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Transculuration is the merging of cultures, mainly due to subjugation. It is when a culture takes knowledge and tradition from other colonies, whilst holding on to its own background. This has been used within performance, often subconsciously, through many different art forms. A modern example of this is a dancer called Bode Lawal. He has his own technique which combines the Western form of contemporary dance with traditional African dance, using martial influences. His style originates from his African roots, yet bringing in contemporary dance movement due to his UK tenancy.

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Transculturation originates from Ferrnando Ortiz in 1940, stating that

“There still remains a fifth phase that we must reach some day-the phase of integration. Only a small minority has reached it thus far. This is tomorrow's phase, the last phase, where cultures fuse and conflict ceases, giving way to a tertium quid, a third entity and culture and to a new society culturally integrated, where mere racial factors have lost their dissociating power”. ( Ortiz, F. www.historyofcuba.com)

Ortiz’s view on transculturation, it appears, is still the same to this day. Almost 70 years later, we still fail to fully integrate as races and cultures. Yet, as mentioned, a minority believe in this way of life, and I believe many more than when transculturation came about. Within performance, this is quite a new concept, and as mentioned, Lawal integrates this flawlessly.

“Bode Lawal Dance Technique is also intended to emphasise the higher aspect of African dance beyond cultural tourism and other trivial or nonsensical realms in which African dance is frequently expressed. It maintains and honours the vital link between progress and tradition. By dwelling in the realm of human consciousness, it naturally embraces and complements all styles of dance while remaining rooted in the tradition of the orisas”. (www.sakobadancetheatre.com)

An example of this is shown below:

Bode Lawal’s technique influenced my idea for my transcultural performance and I wanted to include it somehow. “Embodying a dance technique requires that the dancer identifies him/herself with the technique’s culture. That culture is unique”. (Preston-Dunlop, V. & Sanchez-Colberg, A. 2002:7) Using my research and dance background I came up with the idea of a ‘wolf-girl’. There was a definite process of elimination throughout this time, as I originally started with making wings. The reason for this was because we started the devising process by working with wooden sticks, and seeing what we could come up with as an ‘extension of the body’ or as a puppet. We did this work with Nigel Luck, which was adapted through different lessons. Some people stuck to this original idea, making frames and wings to create their characters. Others moved on to different materials, for example one group used foam, and another (like me) used fabric.