would coincide with the fellow performers, which do not necessarily need the aid of any choreography. This way, spontaneity that comes from the heart of the dancers are significant. The value of the dances in Kumu hula is most representative of the meaning that the director wanted to convey. As a non-verbal means of communication, the tales expressed through the dances and the music were easily understood, and because there is no urgency in their movement, the plot is easily decipherable. This is the beauty in the ancient traditional hula dance. The performers take time with grace in their movements, the chanting of antiquity seemed pronounced even in the absence of words. The pace is slower and there is no swinging of hips. When they danced in the film, that concerns matters of the heart, the connection with the percussion and the dance itself is so moving that for those who have been to Hawaii, can bring one to tears. The film, through the kumu hula speaks of the history of the hula dance, that it is unique among all other Polynesian dances in many islands of Hawaii, and mostly intended for rituals and sacred ceremonies, unlike today, when it is now performed internationally as more for entertainment than its more noble origin. The hula dance requires eye contact, facial expressions, proper gestures, postures and grace, which are all the true essence of a non-verbal communication, which lends more authenticity and accuracy, when the words being said are contrary to the movement. More people tend to believe the body language rather than the words being said. The film is deemed to be successful in getting across to its audience what schools for the hula dance to enroll in, because it was evident, that the numerous kumu hula did their level best to prove that the hula dance they teach is the authentic ancient dance. Works Cited: Britannica Concise Encyclopedia (2011). Retrieved from: http://www.answers.com/topic/dance Fountain, Clarke 2011. Retrieved from: http://www.allmovie.com/dvd/kumu-hula-keepers-of-a-culture-doc-3195 Helpguide. Retrieved from: http://helpguide.org/mental/eq6_nonverbal_communication.htm Read More