As is usual in the African continent, dancing is a part of Saotomean culture. Throughout the year, dancing enlivens celebrations, rituals and other cultural expressions. The customs, the singing and the forms of greeting define the originality of each dance.
The 'ussua' dance
Supposedly emerges circa 1900. It is praticed by the 'filhos da terra' ('children of the land') and inspired by European forms: pas-des-lanciers, pas-de-quatre and minuet. It is danced to the sound of European instruments (accordions) as well as African ones (drums). It is a ballroom dance evolved in the farms ('roças') having been taught to children up to the 1960s. This dance is still a feature of many public or large-scale events.
The 'socopé' dance
The socopé is an African dance: syncopated and sensuous. The texts that usually go with the music are critiques of current events. The phrase socopé derives from Portuguese words, denoting that you should dance 'only with your feet'. It is a mundane sort of dance, doubtless from late 18th C. Brazil, brought to Portugal by the Portuguese Court from its refuge in the Rio de Janeiro. It was probably introduced into São Tomé in the early 19th C. Socopé unites all social strata and ethnic groups. The instrumentation is primarily African.
The 'puita' dance
Puita and semba are two names for the same dance. The semba was introduced by Angolans, being a version of the caduque, and Luandan dance. The difference is that semba, unlike caduque, has nothing to do with ancestor worship. The puita dance is named after a bamboo flute, the puita. Forbidden during the colonial period on account of its erotic overtones, the puita is a dance to revere the dead. Tradition demands that, 30 days after the decease of a person, a celebration be held in their honor, that they may enjoy health in the world to come: so you eat, you drink and you dance. By dawn, the party culminates in a mass for the soul of the dearly departed.
'Danço-Congo'
It is the most popular and African of Santomean dances. Angolares, shut off from European influences, evolved this dance form. Violent rhythms set the entire body in motion. This too was forbidden during the colonial period, and was underappreciated by the 'children on the land'. Around thirty dancers, guided by a captain accompanied by a 'logoso do anso molê' (a dying guardian angel of the farm), two 'anso canta' (singing angels), two 'pé-pau' (dancers on stilts), four lunatics, a sorcerer, a 'zugozugo' (sorcerer's apprentice), a 'djabo' (devil), and four drummers, and the rest of them unspecified dancers, playing canzas. The gard is colorful and dappled. The sorcerer, his apprentice and the devil wear terrifying costumes. Others wear great big hats. The prevailing theme is the inheritance of a farm by stupid and fragile white owners. Unlike them, the Angolares present themselves as strong and brave.