A. Evidence about 10th century trade networks
There are only two ways Vikings could have gained gold from the middle east, raiding and trading. Despite what many people believe, the Vikings were excellent traders, following rivers all across Europe. Many people believe that the Vikings traded in the Middle East for Damascus steel, making their own weapons superior to those in England and France.
I believe it’s A because it’s not b or c and judicial makes laws
Jonathan Edwards and George Whitefield are both Preachers and Congregationalists and their main goal is to gather and will catch the attention of masses during preaching. Their preaching style both decreases their audiences to tears with their booming and flourishing theatrical sermons, they used realistic images that brings great impacts to the hearts and emotions of their congregations.
Answer:
male and this is why
Explanation:
African and African-American Dance is a broad term referring to the many dance styles from the cultures and countries of the African continent, but particularly Southern Africa. African dance most often refers to traditional social dance, and to ceremonial or religious dance—danced communal religious observances led either by priests or girots who perform ritual dance-dramas that share cultural traditions or community history through metaphorical statements expressed in music and dance.
African dance has also been an important influence on social dance in all parts of the African Diaspora, but particularly throughout the Americas and the Caribbean, and on modern dance since the second half of the 20th Century. Dance scholar, Brenda Dixon Gottschild, wrote in 1993, “Any serious attempt to study Black dance (in the United States) demands a study of African and New World Black cultures.”
African dance is polyrhythmic—the simultaneous sounding of two or more independent rhythms in drummers and dancers, the relationship of rhythm to movement is key. African dance is notable for the close, multi-directional relationships among participants, often called a conversation, between drummer and dancer, and also drummer to drummer and dancer to dancer. During stage performances the fourth wall often comes down, communication extending between dancer, drummers, and audience members.