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The Kayapo (Portuguese: Caiapó [kajaˈpɔ]) people are the indigenous people in Brazil who inhabit a vast area spreading across the states of Pará and Mato Grosso, south of the Amazon River and along Xingu River and its tributaries. This pattern has given rise to the nickname the Xingu tribe. They are one of the various subgroups of the great Mebêngôkre nation (people from the water’s source).The term "Kayapo" is used by neighbouring groups rather than the Kayapo themselves. They refer to outsiders as "Poanjos". The type of sweet potato that forms an important part of the Kayapó diet is sometimes named "caiapo", after the tribe. It is cultivated under that name in Japan, and has been found to have health benefits. Location See also: Kayapó Indigenous Territory The Kayapo tribe lives alongside the Xingu River in the most east part of the Amazon Rainforest, in the Amazon basin, in several scattered villages ranging in population from one hundred to one thousand people in Brazil. Their land consists of tropical rainforest savannah (grassland) and is arguably the largest tropical protected area in the entire world, covering 11,346,326 hectares of Neotropical forests and scrubland containing many endangered species.They have small hills scattered around their land and the area is criss-crossed by river valleys. The larger rivers feed into numerous pools and creeks, most of which don’t have official names. In 2018, there was an estimated 8,638 Kayapo people, which is an increase from 7,096 in 2003. Subgroups of the Kayapo include the Xikrin, Gorotire, Mekranoti and Metyktire. Their villages typically consist of a dozen huts. A centrally located hut serves as a meeting place for village men to discuss community issues. Name The term Kayapo, also spelled Caiapó or Kaiapó, came from neighboring peoples in the early 19th century and means "those who look like monkeys". This name is probably based on a Kayapó men's ritual involving monkey masks. The autonym for one village is Mebêngôkre, which means "the men from the water hole." Other names for them include Gorotire, Kararaô, Kuben-Kran-Krên, Kôkraimôrô, Mekrãgnoti, Metyktire, and Xikrin. Appearance Kayapo women, Pará State, Brazil The Kayapo use intricate black body paint covering their entire bodies. They believe that their ancestors learned their social skills from insects, so they paint their bodies to mimic them and to better communicate with the Spirit that exists everywhere. The black body paint also allows them to blend into their surroundings when hunting in the forests. To help find their way through the forest, the Kayapo paint their legs with red pigment that rubs off on the surrounding terrain. The colors that a Kayapo wears is representative of their tribe's colors. Older generations of Kayapo men wear disks in their lower lips, but the practice is less common among younger Kayapo men. The men adorn themselves with radiating feathers, representing the universe, in their hair. Kayapo men also can be seen with rope in their hair, to represent the rope which the first Kayapo used to arrive from the sky. Traditionally, Kayapo men cover their lower bodies with sheaths.[clarification needed] Due to increased contact with outside cultures, contemporary Kayapo often wear Western-style clothing such as shorts. Kayapo chiefs wear a headdress made out of bright yellow feathers to represent the rays of the sun. The feathers used in their headdresses are from birds native to their area such as hyacinth macaw and crested oropendola. The birds found in the Amazon are naturally bright-colored; the Kayapo do not dye the feathers. Kayapo children wear cloth or beaded bands with colors representing their tribes. Typically these bands are tied below the waist or crisscrossed around the torso. When the child become of age, they go through a naming ceremony in which they wear large yellow headdresses. Kayapo women can be distinguished by the V shape shaved into their hair. Language They speak the Kayapo language, which belongs to the Jê language family. The Kayapo are split into many groups, resulting in different dialects of their language. The Kayapo value oratory highly, calling themselves those who speak beautifully (Kaben mei) when compared to other indigenous groups. Beauty is valued highly in the Kayapo culture. A beautiful name is seen as a sign of wealth. The tribe will move and re-construct their camp in order to find the materials required to undertake the naming ceremony eg. Sufficient food sources for celebration must be gathered and presented to the father of the new-born. During certain occasions, Kayapo men may speak as if someone is punching them in the stomach. The Kayapo possess varying knowledge of Portuguese, depending on the individual groups and their history of contact with outsiders.

Zulu Reed Dance Ceremony. Once a year, in the heart of South Africa's Kingdom of the Zulu, thousands of people make the long journey to one of His Majesty’s, the King of the Zulu nation's royal residence at KwaNyokeni Palace. Here, in Nongoma, early every September month, young Zulu maidens will take part in a colourful cultural festival, the Royal Reed Dance festival - or Umkhosi woMhlanga in the Zulu language. Steeped in the history of the rise of the Zulu kingdom under the great King Shaka, the Reed Dance festival has been tirelessly celebrated by countless generations, and attracts thousands of visitors from throughout the country and from across the world. A dignified traditional ceremony, the Reed Dance festival is at same time a vibrant, festive occasion, which depicts the rich cultural heritage of the Kingdom of the Zulu and celebrates the proud origin of the Zulu people. The Reed Dance is also a celebration of the Zulu nation and performs the essential role of unifying nation and the king, who presides over the ceremony. The festival takes its name from the riverbed reeds, which are the central focus of this four-day event. The reed-sticks are carried in a procession by thousands of young maidens who are invited to the King's palace each year. More than 10 000 maidens, from various communities throughout the province of KwaZulu- Natal, take part in the Reed Dance ceremony, with the rest of the Zulu nation helping them to celebrate their preparation for womanhood. It is a great honour for the young women to be invited to take part in the Reed Dance ceremony, and its also a source of great dignity and pride for their families and communities. According to Zulu traditon, only virgins are permitted to take part in the festival to ensure that they are ritually 'pure'. The Reed Dance festival is a solemn occasion for the young women, but also an opportunity to show off their singing, dancing and beadwork, the fruits of many months of excitement and preparation. As the Reed Dance ceremony begins, the young women prepare to form a procession led by the chief princess. One of the daughters of the Zulu King is also the leader of the group of maidens as they go through this important rite of passage. Each maiden carries a reed which has been cut by the riverbed and it symbolizes the power that is vested in nature. The reeds reflect a deep mythical connection with origin of the Zulu people, where, tradition tells us, the original ancestor emerged from a reed bed. And still, today an expectant hush falls on the crowd as the chief princess is the first to choose a reed. Shouts of joy and celebration greet her as the reed remains intact, and, with bated breath, each of the young women takes it in turn to choose a reed. Accompanied by jubilant singing and dancing, the stately procession winds its way up the hill to the palace entrance where the king awaits, flanked by his royal regiment. As leader of the group of young women, the chief Princess kneels down before the king and presents him with a reed to mark the occasion, before joining the young women in a joyful dance of tribute to the king.

Every reed girls without up dresses dance infront of king after that marred his choice girl. Every virgin girls dreaming this dance.

Ndebele dances reed zulu Popular dances among the Ndebele includeMushongoyo, Isitshikitsha, AmabhizaandIngquza. Historically,Muchongoyodance was performed by men in preparation for war or after war, and especially when the Ndebele warriors were victorious. The dance is typically performed with a stick and a shield. Men do the dancing and women are responsible for the singing. It is also a social and recreational dance, and does not have a religious feature; instead it highlights the events of the society. The signature movement is stamping, and dramatic gestures as well as a mimetic element are essential. Another important dance for the Ndebele isIsitshikitsha- a ceremonial dance, historically performed for the King’s pleasure.Isitshikitshawas also commonly performed at theinjelele, a rainmaking ceremony held during drought seasons by the Ndebele people of Matabeleland Province in Zimbabwe. The dance routine employs a unique brand of rhythm and style. In contemporary timesIsitshikitshais performed at social gatherings, weddings or first fruits ceremonies. It is accompanied by singing, clapping, ululation and whistling. Ndebele culturel dance. African culturel dance

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