West African Dances

[Kala]

Adowa - is a graceful dance which has borrowed a lot from dances like Kete, Denesewu, etc. It was originally a funeral dance and this character is preserved in the graceful, dignified walking movement. It is usually preceded by a chorus of voices, and two boat-shaped bells, two drums joining later. When the mood has been suggested in song, the Atumpan drums enter. Various parts of the body pick up specific rhythms from particular drums for motivation, while the body turns, spins and bows are suggested by the melody in song. As a dance, it is popular among the Twis, the Fantes (who call it Adzewa) and also among the Gas. The Ashanti Adowa now has about eight forms derived from other dances. Thus the Ahunum is modified Akapoma, a dance from that the Adowa superseded.


ADZOHU

Gota was originally a dance for medicine men of the ancient kingdom of Dahomey, now Benin, in West Africa. As such, it retains the use of the mystic calabash drum from that time. Today, Gota is performed for social entertainment. The synchronized stops and starts of the drums and dancers lend the dance an air of suspense and excitement.

Adzohu - originally a cult dance associated with one of the war gods of Benin (Dahomey). Traditionally, Adzohu is done in two parts, the first part, "Kadodo" is for women only, - here the women gather as chorus group singing and performing rituals before while the young men "warriors" are prepared spiritually for the war. The second part, "Atsia" is done by the young "warrior" men prior to their departure to the battlefield. Since ethnic wars have subsided in West Africa, women have embraced the male part of this dance movement as an entertainment piece. Our presentation tonight will focus on the women dancers demonstrating the second component of the Adzohu dance movements.

Atsia - In the Ewe language, "Atsia" means "style or display". The Atsia dance which is performed mostly by women, is a series of stylistic movements dictated to dancers by the lead drummer. Each dance movement has its own prescribed rhythmic pattern which is synchronized with the lead drum. Our presentation is a sampling of the medium through which women express their artistic abilities to the general public.

ATIZA

Atsiagbekor a.k.a. Agbekor - is a contemporary version of the Ewe traditional war dance. Atamga - Great (ga), Oath (atam) - in reference to the oaths taken by the ancestral Ewe speaking people before proceeding into battle. The movements of the present day version of this dance, mostly in platoon formation. Occasionally solo and small group dancing is performed toward the end of each presentation reminiscent of the battlefield. Reconnaissance, surprise attack and hand to hand combat are the stylized forms of the modern version of this dance. The main dance is fast paced and draws upon battle maneuvers for certain episodes, such as planning the attack, advancing and retreating. The modern version of Atsiagbekor is performed for entertainment at social gatherings and at cultural presentations.

Bamaya is a popular dance performed at harvest time among the Dagbani of northern Ghana. Dagbani dances are, in general, marked by dignity, grace, and controlled expressiveness.

Bawa is an harvest festival dance of the Dargarthi in north western Ghana. The seasonal performance opens with a propitiatory libation to the gods and ancestors, both in gratitude for the year's harvest and as an appeal for more abundant crops in the coming year. Young and old of both sexes participate; but our choreography is performed elegantly by our female dancers. A notable feature of Bawa, like that of many other African dances, is the cueing of the various dance figures by the lead drummer.

BAWA

Husango and Tsina are dances of the Yewe, the god of thunder and lightening among the Ewe speaking people of Ghana, Togo, and Benin. These dances are introductory dances to all Yewe ceremonies. Primary function of the Husango and Tsina are to alert all members of the Yewe cult and the community at large to the commencement of a ritual.

Kete - A court dance for paramount chiefs in Akan communities of Ghana, West Africa. Kete is noted for the courtliness and graceful movements of the female dancers. The full Kete consists of the Kete drums, voices and odurugya (bamboo flutes). This dance has always been a court dance for the chiefs, Amahene, Aberempon and members of the Royal Household.

Kpalongo is the latest development in Ghana of the West African Recreational dance, the Highlife.

Libation (Appeasing the Gods) - invocation of the gods and ancestors is a long-standing tradition of African people. On grand occasions such as "The Afrikans Are Coming", the gods of the land and spirits of the deceased elders of the community, patrons, composers, drummers and dancers are invited to come and witness, and most of all, bless the forthcoming event or performance.
However the method of invocation varies from one African community to another. Among the Ewe speaking people of southern Ghana, water is first poured in a calabash followed by a finger tip of cornmeal is mixed up thoroughly by hand and is first offered to the ancestors followed by a locally distilled gin called "Akpeteshie" as performed by Kobla tonight.

Yewe Suite [- Sowuafowu - in this arrangement the dancers enter the stage with some wild movements from a Yewe piece named Adawu. Sowu and Afowu are religious dances performed by members of the Yewe religious sect. Yewe is the God of thunder and lightening among the Ewe speaking people of Ghana, Togo, and Benin. Yewe is a very exclusive cult and its music is one of the most developed forms of sacred music in Eweland. The piece ends with Afowu, a fast dance movement.

Atsiagbekor