Iddi Saaka

A showcase of 7 traditional Ghanaian dances and 1 contemporary dance. 

ORDER OF DANCES:

Tokoe: Performed by the West African Dance I. Tokoe is originally an initiation dance performed by the Ga Adamgbe youth from Southern Ghana. Today, it is also performed during social events such as naming ceremonies, weddings, and funerals. 

Nagla: Performed by the West African Dance II. Nagla is a social dance originating from the Kasena people in the Upper East region of Ghana. Originally performed by youth to express their exuberance, Nagla features humorous interactions between males and females. It is commonly performed on various social occasions.

Gahu: Performed by West African dance I. Gahu is a recreational dance originating from the Southern Ewe communities in Southeastern Ghana. It is believed to have been influenced by the musical traditions associated with marriage and wedding rites of the Yoruba people in Southern Nigeria. In the Southern Ewe communities, Gahu is performed as entertainment during social gatherings, including weddings, naming ceremonies, and funerals. 

Damba-Takai: Performed by the West African Dance II class. In traditional settings, Damba and Takai are separate dances. Damba is a festival and dance performed to honor the birth and naming ceremony of the late prophet Mohammed. It is performed by ethnic groups such as the Dagomba, Gonja, Walla, and Mamprusi in the northern part of Ghana. Professor Mawere Opoku combined Damba and Takai into a single dance called Damba-Takai for this program. Gahu: Performed by the West African Dance I class. 

Sakadi: Performed by West African dance I. This is a vibrant and energetic dance piece that serves as a testament to my Ghanaian and West African dance influences. Drawing upon the rich traditions of Mali, Guinea, and Senegal, this performance showcases the joyful and rhythmically complex music produced by the iconic West African Djembe and Doundouns. With a pulsating beat that resonates through the dancers’ movements, Sakadi embodies a sense of exuberance and youthful energy. 

Bamaya: Performed by the West African Dance II class (DANC 360-01). Bamaya is a traditional dance of the Dagbamba people in northern Ghana. Its origin has two versions: one involving a drought in Dagomba land and the other based on a story of a man disguising himself as a woman to steal food. Today, Bamaya is performed on social occasions and serves as a reminder of these events.

Music Interlude 

Kundum: Performed by the West African Dance II class (DANC 360-01). Kundum music and dance are part of the annual Kundum festival celebrated by the Ahanta and Nzema people in Western Ghana. Originating during a period of famine and hunger in the 1700s, Kundum has now become a feature of various social occasions. The dance is divided into three sections: domo, which involves slow and graceful movements; ewulalå, characterized by fast and masculine movements; and edudule, featuring energetic torso-to-torso and strutting movements.

Kpanlogo: Performed by the West African Dance I class (DANC 260-01).  The Kpanlogo dance and music form emerged during the early 1960s as an expression of the unique identity of the Ga youth in southern Ghana. Influenced by Ghanaian cultural values as well as Western influences brought about by colonization, television, and foreign movies, the youth sought to create a dance that would reflect their evolving cultural landscape. Having been exposed to Western dance forms like ballroom dancing and rock and roll, the Ga youth integrated elements from these dances into their traditional Ga dances. They recognized that the existing Ga dances did not fully capture the nuanced identities they had developed, which encompassed both Ghanaian and foreign cultural elements. By borrowing ideas and movements from Western dances and infusing them into their traditional dance repertoire, the Ga youth created the Kpanlogo. This new dance form allowed them to express their evolving cultural identities and to bridge the gap between their Ghanaian heritage and the influences of the Western world. The Kpanlogo dance became a means for the Ga youth to showcase their creativity, adaptability, and their desire to reconcile the diverse cultural elements that shaped their identities.

Choreographer: Iddi Saaka 

Dancers: 

West African Dance I Students:

Becca Baron, Juliet Luce Brack-Ashkin, Lucas Buu-hoan, Veronica Esmeralda Cañas, Iris Chen, Naomy Chepngeno Chesengeny, Malia Anne Detar Cheung, Maya Hannah Faber, Constance Hirwa, Akhil Joondeph, Noah David King, Liang Liang, Francis Ofosu Kumi, Crystal Peña, Lily Ruth Spar, Mariema (Mari) Tall, Rebeca Trevino, Meka Tyson, Bryan George Wolf, Lawi K Worku, Connor Michael Wrubel, Tenzin Yengkey, Yifei Zhao.

DANC360 West African Dance II Students: 

Princess Nyarko Asante, Enam Adjo Blebu, Dria Avery Koch Dixon, Naomi Snow Ellis, Molly Anne Hunsinger, Diana Naiyanoi Kimojino, Deborah-Gifty Afia Lalude, Eliwa Onanga, Meiwen Shao, D’vine Straughter, Steph Kouadio Tanoh, Pelumi Oluwatosin Tayo-Orisadare, Lauren Tran-Muchowski, Rebeca Trevino.

Drummers: John Dankwa, Iddi Saaka, and students in African Music and Culture classes.

This virtual concert was produced at the peak of the Coronavirus pandemic. It showcases the innovative ways I had to reimagine my teaching and presentation of my work that are central to community, collaboration, and teamwork. Students had to perform at a distance from their colleagues and the musicians. All dances are choreographed by Iddi Saaka. The music is by John Dankwa, Jocelyn Pleasant, and students in John Dankwa’s African Music and Culture courses.

ORDER OF DANCES:

Tokoe: Performed by the West African Dance I. Tokoe is originally an initiation dance performed by the Ga Adamgbe youth from Southern Ghana. Today, it is also performed during social events such as naming ceremonies, weddings, and funerals.

Kundum: Performed by the West African Dance II. Kundum music and dance are part of the annual Kundum festival celebrated by the Ahanta and Nzema people in Western Ghana. Originating during a period of famine and hunger in the 1700s, Kundum has now become a feature of various social occasions. The dance is divided into three sections: domo, which involves slow and graceful movements; ewulalå, characterized by fast and masculine movements; and edudule, featuring energetic torso-to-torso and strutting movements.

Sakadi: Performed by the West African Dance I. This is an original creation by Iddi Saaka, designed to celebrate the vibrancy and high energy of West African dance. Drawing upon his deep understanding of West African rhythms and musicality, Saaka has created a rhythmic and melodic composition that complements and enhances the movements of the dancers. Through this performance, Saaka aims to convey the rich cultural heritage and the infectious joy that is characteristic of West African dance traditions.

Bamaya: Performed by the West African Dance II. Bamaya is a traditional dance of the Dagbamba people in northern Ghana. Its origin has two versions: one involving a drought in Dagomba land and the other based on a story of a man disguising himself as a woman to steal food. Today, Bamaya is performed on social occasions and serves as a reminder of these events.

Kpanlogo: Performed by the West African Dance I. The Kpanlogo dance and music form emerged during the early 1960s as an expression of the unique identity of the Ga youth in southern Ghana. Influenced by Ghanaian cultural values as well as Western influences brought about by colonization, television, and foreign movies, the youth sought to create a dance that would reflect their evolving cultural landscape. Having been exposed to Western dance forms like ballroom dancing and rock and roll, the Ga youth integrated elements from these dances into their traditional Ga dances. They recognized that the existing Ga dances did not fully capture the nuanced identities they had developed, which encompassed both Ghanaian and foreign cultural elements. By borrowing ideas and movements from Western dances and infusing them into their traditional dance repertoire, the Ga youth created the Kpanlogo. This new dance form allowed them to express their evolving cultural identities and to bridge the gap between their Ghanaian heritage and the influences of the Western world. The Kpanlogo dance became a means for the Ga youth to showcase their creativity, adaptability, and their desire to reconcile the diverse cultural elements that shaped their identities.

Kuku: Performed by West African dance II

Kuku is a dance that originates from the Manian ethnic group of Guinea. This dance was originally performed by women returning from fishing expeditions to celebrate the harvest. Today it is performed on all celebratory occasions including weddings and naming ceremonies.

Choreographer: Iddi Saaka.

Dancers: 

West African Dance I Students: Meiwen Chen, Tracy Cooper, Keizo Fish, Arnaud Gerlus, Luca Jagger LaFayette, Shayna Daisy McCarthy, Roshin Mirani, Charlotte Sheets Mittenthal, Tanvi Punja, Dulce Rubio, Kiki Vetoulis-Acevedo, Vashika Virmani.

West African Dance II Students: Emily Jane True Bloomfield, Keizo Fish, Georgia Garrison, Karli Gigstad, Lilah C. Hixson, Alma Pres, Britanya Williams

Drummers: John Dankwa, Jocelyn Pleasant, Iddi Saaka, and students in African Music and Culture classes.

A showcase of 7 traditional Ghanaian dances and 1 contemporary dance, all choreographed by Iddi Saaka, and performed by West African Dance I and II students at Wesleyan University. Music by John Dankwa, Jocelyn Pleasant, Iddi Saaka, and students in the African Music and Culture classes. 

ORDER OF DANCES:

Tokoe: Performed by the West African Dance I. Tokoe is originally an initiation dance performed by the Ga Adamgbe youth from Southern Ghana. Today, it is also performed during social events such as naming ceremonies, weddings, and funerals. 

Fula Fare: Performed by West African Dance II. Fula Fare is a celebratory dance of the Fula (Puel) people of the Republic of Guinea. The Peul people mainly live in an area called “Fouta Djalon” in Guinea, however, this typically nomad ethnic group is also found all over West Africa. This celebration dance is played for various celebration occasions. 

Bao: Performed by West African Dance I class. Bao is a dance originating from the Toma people in the forest region of Guinea, specifically in the southeast. This dance holds significant cultural importance as it is performed during the initiation of young girls into womanhood. It serves as a celebratory dance, symbolizing the transition and growth of these young girls in the community.

Damba-Takai: Performed by the West African Dance II class. In traditional settings, Damba and Takai are separate dances. Damba is a festival and dance performed to honor the birth and naming ceremony of the late prophet Mohammed. It is performed by ethnic groups such as the Dagomba, Gonja, Walla, and Mamprusi in the northern part of Ghana. Professor Mawere Opoku combined Damba and Takai into a single dance called Damba-Takai for this program.

Musical Interlude 

Gahu: Performed by West African dance I. Gahu is a recreational dance originating from the Southern Ewe communities in Southeastern Ghana. It is believed to have been influenced by the musical traditions associated with marriage and wedding rites of the Yoruba people in Southern Nigeria. In the Southern Ewe communities, Gahu is performed as entertainment during social gatherings, including weddings, naming ceremonies, and funerals. 

Adzogbo: Performed by West African Dance III. Adzogbo is originally a cult dance associated with the war gods of Benin (Dahomey) with a rich historical and cultural significance. Traditionally, Adzogbo is performed in two distinct parts. The first part, known as “Kadodo,” is exclusively performed by women. During this phase, the women gather as a chorus group, engaging in singing and performing rituals, while the young male warriors spiritually prepare themselves for battle. The second part, called “Atsia,” is performed by the young male warriors prior to their departure to the battlefield. In modern times, both men and women engage in Adzogbo as a recreational activity, allowing the dance to evolve and continue as a cultural practice. 

The Kpanlogo dance and music form emerged during the early 1960s as an expression of the unique identity of the Ga youth in southern Ghana. Influenced by Ghanaian cultural values as well as Western influences brought about by colonization, television, and foreign movies, the youth sought to create a dance that would reflect their evolving cultural landscape. Having been exposed to Western dance forms like ballroom dancing and rock and roll, the Ga youth integrated elements from these dances into their traditional Ga dances. They recognized that the existing Ga dances did not fully capture the nuanced identities they had developed, which encompassed both Ghanaian and foreign cultural elements. By borrowing ideas and movements from Western dances and infusing them into their traditional dance repertoire, the Ga youth created the Kpanlogo. This new dance form allowed them to express their evolving cultural identities and to bridge the gap between their Ghanaian heritage and the influences of the Western world. The Kpanlogo dance became a means for the Ga youth to showcase their creativity, adaptability, and their desire to reconcile the diverse cultural elements that shaped their identities. 

Choreograper: Iddi Saaka.

Dancers:

DANC 260 West African Dance I Students:

Serena Marlene Aimen, Stef Valentino Amador, Emily Jane True Bloomfield, Maya Brachfeld, Lily Bess Braunstein, Maggie Eames, Julia Glassman, Ona Hauert, Lilah C Hixson, Ainsley Dorrance Kass, Nomi Kligler, Emily Claire Leff, Helen O Lei, Emily Rose Litz, Sophie Talia Mann-Shafir, Frank Irwing McField, Charlie Jose Minaya, Jeremy Ethan Mopsick, Alma Pres, Ferdinand Mensah Quayson, Kyle Christopher Russell, Nathan Ezra Shankman, Meiwen Shao, Avanti Sheth, Gabriel Zachary Smith, Emma Byron Specht, Imani-Ashleigh Monifa Watkis, Britanya Williams, Icicle Yang, Boqun Zeng.

DANC 360 West African Dance II Students: 

Kiara Mavlen Chanel Benn, Makari Aurelia Chung, Abby Frazee, Annie Kidwell, Amira Leila S., Frank Irwing McField, Tariq O McMahon, Vianca Camila Perez, Pablo Andres Puente, Ferdinand Mensah Quayson, Iris Livia Ridley, Anna Marie Jakocko Rosenlieb, Serena Rusk, Frances Isadora Sacks, Rodrigo San Roman, Yanakoray Isatu Serry, Iman Iqbal Sigman, Eugene Tyrone Smith II, Shirley L Sullivan, Yaqian Tang, Jhebre Mia Warren.

Drummers: John Dankwa, Jocelyn Pleasant, Iddi Saaka, and students in African Music and Cultures classes.

This performance was an immersive and enchanting tapestry of Ghanaian culture that displayed the collective talents of Wesleyan students, faculty, and honored guests. This mesmerizing showcase featured 6 captivating dances. 

ORDER OF DANCES: 

Procession of Ghanaian queen mothers and chiefs with a full moving drum ensemble from Crowell to CFA Courtyard.

Live Ghanaian highlife music played by a Wesleyan student band with faculty and guest artists and directed by John Dankwa.

Choral Music sung by a 30-member choir of a Ghanaian church based in Worcester MA and conducted by John Dankwa.

Adowa is an Asante royal court music that is now widespread throughout the entire Akan area of Ghana and is frequently performed at funerals and other public social events. An Adowa ensemble comprises a lead singer, a chorus, and percussion instruments including atumpan, petia, donno, ntorowa, apentema and dawuro.

Kpatsa: Kpatsa, is a traditional dance of the Ga-Adangme people in central southern Ghana, which carries a captivating origin story steeped in folklore and cultural significance. Legend has it that a hunter, venturing deep into the forest in search of game, found himself disoriented and lost. As he desperately sought a way back home, he stumbled upon a gathering of mystical creatures engaging in the enchanting Kpatsa dance. Mesmerized by their movements, the hunter discreetly observed from behind a tree, meticulously studying each step and rhythm. Determined to bring this newfound dance back to his community, he committed the intricate choreography to memory. Upon his safe return, the hunter shared the dance with his fellow villagers, and it swiftly became an integral part of their annual festivities. In modern times, Kpatsa continues to be performed during durbars, which are gatherings of chiefs and community members. 

Adzogbo: Performed by West African Dance III. Adzogbo is originally a cult dance associated with the war gods of Benin (Dahomey) with a rich historical and cultural significance. Traditionally, Adzogbo is performed in two distinct parts. The first part, known as “Kadodo,” is exclusively performed by women. During this phase, the women gather as a chorus group, engaging in singing and performing rituals, while the young male warriors spiritually prepare themselves for battle. The second part, called “Atsia,” is performed by the young male warriors prior to their departure to the battlefield. In modern times, both men and women engage in Adzogbo as a recreational activity, allowing the dance to evolve and continue as a cultural practice. 

Gahu: Performed by West African dance I. Gahu is a recreational dance originating from the Southern Ewe communities in Southeastern Ghana. It is believed to have been influenced by the musical traditions associated with marriage and wedding rites of the Yoruba people in Southern Nigeria. In the Southern Ewe communities, Gahu is performed as entertainment during social gatherings, including weddings, naming ceremonies, and funerals. 

Tora: Performed by West African dance III. This is a recreational female dance of the Dagbamba of northern Ghana. This dance celebrates youthful exuberance and innocence. Originally, Tora is done by only females. In this performance, both females and males are equal participants in the dance with the males dressed in female costumes. 

Fontomfrom Naawea Music Interlude: A genre of royal court drumming, Fontomfrom features the atumpan talking drums and the tall, thunderous pair of bomaa drums. Naawea signifies victory over adversity, the vanquishing of enemies, and celebration of success. 

Fast Atisagbekor: Performed by West African Dance III. Atsiagbekor or Agbekor in short is a war dance performed by the Ewe ethnic group of Southeastern Ghana. To watch the Agbekor dance is to watch scenes that may have their actual origins in battles that were fought as the Ewe trekked from Dahomey to their present home in Ghana. Originally Agbekor was performed when there was a threat from enemies from other ethnic groups; in this situation, the dance is used to instill courage within the warriors before the fight. When the town was at peace the dance was performed at special funerals e.g., when a chief died, enstoolments of new chiefs, and at festivals to remember ancestors. Today it is no longer used to prepare warriors for war, but it still retains its other functions. 

Kpanlogo: Performed by West African Dance I. The Kpanlogo dance and music form emerged during the early 1960s as an expression of the unique identity of the Ga youth in southern Ghana. Influenced by Ghanaian cultural values as well as Western influences brought about by colonization, television, and foreign movies, the youth sought to create a dance that would reflect their evolving cultural landscape. Having been exposed to Western dance forms like ballroom dancing and rock and roll, the Ga youth integrated elements from these dances into their traditional Ga dances. They recognized that the existing Ga dances did not fully capture the nuanced identities they had developed, which encompassed both Ghanaian and foreign cultural elements. By borrowing ideas and movements from Western dances and infusing them into their traditional dance repertoire, the Ga youth created the Kpanlogo. This new dance form allowed them to express their evolving cultural identities and to bridge the gap between their Ghanaian heritage and the influences of the Western world. The Kpanlogo dance became a means for the Ga youth to showcase their creativity, adaptability, and their desire to reconcile the diverse cultural elements that shaped their identities.

Choreograper: Iddi Saaka.

Dancers:

West African Dance I Students:

Isaac Daniel Butler-Brown, Mary C. Carrión, Mikaela Danika Carty, Makari Aurelia Chung, Julia Giovanna Rabinowitz DeVarti, May Do, Sarafina Rose Fabris-Green, Steven Marc Fields, Gaby Giangola, Natasha Ivonne Guandique, Adis Halilovic, Patrique Lee-Anne Harris, Allison T. Hsu, Gabe Jheanay Hurlock, Toys Koomplee, Kamau Joseph Laguerre, Gretchen Rhett LaMotte, Daniela Paiva Moreira, Ciara Jeanne O’Flynn, Ferdinand Mensah Quayson, Sierra Nicole Rostal, Frances Isadora Sacks, Darian Trevon Sanders, Tallulah de Lemos Schwartz, Kate Hanson Sundberg, Vaan Taepaisitphongse, Sophie Dora Tulchin, Adi Tur-Kaspa, Tiler Wilson, Erica Andriamaherimanana, Erin Marina Angell, Sophia Marie Antonio, Afrah Yaa Boateng, Hannah Pearl Brigham, Keishan Narissa Christophe, Hannah Zoe Hokim Chua-Reyes, Kiana Akia Dawkins, Nick John Doelger, William Micah Leslie Gifford, Kate Nicolette Gilbert, Rami Joseph Hamati, Hans How, Ruby Bert Lang, Maya Michal Lockman-Fine, Tariq O McMahon, Sophie Miller, Kofi Anom Ofori-Darko, Lydia Danielle Ottaviano, Josh Prywes, Julianne Bateman Riggs, Catalina Rojter, Sophia Lena Salmore, Mubarak Sanni, Sophie Girouard Sokolov, Joshua Su, Sarah Ariel Sylla, Nahshon Kyambah Zedd Williams.

West African Dance III Students:

Arielle Jade Ashley, Ophelia Catherine Benedetti, Trinithas Jeanne Boyi, Laurel QingXian Comins-Sporbert, Ostin Fam, Yael Naomi Fisher, Maxine Faron Gibb, Bria Grant, Cheryl Hagan, Maya Karp, Aliya Catherine Lyons, Luke Moore Macdonald, Innocent Mashinyire, Luz Caroline Mendez, Daniel Muro, Praise Onaopemipo Owoyemi, Tatianna Sydney Yvonne Pryce, Jamilia Jonel Simon, Rochelle Spencer, Sarasa Suzuki, Tai Taliaoa, Stacy Ndidi Uchendu, Ann-Dorie Romania Webley, Colleen Elisabeth Winslow.

Drummers: Dankwa, Attah Poku, Jocelyn Pleasant, Iddi Saaka, students in African Music, and Culture classes, and invited guests.

The following program showcases a variety of traditional West African dances performed by different dance classes. Each dance represents the cultural heritage and significance of various ethnic groups in Ghana. The dances presented encompass a range of themes, including initiation rituals, festivals, social occasions, and historical narratives. The performances highlight the rhythmic and expressive movements that characterize West African dance traditions.

ORDER OF DANCES:

Kete – Musical Introduction: Kete is an ancient rhythmic composition that serves as a musical prelude to the program. It sets the tone for the subsequent dance performances.

Tokoe: Performed by the West African Dance I class. Tokoe is originally an initiation dance performed by the Ga Adamgbe youth from Southern Ghana. Today, it is also performed during social events such as naming ceremonies, weddings, and funerals.

Damba-Takai: Performed by the West African Dance II class. In traditional settings, Damba and Takai are separate dances. Damba is a festival and dance performed to honor the birth and naming ceremony of the late prophet Mohammed. It is performed by ethnic groups such as the Dagomba, Gonja, Walla, and Mamprusi in northern Ghana. Professor Mawere Opoku combined Damba and Takai into a single dance called Damba-Takai.

Nwomkro – Music Interlude: A welcome song and recitation of praise names for the Ashanti people of Ghana, performed by an Ashanti royal female. It serves as a musical interlude between the dance performances.

Gahu: Performed by the West African Dance I class. Gahu is a recreational dance originating from the Southern Ewe communities in Southeastern Ghana. It is believed to have been influenced by the musical traditions associated with marriage and wedding rites of the Yoruba people in Southern Nigeria. In the Southern Ewe communities, Gahu is performed as entertainment during social gatherings, including weddings, naming ceremonies, and funerals.

Nagla: Performed by the West African Dance II class (DANC 360-01). Nagla is a social dance originating from the Kasena people in the Upper East region of Ghana. Originally performed by youth to express their exuberance, Nagla features humorous interactions between males and females. It is commonly performed on various social occasions.

Sanga: Performed by students from Taft University. Sanga is a social dance performed by the Ashanti people in southern Ghana. Known for its playful and flirtatious nature, the dance is primarily performed by women to attract the attention of men.

Bamaya: Performed by the West African Dance II class (DANC 360-01). Bamaya is a traditional dance of the Dagbamba people in northern Ghana. Its origin has two versions: one involving a drought in Dagomba land and the other based on a story of a man disguising himself as a woman to steal food. Today, Bamaya is performed on social occasions and serves as a reminder of these events.

Bima: Performed by the West African Dance I class (DANC 260-02). Bima is a dance performed by the Frafra people in Northern Ghana. It is a social dance commonly performed during festivals, naming ceremonies, weddings, and funerals. The dance involves rhythmic stamping and body contractions.

Kundum: Performed by the West African Dance II class (DANC 360-01). Kundum music and dance are part of the annual Kundum festival celebrated by the Ahanta and Nzema people in Western Ghana. Originating during a period of famine and hunger in the 1700s, Kundum has now become a feature of various social occasions. The dance is divided into three sections: domo, which involves slow and graceful movements; ewulalå, characterized by fast and masculine movements; and edudule, featuring energetic torso-to-torso and strutting movements.

Kpanlogo: Performed by the West African Dance I class (DANC 260-01). The Kpanlogo dance and music form emerged during the early 1960s as an expression of the unique identity of the Ga youth in southern Ghana. Influenced by Ghanaian cultural values as well as Western influences brought about by colonization, television, and foreign movies, the youth sought to create a dance that would reflect their evolving cultural landscape. Having been exposed to Western dance forms like ballroom dancing and rock and roll, the Ga youth integrated elements from these dances into their traditional Ga dances. They recognized that the existing Ga dances did not fully capture the nuanced identities they had developed, which encompassed both Ghanaian and foreign cultural elements. By borrowing ideas and movements from Western dances and infusing them into their traditional dance repertoire, the Ga youth created the Kpanlogo. This new dance form allowed them to express their evolving cultural identities and to bridge the gap between their Ghanaian heritage and the influences of the Western world. The Kpanlogo dance became a means for the Ga youth to showcase their creativity, adaptability, and their desire to reconcile the diverse cultural elements that shaped their identities.

Choreographer: Iddi Saaka.

Dancers:

West African Dance I Students:

Joy Adedokun, Calvin Au, Isabella Grace Convertino, Nyanen Deng, Ashlyn Wen Drake, Krystal Abigail Chinyere Egbuchulam, Rafe Forman, Emma Margaret Hagemann, Kylie K Han, Gregory M. Hardy, Chien Ho, Joli Kathryn Holmes, Sarah Freedman Jacobs, Vang Le, Ona Juliet Lepeska-True, Rosanne Ng, Michelle A. Nivar, Sam Lars Petersen, Destiny Janai Polk, Thomas Ryan Reid, Iris Livia Ridley, Tomas Fernando Rogel, Marcelo Salas, Eugene Tyrone Smith II, Rochelle Spencer, Wan Tat Abraham Tse, Bella Michelle Wiener, Colleen Elisabeth Winslow.

West African Dance II Students: 

Ophelia Catherine Benedetti, Manyata Alisa Berbick, Charles Ambrose Bonar, Laurel QingXian Comins-Sporbert, Katya Deve, Luisa C Donovan, Arden Lilianna Feil, Annie Kristen Flom, Maxine Faron Gibb, Cheryl Hagan, Claudia Kadzo Kahindi, Maya Karp, Sonya Belle Levine, Eva Lou, Kariesha S Martinez, Sarah Marks Mininsohn, Jeneille Russell, Samantha Rose Schreiber, Casey Katharine Smith, Abike Olamide Sonubi, Rebecca Rose Sussman, Tai Taliaoa, Naomi Denazia Williams, Fred Wills.

Drummers: Attah Poku, John Dankwa, Matthew Torcellini, Iddi Saaka, and students in African Music and Culture classes.

This concert showcases beginning and advanced West African dance students at Wesleyan University performing choreographed versions of various Ghanaian dance forms. Each dance represents the cultural heritage and significance of various ethnic groups in Ghana. The dances presented encompass a range of themes, including initiation rituals, festivals, social occasions, and historical narratives. The performances highlight the rhythmic and expressive movements that characterize West African dance traditions. 

ORDER OF DANCES:

Kpatsa: Performed by West African Dance I: This is a traditional Ghanaian dance originating from the Ga-Adangme people of southern Ghana. The Ga-Adangme people reside in the central southern region of Ghana, around the capital city of Accra. The origins of Kpatsa can be traced to Ada, a coastal town located approximately 100 kilometers east of Accra. The dance is associated with abodo, which refers to mystical creatures in the forest. It is characterized by its rhythmic movements that imitate the limping and uneven walking and dancing style of the mystical creatures. Initially, Kpatsa was performed as part of an annual festival, but it has since become a popular dance form showcased at various cultural events.

Adzogbo: Performed by West African Dance III. Adzogbo is a dance with its origins in the cult practices associated with one of the war gods of Benin, formerly known as Dahomey. Traditionally, Adzogbo consists of two distinct parts. The first part, known as “Kadodo,” is exclusively performed by women. During this phase, women gather as a chorus group, engaging in singing and rituals while the young men, who are regarded as warriors, prepare themselves spiritually for battle. The second part, called “Atsia,” is performed by the young warrior men prior to their departure for the battlefield. This phase of the dance is characterized by powerful and energetic movements, symbolizing the readiness and bravery of the warriors as they mentally and physically prepare for combat. In contemporary times, due to the absence of ethnic wars, Adzogbo has evolved to become a recreational dance form performed by both men and women of the Ewe community in Southeastern Ghana. It serves as a means of cultural expression and celebration, allowing individuals to connect with their heritage and partake in the rhythmic and dynamic movements that define Adzogbo.

Through the performance of Adzogbo, the dancers pay homage to the historical roots of the dance and its association with warfare and the cult traditions of Benin. While the original context of the dance has evolved, its essence remains, showcasing the strength, unity, and resilience of the Ewe people. The dance becomes a medium through which cultural traditions are preserved and celebrated, serving as a testament to the rich heritage of the Ewe community in Ghana.

Gahu: Performed by West African Dance I: Gahu is a recreational dance originating from the Southern Ewe communities in Southeastern Ghana. It is believed to have been influenced by the musical traditions associated with marriage and wedding rites of the Yoruba people in Southern Nigeria. In the Southern Ewe communities, Gahu is performed as entertainment during social gatherings, including weddings, naming ceremonies, and funerals.

Jera: Performed by West African Dance III. Jera is a traditional hunters’ dance originating from the Dagbamba ethnic group in northern Ghana. Originally, this dance was performed as a celebration of the heroic achievements of hunters or as part of the funeral rites honoring a fallen comrade. In its original context, Jera served as a means of honoring the skills, bravery, and contributions of hunters within the Dagbamba community. The dance commemorated their efforts in providing sustenance and protection for the community. It was a way to pay tribute to their important role in ensuring the well-being and survival of their people. Today, Jera has transcended its original purpose and is also performed on various social occasions. It has become a vibrant and engaging dance form that showcases the cultural heritage and traditions of the Dagbamba people. The performance of Jera serves as a form of artistic expression, allowing the community to celebrate its history, identity, and collective achievements. Through rhythmic movements, energetic footwork, and spirited music, the dancers embody the essence of the hunters’ dance, evoking a sense of pride, strength, and camaraderie. The performance of Jera not only honors the ancestral traditions of the Dagomba ethnic group but also provides a means of cultural preservation and a source of enjoyment for both participants and spectators.

Sakadi: Performed by the West African Dance I class. This is an original creation by Iddi Saaka, designed to celebrate the vibrancy and high energy of West African dance. Drawing upon his deep understanding of West African rhythms and musicality, Saaka has created a rhythmic and melodic composition that complements and enhances the movements of the dancers. Through this performance, Saaka aims to convey the rich cultural heritage and the infectious joy that is characteristic of West African dance traditions.

Atsiagbekor: Performed by West African Dance III. This is a dynamic and spirited war dance originating from the Ewe ethnic group in Southeastern Ghana. The Atsiagbekor, also known as Agbekor, holds deep historical and cultural significance within the Ewe community. Observing the Atsiagbekor dance is akin to witnessing scenes that may have originated from the actual battles fought as the Ewe people migrated from Dahomey to their current home in Ghana. Originally, Agbekor was performed in times of perceived threats from enemies belonging to other ethnic groups. In such circumstances, the dance played a vital role in instilling courage and boosting morale among the warriors before engaging in combat. During times of peace, the Agbekor dance was performed at special funerals, particularly for chiefs, as well as during enstoolments of new chiefs and various festivals dedicated to honoring ancestors. These occasions served to commemorate significant events, express respect, and maintain cultural traditions. While the Agbekor dance no longer serves as a preparation for actual warfare in contemporary times, it continues to fulfill its other important functions. It serves as a means of cultural expression, uniting the community in remembrance of their ancestral roots and celebrating their history and heritage. The fast-paced and energetic movements of the Atsiagbekor dance embody the strength, resilience, and unity of the Ewe people.

Through their performance of Fast Atsiagbekor, the dancers pay homage to the rich history of their ancestors, reinforcing the cultural identity of the Ewe community. This dance form serves as a powerful reminder of the Ewe people’s journey, their struggles, and their collective spirit in overcoming adversity.

Gota: Performed by West African Dance I. Gota is an originally ceremonial dance associated with the medicine men of the ancient kingdom of Dahomey, located in present-day Benin, West Africa. The dance has evolved over time and is now primarily performed for social entertainment purposes. In its historical context, Gota held significant spiritual and ritualistic importance. It was performed by the medicine men, who were revered for their healing and spiritual abilities within the Dahomey kingdom. The dance connected them with the spiritual realm and divine energies to aid in the healing process.

Today, Gota has transitioned into a dance form performed for social enjoyment and entertainment. The synchronized stops and starts of the drums and dancers create an atmosphere of suspense and excitement, captivating the audience. The rhythmic interplay between the drums and the dancers adds a dynamic quality to the performance, enhancing the overall experience. While the spiritual and ceremonial aspects of Gota may have diminished over time, the dance still carries echoes of its ancient origins. It serves as a testament to the cultural heritage of the Dahomey kingdom and the artistic traditions that have been passed down through generations. Through their performance of Gota, the West African Dance I class brings to life the vibrant rhythms, spirited movements, and captivating energy associated with this dance form. They pay homage to the ancient traditions of the Dahomey kingdom while embracing the evolving nature of cultural expressions. Gota remains an engaging and celebratory dance that showcases the artistic talents and cultural diversity of West Africa.

Blanza: Performed by West African Dance III. Blanza is a recent dance created by the Ghana Dance Ensemble, that blends elements from Guinean music and dance traditions. The dance’s energetic movements and rhythmic patterns reflect the performers’ passion, joy, and commitment to showcasing their talents on stage. This dance creation demonstrates the continuous evolution of African dance forms and the cross-cultural connections within the continent. It celebrates the ability of Ghanaian dancers to blend traditional elements with contemporary influences, resulting in a captivating performance. Blanza serves as an expression of cultural pride, highlighting the diversity and dynamism of Ghanaian dance traditions while drawing inspiration from neighboring countries. Through their performance, the West African Dance II class demonstrates the talent, skill, and artistic vision of the Ghana Dance Ensemble.

Choreographer: Iddi Saaka.

Dancers:

West African Dance I Students:

Sadichchha Adhikari, Kyle Akepanidtaworn, Juanita Alvarez-Maldonado, Arielle Jade Ashley, Helena Awad, Mariel Victoria Becker, Ophelia Catherine Benedetti, Laurel QingXian Comins-Sporbert, Shirley S Fang, Jen Farris, Lakisha Shanice Gonsalves, Abby Gruppuso, Laura Elizabeth Hess, Marina Caroline Frey King, Wyatt Tanner Krutsch, Edelina Aziz Marzouk, Melanie Leigh Nelson, Wayne Wai Kin Ng, Yadira Ochoa, Melanie Patricia Parziale, Gabrielle K Resnick, Jeneille Russell, Anna Savage, Samantha Rose Schreiber, Jed Siebert, Megha Parvathy Subramanian, Ian Gershon Teixeira, Sonya Marie Torres, John Jammal Vassar, Sarah Elisa Wax, Elizabeth S. Weinstein.

West African Dance III Students:

Elizabeth Marie Alexion, Nkosi Oba Archibald, Aime Arroyo-Ramirez, Rilwan Fidelis Babajide, Trinithas Jeanne Boyi, Shemaiah Afeisha Eunice Clarke, Nick Charles Daley, Alexa Elizabeth De la Cruz, Katya Deve, Yael Naomi Fisher, Emily Sarah Greenspan, Sarah Emily Greizer, Pat Jivamongkol, Ari Roman Kaufman, Khalilah Lushiku, Lynn Ma, Jasmine Marie Mack, Sherrel Shanda Mike, Akila Salaam Raoul, Catherine Maeve Walsh.

Drummers: John Dankwa, Matt Torcellini, Matt Delciampo, Iddi Saaka, and Students in African Music and Culture classes.

This concert showcases beginning and intermediate West African dance students at Wesleyan University performing choreographed versions of various Ghanaian dance forms. Each dance represents the cultural heritage and significance of various ethnic groups in Ghana. The dances presented encompass a range of themes, including initiation rituals, festivals, social occasions, and historical narratives. The performances highlight the rhythmic and expressive movements that characterize West African dance traditions. 

ORDER OF PERFORMANCES:

Tokoe: Performed by the West African Dance I. Tokoe is originally an initiation dance performed by the Ga Adamgbe youth from Southern Ghana. Today, it is also performed during social events such as naming ceremonies, weddings, and funerals.

Damba-Takai: Performed by the West African Dance II class. In traditional settings, Damba and Takai are separate dances. Damba is a festival and dance performed to honor the birth and naming ceremony of the late prophet Mohammed. It is performed by ethnic groups such as the Dagomba, Gonja, Walla, and Mamprusi in the northern part of Ghana. Professor Mawere Opoku combined Damba and Takai into a single dance called Damba-Takai for this program.

Gahu: Performed by the West African Dance I class. Gahu is a recreational dance originating from the Southern Ewe communities in Southeastern Ghana. It is believed to have been influenced by the musical traditions associated with marriage and wedding rites of the Yoruba people in Southern Nigeria. In the Southern Ewe communities, Gahu is performed as entertainment during social gatherings, including weddings, naming ceremonies, and funerals.

Bima: Performed by the West African Dance I. Bima is a dance performed by the Frafra people in Northern Ghana. It is a social dance commonly performed during festivals, naming ceremonies, weddings, and funerals. The dance involves rhythmic stamping and body contractions.

Sikyi: Performed West African Dance II. Sikyi is a social dance of the Ashanti people of Southern Ghana, originating in the 1920s. This dance exudes a playful character, characterized by various movements such as strutting, bobbing up and down, and a display of theatrical elegance. The dancers aim to embody the pastoral innocence and carefree spirit that defined the era when this dance form reached the pinnacle of its popularity.

By incorporating these movements, the performers seek to vividly depict the lads and lasses of that time, capturing the essence of their innocent playfulness. Through their movements, the dancers portray the joy and exuberance that characterized the social interactions and cultural experiences of that period.

Music Interlude

Kundum: Performed by the West African Dance II class (DANC 360-01). Kundum music and dance are part of the annual Kundum festival celebrated by the Ahanta and Nzema people in Western Ghana. Originating during a period of famine and hunger in the 1700s, Kundum has now become a feature of various social occasions. The dance is divided into three sections: domo, which involves slow and graceful movements; ewulalå, characterized by fast and masculine movements; and edudule, featuring energetic torso-to-torso and strutting movements.

Kpanlogo: Performed by the West African Dance I class (DANC 260-01). The Kpanlogo dance and music form emerged during the early 1960s as an expression of the unique identity of the Ga youth in southern Ghana. Influenced by Ghanaian cultural values as well as Western influences brought about by colonization, television, and foreign movies, the youth sought to create a dance that would reflect their evolving cultural landscape. Having been exposed to Western dance forms like ballroom dancing and rock and roll, the Ga youth integrated elements from these dances into their traditional Ga dances. They recognized that the existing Ga dances did not fully capture the nuanced identities they had developed, which encompassed both Ghanaian and foreign cultural elements. By borrowing ideas and movements from Western dances and infusing them into their traditional dance repertoire, the Ga youth created the Kpanlogo. This new dance form allowed them to express their evolving cultural identities and to bridge the gap between their Ghanaian heritage and the influences of the Western world. The Kpanlogo dance became a means for the Ga youth to showcase their creativity, adaptability, and their desire to reconcile the diverse cultural elements that shaped their identities.

Choreographer: Iddi Saaka.

Dancers:

West African Dance I Students:

Cara Tillie Bendich, Charles Ambrose Bonar, Alessandra Cervera, Fanying Chen, Shemaiah Afeisha Eunice Clarke, Alexa Elizabeth De la Cruz, Joseph Emmanuel Eusebio, Grace Charlotte Handy, Miranda Dorothy Haymon, Kevin Taylor Hutchinson, Erin Marie Kelly, Victoria Borges King, Maya Segall McDonnell, Luz Caroline Mendez, Dominique Nicole Moise, Daniel Muro, Jacob Lawrence Pitkow, Tatianna Sydney Yvonne Pryce, Sam Peri Sheppe, Isabel Sara Steckel, Tai Taliaoa, Giselle Torres, Chukwuemeka Nnamdi Uwakaneme, Arpita Atul Vora, Ann-Dorie Romania Webley, Naomi Denazia Williams, Fred Wills, Mara Eleanor Woods-Robinson, Sonya Ali Bessalel, Emma Rose Borzekowski, Trinithas Jeanne Boyi, Danica Cao, Stephanie Claire Dawson, Hannah Rose Katz Gallogly, Maxine Faron Gibb, Hans How, Bulelani Minenhle Jili, Virginia Steck Johnson, Brackets Stone Kaplan, Maya Karp, Mickey Kieu, Sarah Michelle Knight, Purnima Kumar, Zachary Larabee, Stephanie Kate Ling, Henry Salvatore Lombino, Eva Lou, Katie Lowen, Kariesha S Martinez, Peter Thomson McCook, Meghan Shefali Nayyar, Yeshe Choden Rapten, Elana Pine Rosenberg, Hannah Kate Ryan, Abike Olamide Sonubi.

West African Dance II Students:

Taiga Araki, Amarachi C. Asonye, Vanessa Chen, Tyler Malaysia Clarke, Katya Deve, Emily Sarah Greenspan, Sarah Emily Greizer, Ari Roman Kaufman, Zoe Scarlett Kurland, Paola Gabrielle Maseda, Kendall Navedo, Praise Onaopemipo Owoyemi, Matthew Padilla, Emily Blair Pfoutz, Clara Virginia Pinsky, Anna Julia Rojek, Shada Sherona Sinclair, Sarasa Suzuki, Tarah Isabel Timothe, Suet Ning Wong.

Drummers: Abraham Adzenya, John Dankwa, Jocelyn Pleasant, Iddi Saaka, and students in African Music and Culture classes.