Lilombola

Origin: Mbunda

Lilombola is predominately for humans, though some rare makishi also perform this dance. Although both types of dancers will move to the same percussion accompaniment, a different set of songs may be sung depending on the dancers. Some believe that Lilombola was initially created to celebrate victory in war. Today, humans celebrate with Lilombola at pivotal moments of happy ceremonies (Tsukada 1997, 355).¹ In these settings, people usually dance Lilombola in the evening, after the official ritual activities have concluded. It is a large (counter-clockwise) circle dance that all are able to join in, though adult dancers are more frequently involved than the youth. In this way, it is a sort of Mbunda equivalent to the Luvale Kachacha. Though Lilombola and Kachacha may share some social similarities in the human world, they differ in the ancestral world.

Most of the makishi who dance Lilombola are Mbunda or Nkhangala in origin. Some of these spirits (Munguli, Ndumba) are predatory, non-horned animals from the bush. These should not be confused with the horned prey animal spirits from the bush who perform Nyemba. Other makishi (like Likopito) may dance Lilombola because of its origins in war. The Likopito likishi is an homage to the helicopters which became unfortunately common sites during Angola’s battle for independence and civil war. Perhaps rooted in the fact that elderly humans often dance Lilombola, makishi spirits of wise humans (such as Katavola) also perform this dance.

Due to the varied nature of makishi who perform this dance, there is no set costume for Lilombola performers. Some sport mikotola (cloth tied around and between legs) and/or malambu (dried animal hides). These hides may again reference human performance as elders would historically dance Lilombola while wearing malambu. However other makishi (such as Soko/Mkima) are completely covered in jizombo (short bark-cloth skirts) and mizombila (long bark-cloth skirts).

Lilombola dance revolves around slowly rotating shoulders. While keeping that movement in the upper body, a talented dancer may simultaneously alternate 4 quick steps with 2 slower ones.