Iddi Saaka

“Red Line” is a thought-provoking and impactful 30-minute performance piece that delves into the complex issue of racism, examining it through the lens of individuals’ places of origin. This powerful work sheds light on how one’s geographical background can either open doors of opportunity or impose limitations based on societal perceptions and biases. Through an exploration of people’s identities and the influence of their origins, the performance raises questions about how individuals are perceived, treated, and navigate their sense of belonging in different contexts.

The multidisciplinary nature of “Red Line” combines movement, music, poetry, and spoken word to create a captivating and immersive experience for the audience. The choreography, masterfully crafted and performed by Iddi Saaka in collaboration with Shirley Sullivan and Alycia Bright-Holland, brings the narrative to life, using the language of the body to express the complexities of racial dynamics and the impact of origin on personal experiences.

The music composition, a vital element of the performance, has been expertly crafted by Issa Coulibaly, Kwamena Blankson, and Venlo Odom. Their compositions serve as a powerful backdrop, evoking emotions and enhancing the storytelling, creating a cohesive and resonant experience for the audience.

The spoken word segment of “Red Line” is skillfully delivered by Kwamena Blankson, adding another layer of depth, and meaning to the performance. Through poetic expressions, Blankson’s words amplify the themes of race, identity, and belonging, inviting the audience to engage in a critical dialogue about these important issues.

The culminating dance performance of “Red Line” made its debut at Wesleyan in March 2023 as part of the Spring Faculty Dance Concert. This significant event showcased the culmination of the creative collaboration between the choreographers, performers, composers, and spoken word artist involved in the production. The performance captivated the audience, sparking conversations and inviting reflection on the complex intersection of race and origin in contemporary society.

“Red Line” serves as a catalyst for dialogue, challenging societal norms and perceptions while shedding light on the impact of origin on individual experiences. By seamlessly blending movement, music, poetry, and spoken word, this multidisciplinary performance ignites a critical examination of race, origin, and identity. Through its profound exploration of these themes, “Red Line” inspires audiences to reflect, question, and ultimately strive for a more inclusive and equitable society.

Dancers: Shirley Sullivan, Alycia Bright-Holland and Iddi Saaka.

Music: Issa Coulibaly, Kwamena Blankson and Venlo Odom.

Spoken Word: Kwamena Blankson.

“Together Again” is a heartfelt and celebratory dance piece choreographed by Iddi Saaka that beautifully captures the emotions and experiences of reconnecting with loved ones after a prolonged period of isolation caused by the global coronavirus pandemic. This uplifting piece was commissioned by the esteemed dance department of Connecticut College and was featured as part of their faculty concert in 2022. The dancers, a talented group of Connecticut College students, serve as the embodiment of the emotions and stories of separation and reunion. Through their expressive movements, they convey the profound sense of joy, relief, and longing that accompanies the act of reconnecting with friends and family. Each dancer’s unique experiences are showcased, creating a rich tapestry of emotions that resonates with audiences on a deep and personal level.

“Together Again” not only celebrates the power of human connection but also reflects on the resilience and gratitude of the human spirit in the face of adversity and uncertainty. The piece serves as a testament to the strength and tenacity of individuals who have navigated the challenges of the pandemic and found solace in the reunion with loved ones. It serves as a reminder of the importance of cherishing and valuing the relationships that bring joy and meaning to our lives. Drawing inspiration from West African dance aesthetics, contemporary dance, and contact improvisation, “Together Again” incorporates a dynamic and diverse range of movement styles. The fusion of these styles creates a visually stunning and emotionally resonant performance that celebrates life, community, and the power of dance to communicate the depths of the human experience. The music composed by Venlo Odom, Raphael Stover, and Dylan Bronowich provides a captivating backdrop to the choreography, enhancing the emotional impact of the piece. The music, carefully crafted to complement the movements, adds depth and texture to the performance, further immersing the audience in the narrative of connection and reunion. 

Choreography: Iddi Saaka.

Dancers: Sophie Barr, Paulina Bartholomew, Catja Christensen, Bella Donatelli, Joel Embray, Kelsey Halio, Ariel Mayer, Dominique Morann, Emily Moore, Khadedra Neals, Emily O’Brien, Clare Simon, Yeseri Vizcaino, Sophie Williams, Ana Woodruff, Mohammad Alqudah, and Ilesia Finch, bring their exceptional talent, dedication, and artistry to the stage. Their collective presence and commitment to the choreography breathe life into the performance, creating a vibrant and moving portrayal of the human experience.

Music: Venlo Odom, Raphael Stover, Dylan Bronowich, and Iddi Saaka.

This thought-provoking choreography draws inspiration from the phenomenon of unregulated small-scale mining, with a specific focus on the controversial practice of illegal small-scale mining in Ghana, known as galamsey. Galamsey represents a complex issue with far-reaching impacts on both people and the environment. The choreography seeks to shed light on the multifaceted nature of galamsey, considering its positive and negative consequences. Galamsey, on the one hand, serves as a source of livelihood for millions of individuals who would otherwise face unemployment or poverty. It plays a role in sustaining the rural economy and contributing to Ghana’s overall national development. However, the practice of galamsey also poses significant challenges. It leads to severe environmental degradation and social problems, including water and land pollution, destruction of biodiversity and agriculture, and threats to the health and security of affected communities. Within the choreography, a series of compelling questions are explored to deepen the understanding of galamsey. These questions delve into the root causes and driving forces behind this practice, the impact it has on the lives of the miners, their families, and the communities they belong to, and the responsibilities and roles of various stakeholders in addressing the issue. This includes the government, civil society organizations, and the international community. By raising awareness and initiating dialogue, the choreography aims to create a platform for critical conversations about the urgent and complex issue of galamsey. Through movement and expressive gestures, the dancers convey the multifaceted dimensions of this practice, evoking emotions, and provoking introspection in the audience.

Choreography: Iddi Saaka in collaboration with Shirley Sullivan, Serena Aimen, and students in my repertory and performance course. 

Music: Joseph Getter and Iddi Saaka.

Spoken Word: Chris-ann Walker, Malia Detar Cheung, Shakira Abdul-Rauf, Serena Aimen.

Dancers: Shakira Abdul-Rauf, Serena Aimen, Stephanie Aka, Princess Asante, Malia Detar Cheung, Abby Frazee, Georgia Garrison, Sabine Geary, Annie Kidwell, Natasha Marder, Zoe McCracken, Pablo Puente, Shirley Sullivan, Chri-ann Walker, geo Wood, Icicle Yang.

“Blurring the Surface” is a powerful dance duet co-choreographed by Iddi Saaka and Shirley Sullivan, with music composed by John Dankwa. This thought-provoking performance piece explores the complex dynamics of race and racism in American society. Through nuanced interactions, the duet challenges stereotypes, and superficial divisions between races, featuring a White female and a Black male dancer. Drawing from West African dance aesthetics, contemporary movement, improvisation, spoken word, and personal stories, the duet offers a multi-layered interrogation of racism’s impact.

Supported by a grant from the Guilford Performing Arts Festival, “Blurring the Surface” premiered in 2020, receiving acclaim for its artistic and social relevance. The duet was further recognized by its selection for presentation at the 47^th World Conference of the International Council on Traditional at the University of Ghana in 2023. With its profound exploration of race and racism, “Blurring the Surface” sparks dialogue and contributes to the ongoing conversation surrounding these pressing social issues.

Choreographed and Performance: Iddi Saaka in collaboration with Shirley Sullivan. 

Music: John Dankwa.

“Letting Go to Move On” is a poignant and introspective contemporary dance piece created by Iddi Saaka. This deeply personal work delves into the complex relationship between the artist and his father, shedding light on a common yet often overlooked phenomenon in Ghanaian society where fathers are absent or neglectful in the lives of their children. Through the language of dance, Saaka courageously explores and dissects the emotional and psychological impact of this relationship, or lack thereof, on his own identity and well-being.

The choreography serves as a means of both interrogation and catharsis, allowing Saaka to unpack the profound effects of his experience and find a path toward healing, empowerment, and liberation. This dance resonates not only with Saaka’s personal journey but also with those who have endured any form of abusive or neglectful relationship. Through his expressive movements, Saaka seeks to release the burdens of the past, symbolizing a powerful act of letting go and embracing the possibilities of moving forward. The music serves as a powerful accompaniment to the choreography, amplifying the emotional depth and resonance of Saaka’s movements, and enhancing the overall impact of the piece.

Choreography and Performance: Iddi Saaka.

Music: Peter Di Gennaro.

Videography: Chelsie McPhilimy and Suzzane Sadler.

Qualia is a co-choreographed solo directed by Doug Elkin and performed by myself, as part of the dance faculty concert. The piece serves as a captivating conversation between our distinct backgrounds, Doug’s expertise in Hip Hop with my West African training. Through this collaboration, we explore the intersectionality of our backgrounds, seeking to discover a shared and innovative language that transcends individual dance traditions.

Choreography: Doug Elkins and Iddi Saaka.

Dancer: Iddi Saaka.

Music: n/a.

“Perseverance” is a heartfelt dance piece that I, Iddi Saaka, choreographed to express the profound longing and love I hold for my children who are physically distant from me. The impact of the coronavirus pandemic has created a significant emotional and geographical divide between us, making it impossible to bridge the gap through travel or in-person visits. In this dance, I find a means to communicate with my daughter and son, who reside across the ocean and face their own set of challenges and uncertainties during these trying times. Through the language of dance, “Perseverance” becomes a powerful vessel for connection, transcending physical barriers. It serves as a heartfelt promise to my children, assuring them that even though we cannot currently embrace one another, our hearts and spirits remain forever intertwined. This dance serves as a testament to my unwavering perseverance and hope, a constant reminder that we will reunite and embrace each other again soon. The choreography of “Perseverance” reflects the emotional depths of this longing and love, as well as the resilience and determination that characterize the human spirit. Every movement conveys the essence of our connection, expressing the profound bond that persists despite the physical distance. The music serves as an emotional backdrop, enhancing the sentiment and power of the dance, further immersing both the performer and the audience in the experience.

Choreography and Performance: Iddi Saaka.

Music: Yuval Avital.

(Learn more about the Human Signs project by visiting its website here.)

“Shake” is a dynamic and intimate duet that emerges from a profound and longstanding friendship between myself and Rachel Boggia, an esteemed Associate Professor of Dance at Conn College. Rooted in our shared passion for vibrational movement, fluid breath, and humorous irony, this captivating work draws inspiration from a diverse range of sources, including Ghanaian dance traditions, American postmodern dance, simulated tap dance, witty jokes, and personal narratives. Through our collaboration in “Shake,” we transcend the boundaries of genre, culture, and discipline, creating a unique and multifaceted piece that defies categorization. The choreography reflects the fusion of our individual backgrounds, experiences, and artistic perspectives, as well as our shared interests and values.

This duet serves as a celebration of our deep friendship and artistic vision, encapsulating the spirit of collaboration and the power of shared creativity. Within “Shake,” we have developed a shared language of movement that beautifully communicates the essence of our connection and artistic expression. The work unfolds as a journey, incorporating elements of Ghanaian dance, American postmodern dance techniques, and simulated tap dance to add layers of dynamic and rhythmic complexity to the performance. Humorous and witty jokes further enrich the piece. In essence, “Shake” represents a harmonious blend of diverse influences and perspectives, unified by our deep friendship and mutual artistic exploration. This duet is a testament to the power of collaboration, transcending boundaries, and forging connections through movement and storytelling.

Choreography and Performance: Iddi Saaka and Rachel Boggia.

Music: n/a.

This dance piece serves as a creative exploration that goes beyond the conventional expectations of how a drum is typically played. By engaging with the Ghanaian Atsimevu drum in unconventional ways, I aim to disrupt familiar patterns and challenge preconceived notions. I invite audiences to embark on a journey of introspection and inquiry, encouraging them to question their own assumptions and perceptions of people and situations. In this performance, I seek to create a space that encourages curiosity and open-mindedness. Through my unconventional interactions with the drum, I invite spectators to explore the possibilities that lie beyond the confines of what they may consider “normal” or “expected.” This dance piece also encourages a deeper examination of our relationships with others and the world around us. It invites audiences to reflect on their own assumptions and biases, urging them to remain open to uncovering new layers of understanding and forming connections. This process of inquiry fosters a sense of empathy.

Choreography and Performance: Iddi Saaka

Music: Mali Dula Ba, from the album “African Roots,” (unknown artist).

Sakadi 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. The choreography embraces the athleticism and dynamism of West African dance, incorporating high-energy movements that captivate the audience’s attention. Throughout the piece, there are also sections that provide dancers with the freedom to express themselves through improvisation, allowing for individual artistic expression within the structured framework of the dance. Sakadi represents a celebration of West African culture, showcasing the infectious rhythms, intricate movements, and the spirit of community that is inherent in these dance traditions. It is a testament to the diverse influences and collaborative efforts that shape my artistic practice, highlighting the beauty and power of cultural exchange. Through this dynamic dance piece, I aim to share my love for West African dance and music, inviting audiences to embrace the joy, energy, and creativity that emanate from this vibrant art form.

Choreography: Iddi Saaka.

Dancers: Justin Antoine, Olivia Anna Backal-Balik, Isabela Martins Bucciarelli, Ian Budd Chabot, Angela Yejin Chung, Molly Elizabeth Cohn, Kiana Akia Dawkins, Shione Donahue, Ashlyn Wen Drake, Joy Bonnie Feinberg, Alma Hutter, Saakshi Ajay Kakar, Mitike Lyons, Langston Ralls Morrison, Tara Chen Ning-Shi Nair, Kellen James O’Brien, Franchesca Pena, Nethra Pullela, Nzingha Emmani Rawlins, Elena Sanz Madrigal, Arielle Tesia Schwartz, Ekram Mohammed Towsif, Becca Weinzimer, Isaac Walter Yassky.

Music: Mohammed Alidu, John Dankwa, Iddi Saaka, and Wesleyan students.