Ghana dance


  • Ghana Dance Project 2015
  • Dagomba: Dances
  • Dance in Ghana
  • Dance Training in Ghana
  • The Best Places to Learn the Azonto Dance in Ghana
  • Ghana Dancing Pallbearers Coffin Dance Cap Funeral Professional Team Costume Hat
  • Ghana Dance Project 2015

    Source: Justice Baidoo 7 October am Alexander Cofie started playing colts football with Black Stars great, Laryea Kingston and several others who went on to play in major leagues in Europe. Today, he is a barber, working from a tiny kiosk made of plywood in Bukom, where he was born and has lived his entire life. His, is the story of many budding talents in this buzzing shanty town- once a bastion of commerce and hip-life in pre-colonial Ghana. Now, wracked by years of poverty and under-development.

    The lack of opportunities stifles local talent, says Cofie. Even children. And to make his craft unique, he added dancing on the pitch. Today, his videos have gone viral, and he says he has had calls from people all over the world wanting to meet him. I was born with it. Bukom has produced many national greats in boxing, dance, music and football, including former world champion Azumah Nelson and Ike Quartey.

    Last year, government built an Astroturf park at the centre of the slum- where for many years, young people played football on a red dirt field. Since then, many of the unknown talents here have found a place to show their craft. Starting around 4 PM every Monday, he brings together football teams from all over Accra to play the local team in Bukom.

    The game nights- called Monday Stars- also attract dancers, acrobats, magicians, and many others to show their talent to the cheering crowd. Local businesses, taking advantage of the crowd, come to sell too. Last year, government built an Astroturf park at the centre of the slum-where for many years, young people played football on a red dirt field. My Monday Stars is very popular. So they bet during the game, and so tempers are always high.

    Nii Tetteh, a local photographer, he, too a native of Bukom, made videos of referee Cofie and shared them on his social media page where he promotes local talents. Many of his videos have gone viral with thousands of views and shares on Instagram and Facebook, earning him many media interviews. So I document them and share their stories so they can get help. Referee Cofie wants to pursue a professional course.

    He hopes that the new attention he is having in Bukom will get him the needed support.

    Dagomba: Dances

    File format:. This is not an example of the work written by our writers. First and foremost, Akin Euba said neo—Traditional dances are termed as dances that are performed outside the context of social ceremonies Green, When dances are taken away from their place of origin and people make use of traditional moves but not necessarily in the same social context or ceremony found in the village of creation.

    He divided the main practitioners of traditional dance in Ghana into four categories, which are: The traditional category the creators of the traditional dance form who are located in the traditional settings The professional category the Ghana dance ensemble The Academic category the school of performing arts The Amateur category dance groups who are not affiliated to any institutions like the professionals and the academics. The traditional category talks about the exact creation of the dance movements from the indigenes of a particular group of people.

    Traditional dances are transformation of images, ideas, thoughts, feelings, historical stories or incidents into movement sequence that are personally and socially significant. Traditional dances are those dances that embody the cultural values of a particular society, such dances are acknowledged as being of that society, and those dances adhere to specific customs and ritual. Taking Bawa dance as an example, Bawa dance originates from upper west region of Ghana and in that region, various villages have their versions of the dance with their specific movements.

    This distinctive feature of the dance makes it classified as a traditional dance. Talking about the professional category; Ghana Dance Ensemble can be a main name to consider under this category. The Ghana Dance Ensemble has a doctrine of noticing young, talented artistes with mastery of particular dance forms from different parts of the country and training them to express a great and bright variety of dances.

    Many of these dancers have gone on to set up their own companies or worked with companies all over the world. The directors of Ghana Dance Ensemble have had a call on involving in a competitive situation of transforming dance in the day to day lives of Ghanaians to stage presentations containing them in limited time and space. The wonderful works of Professor Mawere Opoku was described by enough choreography to demonstrate the outstanding movements of heritage dances.

    Professor Nii Yartey, his successor has inquired into the dance vocabulary to dialogue with dance cultures from other parts of the world to bring the Ensemble into the area of contemporary dance. The current Ghana Dance Ensemble in the hands of Dr Aristides Narh Hargoe keeps hold onto the discipline of the early classics but continues to expand its repertoire and to explore dance as an expression of contemporary issues.

    The Ensemble has served as a model for a variety of amateur groups in Ghana. The ensemble at the Institute of African Studies where thousands of Ghanaian and non-Ghanaian students and lovers of African dance and music have been introduced to the unforgettable dance culture of Ghana.

    Moving onto the academic category where school of performing arts can be classified. The School of Performing Arts is greatly involved in the study of culture and the creative arts. These are the pillars of national progress in most societies, as they are the major tools for socio-economic development and social change.

    They comment on human behavior in polite and indirect manners. Our teaching, research programs and performances are avenues for the acknowledgement, maintenance, sustenance, documentation and preservation of our cultural heritage and national identity.

    School of performing arts, continues to motive lecturers and students to enhance their skills, knowledge and research in African creative arts and combine the practical and theoretical aspects of performance. The school of performing arts, attracts more foreign students than any other school in the University of Ghana. We will continue to train students to find enviable and desirable places in the world market and in industries both locally and internationally.

    Fluid in ideologies, they have been able to affect the paradigms of traditional dancing in Ghana so much that their activities cannot be overlooked. Amateur dance groups are mostly situated at slummy areas noted with clustered houses and work places of certain jobs all located at one place, slummy areas lack social amenities and necessities like running water, schools and many more found in Accra, capital city of Ghana. The amateur category in Ghana has drawn upon from the experimentations with traditional forms by the Ghana dance ensemble of the university of Ghana.

    Dance is basically a creative art medium that commands aesthetic discrimination by forcing dancers to make decisions when it comes to creation of movements.

    Neo traditional dance forms have paved way for improvisations and restructuring of dances, just like what professor Mawere Opoku did in re interpreting the bawa dance in a more artistic setting. So, if amateur dancers re- interpret traditional dances to probably suit their make- shift stages mostly outside the theatre , it is expected from dancers to force their ways through and bring movements into existence, therefore re- interpretations of dance movements are positive in Ghanaian dance scholarships.

    Furthermore, most amateur groups recognize and practice traditional dance forms as either for economic survival or for continuity of culture. I identify this point as relevant and an advantage of Awuah, discovery in understanding dance structures in Ghanaian dance scholarship.

    Involving in dancing through amateur dance groups, is a respectable and positive way of earning an income in our society. Some find themselves in dancing itself, others carve drums and sell them and many more in order to earn a living and sustain their various families. Also, as individuals involve in amateur groups, it keeps them busy and active they need to report for rehearsals, go for shows and many more and this prevents them in involving in social vices like drugs, robbery, prostitution and many more because they earn money through gigs they perform at.

    Also talking on continuity of culture in terms of re- interpretation of traditional dances by amateur groups, Awuah, , pp.

    Also, most amateur groups are compelled to propagate the traditional dance forms from the countless of cultures in Ghana for all future generations of people through constant performances An individual must not just know the dance, he or she must know how to play the drums, sing accompanied songs or recitations, be familiar with costumes, ornaments and props to use for every dance performance, individuals must know historical background stories of every dance and may more.

    I see this act as a form of helping one to gain mastery, appreciate and be good at all the traditional dances and it related historical context, such is a way of continuity of the traditional dances.

    Disadvantages On the other hand, if the re- interpretation of the dance form by the amateur groups are severe that the exact traditional context, meanings and values are missing out in the new constructed dance like what happened with the Bawa dance a harvest dance originated from the Dagombas in upper west region of Ghana the amateurs re- altered from the altered Bawa dance from Ghana dance ensemble, where the last 9th stanza, the amateur group substituted a different traditional dance woungo dance from the upper east region of Ghana movement sequence in there , then such incident is disadvantageous and irrelevant in understanding dance structures and categories in Ghanaian dance scholarships.

    It must be understood that any movement in any traditional dance in Ghana, even if it is not self-explanatory on it own, forms part of complex gestural patterns that communicate a message s. Therefore, if any transposition of movements to another traditional dance form is done, one must consider the implications of such an action on the outlook of the dance in the light of continuity and safeguarding of such dance future.

    If such incidents are not checked and addressed well, most traditional dance forms will lose their originality and continuity as newer generations misses what the exact dance movement sequences were, what the exact historical context behind the dance were and many more.

    Our rich culture in a way fades out from our communities with a lot of re-interpreted dances from amateur groups. Furthermore, re-interpretation of traditional dance forms by the amateur groups especially, creates some kind of contradictions in the dance. Therefore, this sometimes sparks anger and misunderstanding among the native people who owns the traditional dances and the amateur dance groups and such situations are disadvantageous in understanding dance structures in Ghanaian dance scholarship.

    It is important for this misunderstanding to be clarified by cautioning the amateur dance groups to be careful when adding and subtracting dance moves, in a sense of not destroying originality, content and context of the traditional dance.

    Misunderstandings and conflicts will create enmity among individuals and do not foster in nation building and oneness as well.

    Lastly, a study of Ghanaian scholar Kuwor, , p. Lack of proper written documentation and notation of our traditional dances has led to the amateur groups re-interpreting already interpreted dances by the Ghana dance ensemble and this is a disadvantage in understanding dance structures in Ghanaian dance scholarship.

    Greenotation developed by Doris Green, an African American music and dance practitioner and scholar seems to be the only tool with the ability of safeguarding our traditional dance forms before our rich values embodied in our dances diminishes and looses it continuity. Its very appalling to note that the computers and documents that contain the greenotation and it working tools are no where to be found in the university of Ghana even in this 21st century of technological development world.

    Our Africanist leaders are therefore urged to help bring Greenotation in Ghana. Conclusion Sheets-Johnstone Without creation, without performance, without insightful criticism, there is no context within which a developing awareness of self may occur and consequently, no way of evaluating individual growth. I agree that the article written by Eric Awuah Awuah, does not exaggerate and discourage the works of Amateur dance groups in Ghana, identifying the relevance, advantages and disadvantages of his discovery did not come with but it is an obligation we all as researchers must agree to do to help ensure continuity and safeguarding of our valued traditional dance forms in Ghana.

    References Akas, N. Mgbakoigba: journal of african studies. Awuah, E. Green, D. The ultimate demise of traditional african dance.

    Kuwor, S. Understanding African Dance in Context: perspectives from Ghana. The journal of Pan African Studies , Presto, T. Tabanka African and Caribbean peoples Dance Ensemble. Sheets-Johnstone, M. Educational implecations:Dance as art.

    Sheets-Johnstone, The phenomenology of dance book. Temple university press. This is just a sample You can get your custom paper from our expert writers.

    Dance in Ghana

    Professor Nii Yartey, his successor has inquired into the dance vocabulary to dialogue with dance cultures from other parts of the world to bring the Ensemble into the area of contemporary dance. The current Ghana Dance Ensemble in the hands of Dr Aristides Narh Hargoe keeps hold onto the discipline of the early classics but continues to expand its repertoire and to explore dance as an expression of contemporary issues.

    The Ensemble has served as a model for a variety of amateur groups in Ghana. The ensemble at the Institute of African Studies where thousands of Ghanaian and non-Ghanaian students and lovers of African dance and music have been introduced to the unforgettable dance yakshini vidya of Ghana.

    Moving onto the academic category where school of performing arts can be classified. The School of Performing Arts is greatly involved in the study of culture and the creative arts.

    These are the pillars of national progress in most societies, as they are the major tools for socio-economic development and social change. They comment on human behavior in polite and indirect manners. Our teaching, research programs and performances are avenues for the acknowledgement, maintenance, sustenance, documentation and preservation of our cultural heritage and national identity. School of performing arts, continues to motive lecturers and students to enhance their skills, knowledge and research in African creative arts and combine the practical and theoretical aspects of performance.

    The school of performing arts, attracts more foreign students than any other school in the University of Ghana. We will continue to train students to find enviable and desirable places in the world market and in industries both locally and internationally.

    Fluid in ideologies, they have been able to affect the paradigms of traditional dancing in Ghana so much that their activities cannot be overlooked. Amateur dance groups are mostly situated at slummy areas noted with clustered houses and work places of certain jobs all located at one place, slummy areas lack social amenities and necessities like running water, schools and many more found in Accra, capital city of Ghana.

    The amateur category in Ghana has drawn upon from the experimentations with traditional forms by the Ghana dance ensemble of the university of Ghana. Dance is basically a creative art medium that commands aesthetic discrimination by forcing dancers to make decisions when it comes to creation of movements. Neo traditional dance forms have paved way for improvisations and restructuring of dances, just like what professor Mawere Opoku did in re interpreting the bawa dance in a more artistic setting.

    So, if amateur dancers re- interpret traditional dances to probably suit their make- shift stages mostly outside the theatreit is expected from dancers to force their ways through and bring movements into existence, therefore re- interpretations of dance movements are positive in Ghanaian dance scholarships.

    Dance Training in Ghana

    Furthermore, most amateur groups recognize and practice traditional dance forms as either for economic survival or for continuity of culture.

    I identify this point as relevant and an advantage of Awuah, discovery in understanding dance structures in Ghanaian dance scholarship. Involving in dancing through amateur dance groups, is a respectable and positive way of earning an income in our society. Some find themselves in dancing itself, others carve drums and sell them and many more in order to earn a living and sustain their various families. Also, as individuals involve in amateur groups, it keeps them busy and active they need to report for rehearsals, go for shows and many more and this prevents them in involving in social vices like drugs, robbery, prostitution and many more because they earn money through gigs they perform at.

    The Best Places to Learn the Azonto Dance in Ghana

    Also talking on continuity of culture in terms of re- interpretation of traditional dances by amateur groups, Awuah,pp. Also, most amateur groups are compelled to propagate the traditional dance forms from the countless of cultures in Ghana for all future generations of people through constant performances An individual must not just know the dance, he or she must know how to play the drums, sing accompanied songs or recitations, be familiar with costumes, ornaments and props to use for every dance performance, individuals must know historical background stories of every dance and may more.

    I see this act as a form of helping one to gain mastery, appreciate and be good at all the traditional dances and it related historical context, such is a way of continuity of the traditional dances. Disadvantages On the other hand, if the re- interpretation of the dance form by the amateur groups are severe that the exact traditional context, meanings and values are missing out in the new constructed dance like what happened with the Bawa dance a harvest dance originated from the Dagombas in upper west region of Ghana the amateurs re- altered from the altered Bawa dance from Ghana dance ensemble, where the last 9th stanza, the amateur group substituted a different traditional dance woungo dance from the upper east region of Ghana movement sequence in therethen such incident is disadvantageous and irrelevant in understanding dance structures and categories in Ghanaian dance scholarships.

    It must be understood that any movement in any traditional dance in Ghana, even if it is not self-explanatory on it own, forms part of complex gestural patterns that communicate a message s.

    Therefore, if any transposition of movements to another traditional dance form is done, one must consider the implications of such an action on the outlook of the dance in the light of continuity and safeguarding of such dance future. If such incidents are not checked and addressed well, most traditional dance forms will lose their originality and continuity as newer generations misses what the exact dance movement sequences were, what the exact historical context behind the dance were and many more.

    Our rich culture in a way fades out from our communities with a lot of re-interpreted dances from amateur groups. Furthermore, re-interpretation of traditional dance forms by the amateur groups especially, creates some kind of contradictions in the dance.

    Ghana Dancing Pallbearers Coffin Dance Cap Funeral Professional Team Costume Hat

    Therefore, this sometimes sparks anger and misunderstanding among the native people who owns the traditional dances and the amateur dance groups and such situations are disadvantageous in understanding dance structures in Ghanaian dance scholarship.

    It is important for this misunderstanding to be clarified by cautioning the amateur dance groups to be careful when adding and subtracting dance moves, in a sense of not destroying originality, content and context of the traditional dance. Misunderstandings and conflicts will create enmity among individuals and do not foster in nation building and oneness as well. Lastly, a study of Ghanaian scholar Kuwor,p.

    Currently, he consults in the international developmental sector. Historically, this location has been a vibrant economic hub. Between approximately andmany forts were constructed along the coast of the then Gold Coast now Ghana including in proximity to this geographic location. Among the items traded were gold and ivory. The communities around the site of this performance comprises primarily the Ahantas, fondly referred to as the people who speak an idiomatic language.

    Over the years, the vestiges of deliberate as well as involuntary sociocultural and economically inspired acts have dynamically manifested in inducing various vices which have had severe negative externalities in the area and arguably nationally. The social and environmental cost is certainly not one to write home about. This vice has taken a terrible toll on the water resources in the area and the public health implications are dire.

    The degree of water poisoning and environmental abuse for short term economic gains at the expense of future generations is disheartening.


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