Thisaazhou Song Circle
Between cities, the Truuits would meet other Thisaazhou at a shared campsite. Someone would build a fire, and a half dozen families would share a meal together. It reminded Matsias of the meals at the Epaluno temple, so it was hard to join in at first. Things changed when Key pulled him into the dance circle.
Matsias had heard of Thisaazhou dancing tradition from Key, but had never had occasion to see it. Every person joined in, from children of only a few years to grandparents who leaned on canes. They stood in a circle around the fire, men on one side, and women on the other. Then, in rhythmic harmony, they stomped and dragged their feet, shuffling around the fire in unison, as they called back and forth to each other in song. Every song had a different step, and somehow, they remembered all of them. It was the most joyous sound Matsias had heard since his parents died.
Song circles are a Thisaazhou tradition in which multiple families will gather to sing and dance together. Though they can be held in any rural location, they are especially common at Shax'ia shrines.
Singers stand in a circle, with men on one side and women on another, and sing a capella. Songs are usually accompanied only by a rhythm of clapping, stomping, and dragging of the feet, sometimes referred to as a "foot-beat." Every song is identified by its unique pattern. These patterns usually contain some combination of the following elements:
- long clap--a clap that falls on the beat (quarter notes)
- short clap--claps that fall on the beat and the off-beat (eighth notes)
- long stomp
- short stomp
- drag (dragging a foot always fills a full beat)
When combined, these elements also create a sort of shuffling dance around the circle.
As an oral culture, Thisaazhou use songs to teach about religious mythology and cultural history. Individual families will also develop songs about their personal histories or important events which happened to them. Most songs utilize a call and response pattern in which the women call and the men and children respond. This helps children learn the lyrics and the rhythms of the songs in order to help them remember the histories. Some songs have melodies and countermelodies which are sung by different groups.
History
The origins of Thisaazhou dance circle are unclear, but it is likely that it developed as a way for members of the group to share oral history. Though many of the songs reference myths from the Shax'ia religion, most Thisaazhou state that the dance circle is secular in nature. Nevertheless, it is likely that the song and dance routine was intended to help share and internalize important myths or histories. The unique "foot-beat" of each song, and the motion which accompanies it would make each song easier to learn, as well as to recall. It is also possible that the call and response originated as a way to teach the songs to children--with the adults calling and the children responding.
Another possibility is that the dance circles originated from a ceremony of a new Thisaazhou matriarch (similar to a coronation.) According to this theory, the song would have been lead by the new matriarch, who would call out the story, with the rest of the group responding. This would have been a way to ensure that the new leader knew her history and the traditions she came out of. This theory has mostly developed out of the call and response structure of Thisaazhou music--with the women leading and men responding. Though some songs are led by a single person, usually to mark a transition, such as from childhood to adulthood, Thisaazhou are not known to have a central authority figure, making this origin story unlikely.
It is far more likely Thisaazhou song and dance was intended to unify the people, for the very reason that they do not have a central authority. When Thisaazhou families would meet in their travels, they would eat together and dance together. The communal dancing allowed Thisaazhou to share stories with one another and to create a sense of unity through shared tradition. Different families created their own songs and dances, which they shared with other Thisaazhou families they met while traveling, eventually spreading and creating the repertoire that is known by modern Thisaazhou. Dancing together was also traditionally a declaration of peace. By inviting others to dance, Thisaazhou marked others as members of their family. This is why all Thisaazhou consider each other family, regardless of blood connections.
Song Circle Ceremonies
Because Thisaazhou song circles are a central part of the culture, important ceremonies are usually held during these times. Many of the ceremonies involve the few songs which do not have a foot-beat.
Weddings
Thisaazhou weddings are surprisingly solemn affairs. The betrothed meet in the center in front of a low fire. After saying vows, they each cut their hands and let them bleed together over the open fire. A Shax'ia priest blesses them, and the circle, rather than singing, hums the wedding song, which has neither words nor a foot-beat. Early marriages among Thisaazhou were usually reserved for very important people, and it is likely this tradition developed to reflect the gravitas of the situation.
Divorce
Divorce, having developed much more recently, as official weddings became more common, uses more typical song circle music. Again, the couple meet over a low fire with a shax'ia priest overseeing the ritual. They make a verbal agreement of divorce and the woman presents the man with a token representing the resources she will give him in order to return to his life as a single man, usually enough to complete a half-circuit around the continent. Traditionally, the woman keeps all the other assets of the marriage, and takes custody of any children. Unlike a marriage, a divorce ends in a celebration, as the two divorcees are once again looking for partners. The traditional dance circle commences beginning with the songs of both families.
Funerals
In a Thisaazhou funeral, the body of the deaceased is burned in the center of the circle. Traditionally, a horse would be sacrificed and burned alongside the body, so the person might ride it into the afterlife. Modern day Thisaazhou often burn a wooden horse instead, either because they no longer own horses or because they find this a poor reason to kill a live one. As the fire burns, the group sings the Song of Farewell, which has neither a call of response nor a foot-beat.
Coming of Age
Like weddings and funerals, the coming of age ritual does not include dancing. It begins with the sixteen year-old child in the middle of the circle. The family matriarch then sings a call and response song with the child--with the matriarch calling and the child responding. The lyrics involve the matriarch asking if the child is ready to take on the duties of adulthood, and the child responding they are. Parts of the individual family's history may optionally be included in this song, as well as a section in which the child selects a Shax'ia god to dedicate their life to. This song does not have a foot-beat, and no one else in the circle joins in. Instead, when the song ends, the circle moves clockwise around the child, so each person in turn can offer a gift or a blessing to the child. The last person is always a Shax'ia priest, who offers the Blessing of Adulthood. The ceremony ends with the child leading the group in the Song of Wandering. This song also has a call and response, but no foot-beat.
Adoption
And to you, who have lost so much, I swear my fealty
Thisaazhou believe that any two people who sing and dance together are considered family. As a result, all Thisaazhou consider themselves family because they have all danced with each other or with relatives of each other. Traditionally, when a Thisaazhou family chooses to adopt an outsider, it is as simple as inviting the adoptee to join in a song circle. This is why outsiders who have been adopted as Thisaazhou are usually referred to as "invited Thisaazhou." Though adoption preferably is danced to the adopting family's song, it can be danced to any song.
Shax'ia Ordination
Coming soon: a quote from the ordination song
The shax'ia ordination song has the same melody as the coming of age song, though the lyrics are different. In this ceremony, another shax'ia priest, usually one the new priest studied under, takes up the call, and the new priest, standing in the middle of the circle, responds. The lyrics of this song include religious myths and history and call upon the man to take up the mantle of priestly duties, such as tending to a shax'ia shrine and teaching future priests. When the song is over, the circle may rotate clockwise to allow each person present to welcome the new priest. It ends with the new preist being presented with a crimson colored skirt--the sign of priesthood. The ceremony is typically followed by more traditional song circle dances, with the first usually selected by the new priest. While other ceremonies may happen at any given song circle, this one must happen at a Shax'ia shrine (or the Atlinthaian temple.)
Shax'ia Conversion
Unlike other songs, the conversion song has four movements, each led by a different priest, standing at a different point in the circle. The convert stands in the center and responds to each pirest in turn. The first movement is a retelling of the Shax'ia creation story. The second is a variation on the coming of age song, calling the convert to carry the history of the Shax'ia faith. At this point, the convert may select a specific god to devote their lives to. The third movement is a retelling of the first Shax'ia convert, and the fourth is referred to as "The Great Future."
To convert to the Shax'ia faith, one must study for several months each with at least six different priests, at least four of whom must agree the person is ready for conversion and to take on the duty of leading them in song at the ceremony. If more than four priests agree, the ceremony may include other, optional movements, such as additional religious stories. Whether or not the circle moves to allow each person to individually welcome the convert, the priests usually bestow gifts upon them, such as carved figurines of Shax'ia gods. Like the Ordination ceremony, this one must occur at a shrine or the Atlinthaian temple, and it is frequently followed by additional Thisaazhou dancing, unless for some reason the convert has not also been adopted into a Thisaazhou family. This is incredibly rare, and only happens when the convert does not wish to be adopted.
Because Thisaazhou song circles are a central part of the culture, important ceremonies are usually held during these times. Many of the ceremonies involve the few songs which do not have a foot-beat.
Weddings
Thisaazhou weddings are surprisingly solemn affairs. The betrothed meet in the center in front of a low fire. After saying vows, they each cut their hands and let them bleed together over the open fire. A Shax'ia priest blesses them, and the circle, rather than singing, hums the wedding song, which has neither words nor a foot-beat. Early marriages among Thisaazhou were usually reserved for very important people, and it is likely this tradition developed to reflect the gravitas of the situation.
Divorce
Divorce, having developed much more recently, as official weddings became more common, uses more typical song circle music. Again, the couple meet over a low fire with a shax'ia priest overseeing the ritual. They make a verbal agreement of divorce and the woman presents the man with a token representing the resources she will give him in order to return to his life as a single man, usually enough to complete a half-circuit around the continent. Traditionally, the woman keeps all the other assets of the marriage, and takes custody of any children. Unlike a marriage, a divorce ends in a celebration, as the two divorcees are once again looking for partners. The traditional dance circle commences beginning with the songs of both families.
Funerals
In a Thisaazhou funeral, the body of the deaceased is burned in the center of the circle. Traditionally, a horse would be sacrificed and burned alongside the body, so the person might ride it into the afterlife. Modern day Thisaazhou often burn a wooden horse instead, either because they no longer own horses or because they find this a poor reason to kill a live one. As the fire burns, the group sings the Song of Farewell, which has neither a call of response nor a foot-beat.
Coming of Age
Like weddings and funerals, the coming of age ritual does not include dancing. It begins with the sixteen year-old child in the middle of the circle. The family matriarch then sings a call and response song with the child--with the matriarch calling and the child responding. The lyrics involve the matriarch asking if the child is ready to take on the duties of adulthood, and the child responding they are. Parts of the individual family's history may optionally be included in this song, as well as a section in which the child selects a Shax'ia god to dedicate their life to. This song does not have a foot-beat, and no one else in the circle joins in. Instead, when the song ends, the circle moves clockwise around the child, so each person in turn can offer a gift or a blessing to the child. The last person is always a Shax'ia priest, who offers the Blessing of Adulthood. The ceremony ends with the child leading the group in the Song of Wandering. This song also has a call and response, but no foot-beat.
Adoption
And to you, who have lost so much, I swear my fealty
Thisaazhou believe that any two people who sing and dance together are considered family. As a result, all Thisaazhou consider themselves family because they have all danced with each other or with relatives of each other. Traditionally, when a Thisaazhou family chooses to adopt an outsider, it is as simple as inviting the adoptee to join in a song circle. This is why outsiders who have been adopted as Thisaazhou are usually referred to as "invited Thisaazhou." Though adoption preferably is danced to the adopting family's song, it can be danced to any song.
Shax'ia Ordination
Coming soon: a quote from the ordination song
The shax'ia ordination song has the same melody as the coming of age song, though the lyrics are different. In this ceremony, another shax'ia priest, usually one the new priest studied under, takes up the call, and the new priest, standing in the middle of the circle, responds. The lyrics of this song include religious myths and history and call upon the man to take up the mantle of priestly duties, such as tending to a shax'ia shrine and teaching future priests. When the song is over, the circle may rotate clockwise to allow each person present to welcome the new priest. It ends with the new preist being presented with a crimson colored skirt--the sign of priesthood. The ceremony is typically followed by more traditional song circle dances, with the first usually selected by the new priest. While other ceremonies may happen at any given song circle, this one must happen at a Shax'ia shrine (or the Atlinthaian temple.)
Shax'ia Conversion
Unlike other songs, the conversion song has four movements, each led by a different priest, standing at a different point in the circle. The convert stands in the center and responds to each pirest in turn. The first movement is a retelling of the Shax'ia creation story. The second is a variation on the coming of age song, calling the convert to carry the history of the Shax'ia faith. At this point, the convert may select a specific god to devote their lives to. The third movement is a retelling of the first Shax'ia convert, and the fourth is referred to as "The Great Future."
To convert to the Shax'ia faith, one must study for several months each with at least six different priests, at least four of whom must agree the person is ready for conversion and to take on the duty of leading them in song at the ceremony. If more than four priests agree, the ceremony may include other, optional movements, such as additional religious stories. Whether or not the circle moves to allow each person to individually welcome the convert, the priests usually bestow gifts upon them, such as carved figurines of Shax'ia gods. Like the Ordination ceremony, this one must occur at a shrine or the Atlinthaian temple, and it is frequently followed by additional Thisaazhou dancing, unless for some reason the convert has not also been adopted into a Thisaazhou family. This is incredibly rare, and only happens when the convert does not wish to be adopted.
In a Thisaazhou funeral, the body of the deaceased is burned in the center of the circle. Traditionally, a horse would be sacrificed and burned alongside the body, so the person might ride it into the afterlife. Modern day Thisaazhou often burn a wooden horse instead, either because they no longer own horses or because they find this a poor reason to kill a live one. As the fire burns, the group sings the Song of Farewell, which has neither a call of response nor a foot-beat.
Like weddings and funerals, the coming of age ritual does not include dancing. It begins with the sixteen year-old child in the middle of the circle. The family matriarch then sings a call and response song with the child--with the matriarch calling and the child responding. The lyrics involve the matriarch asking if the child is ready to take on the duties of adulthood, and the child responding they are. Parts of the individual family's history may optionally be included in this song, as well as a section in which the child selects a Shax'ia god to dedicate their life to. This song does not have a foot-beat, and no one else in the circle joins in. Instead, when the song ends, the circle moves clockwise around the child, so each person in turn can offer a gift or a blessing to the child. The last person is always a Shax'ia priest, who offers the Blessing of Adulthood. The ceremony ends with the child leading the group in the Song of Wandering. This song also has a call and response, but no foot-beat.
Comments