The music of West Africa is known for its vitality, depth of meaning, complex rhythmic interplay and above all....joy. The majority of our repertoire is drawn from music and dancing traditions of several different ethnic groups from Ghana (and sometimes from other African societies). These items will be explored, refined and taught to the members of the ensemble. Numerous songs, dances and drumming patterns make up the core of this music. Some of our pieces are secular and some border on the spiritual.
Our repertoire to date includes well-known pieces from the Ghanaian tradition including Atsiagbekor, Kpanlogo, Hatsiatsia, Fume Fume, Kinka, Tokoe, Gota, Bamaya, Kundum, Kpatsa, Gahu, Borborbor, Zigi, Husago, Mhande (Zimbabwe/Shona), and Dhine (Zimbabwe/Shona), among others.
Items we plan to add to the above list include: Adzogbo, Nagla, Sohu, and others.
Gahu emanated from the musical traditions of the Gun/Yoruba of Southwestern Nigeria. Presently, the Southern Ewe of Ghana, Togo and Benin perform the dance on most social occasions. Although this historic origin can be seen today in the rich Yoruba costume worn by many performing groups, the Ewe have significantly transformed this stylized dance by introducing some typical Ewe dance movements, songs and drum motifs. Themes of Gahu songs relate to historical, philosophical and topical issues.
Mhande is a dance from the Shona people of Zimbabwe done during the time of harvest. The community travels together to each individual family’s field to help harvest and dance to celebrate.
Tokoe is a Dangme form of Dance-Drumming done during puberty rites, known as "dipo", which are the communal ways in which the Dangme female acquires the knowledge of the social responsibilities of this critical biological transition. The wisdom of respected females and their life experience, self-esteem and self-confidence provide good role models for the young adults. Tokoe is the dance-drumming performed at the beginning of the ceremonies to introduce the "dipo" candidates to the community. Entering "dipo" is an honour and privilege and all entering must meet very strict qualification measures. The Dangme people reside in southern Ghana along the banks of the Volta River.
Atsiagbekor is an ancient and important traditional Ewe and Fon (people of Ghana, Togo, and Benin) war music and dance performed after battle. Once known as Atamga (‘the great oath’) and performed solely in the context and time of war, it is now called Agbekor (‘lit. ‘life is clear/free’) and often performed at social/cultural events and occasions. Atsiagbekor is performed in two forms, vulolo (processional) and vutsotoe (fast vigorous dance). It features spectacular dance sections interspersed with many ritual songs and movement interludes. Dance movements mimic battlefield tactics such as reconnaissance, surprise attack and hand to hand combat. One of the outstanding features of the dance is the interaction between the master drummer and the dancers: every rhythmic theme played on the master drum has a corresponding sequence of dance movements which is timed to precisely match the drum rhythms.
The Atsiagbekor that we perform is unique to the village of Dzogadze, which has a long history of performing this dance and whose choreography, drumming styles, and songs differ substantially from other versions of this dance found within Ghana and elsewhere.
Gota originated from the Ewe and Fon of Benin and was introduced to the Southeastern Ewe in the early nineteenth century through migration. Related to a very popular genre in Benin/Togo known as Tchingoume that employs calabash drums as the heart of the ensemble,, Gota is now performed as a recreational music and dance by the Southern Ewe of West Africa and employs typical Ewe drums (kidi, sogo, kagan).
Bamaya (The marsh has become cool)
This piece is from the Dagomba people of northern Ghana. Many years ago, a drought occurred while the Dagombas were at war. God does not want people to fight. The people of the village prayed and were told that to bring rain, men must dress as women and play and dance this piece. This is partially due to the cultural understanding that God receives the prayers of women with greater efficacy than men. Traditionally, Bamaaya is danced by men in ladies’ skirts, earrings and headgear while women sing songs and praises, and ululate. After the rain, the valley became cool. The main dance movement, which requires a lot of vigorous waist movements and wiggling of the pelvis. The dance is, in general, marked by dignity, grace and controlled expressiveness. Although only men originally danced Bamaaya it is now performed by both sexes and all ages. The lesson taught through the dance and songs is one of respect.
Dhiné / Mhemberwa (Celebration)
This traditional harvest dance from the Karanga Shona people of Mashonaland Central province in Zimbabwe is done after the harvest when the granaries are full. The movements you will see are Mapadza (The Hoe), Tsero (The Baskets), Tsoko (The Monkey), Four Stars and Chipembe Nene (The Butterfly).
Fume Fume was originally choreographed by Mustapha Tettey Addy of Ghana to unite several different traditional dances of West Africa.
Hatsiatsia (lit. ‘song selection’/’song circle’) is an integral part/movement in Kinka and other social dance forms. It is the period of performance when emphasis is laid on the lyrics of songs, mostly philosophical songs in proverbial text that comment on different topical issues.
Kinka is one of the popular southern Ewe secular dance-drumming styles of recent origin (1940s) and is characterized by themes reflective of the youthful inclinations for a more liberal lifestyle common among the younger generation in contemporary societies. Short repetitive metaphoric phrases are the norms of this communal entertainment. The dialogues of this idiom may provoke different sentiments and emotions including love, joy, anger, resentment and confusion among different generations. Traditionally Kinka features songs that are especially well crafted and usually political.
Mhande is a dance from the Shona people of Zimbabwe done during the time of harvest. The community travels together to each individual family’s field to help harvest and dance to celebrate.
Tokoe is a Dangme form of Dance-Drumming done during puberty rites, known as "dipo", which are the communal ways in which the Dangme female acquires the knowledge of the social responsibilities of this critical biological transition. The wisdom of respected females and their life experience, self-esteem and self-confidence provide good role models for the young adults. Tokoe is the dance-drumming performed at the beginning of the ceremonies to introduce the "dipo" candidates to the community. Entering "dipo" is an honour and privilege and all entering must meet very strict qualification measures. The Dangme people reside in southern Ghana along the banks of the Volta River.
Atsiagbekor is an ancient and important traditional Ewe and Fon (people of Ghana, Togo, and Benin) war music and dance performed after battle. Once known as Atamga (‘the great oath’) and performed solely in the context and time of war, it is now called Agbekor (‘lit. ‘life is clear/free’) and often performed at social/cultural events and occasions. Atsiagbekor is performed in two forms, vulolo (processional) and vutsotoe (fast vigorous dance). It features spectacular dance sections interspersed with many ritual songs and movement interludes. Dance movements mimic battlefield tactics such as reconnaissance, surprise attack and hand to hand combat. One of the outstanding features of the dance is the interaction between the master drummer and the dancers: every rhythmic theme played on the master drum has a corresponding sequence of dance movements which is timed to precisely match the drum rhythms.
The Atsiagbekor that we perform is unique to the village of Dzogadze, which has a long history of performing this dance and whose choreography, drumming styles, and songs differ substantially from other versions of this dance found within Ghana and elsewhere.
Gota originated from the Ewe and Fon of Benin and was introduced to the Southeastern Ewe in the early nineteenth century through migration. Related to a very popular genre in Benin/Togo known as Tchingoume that employs calabash drums as the heart of the ensemble,, Gota is now performed as a recreational music and dance by the Southern Ewe of West Africa and employs typical Ewe drums (kidi, sogo, kagan).
Bamaya (The marsh has become cool)
This piece is from the Dagomba people of northern Ghana. Many years ago, a drought occurred while the Dagombas were at war. God does not want people to fight. The people of the village prayed and were told that to bring rain, men must dress as women and play and dance this piece. This is partially due to the cultural understanding that God receives the prayers of women with greater efficacy than men. Traditionally, Bamaaya is danced by men in ladies’ skirts, earrings and headgear while women sing songs and praises, and ululate. After the rain, the valley became cool. The main dance movement, which requires a lot of vigorous waist movements and wiggling of the pelvis. The dance is, in general, marked by dignity, grace and controlled expressiveness. Although only men originally danced Bamaaya it is now performed by both sexes and all ages. The lesson taught through the dance and songs is one of respect.
Dhiné / Mhemberwa (Celebration)
This traditional harvest dance from the Karanga Shona people of Mashonaland Central province in Zimbabwe is done after the harvest when the granaries are full. The movements you will see are Mapadza (The Hoe), Tsero (The Baskets), Tsoko (The Monkey), Four Stars and Chipembe Nene (The Butterfly).
Fume Fume was originally choreographed by Mustapha Tettey Addy of Ghana to unite several different traditional dances of West Africa.
Hatsiatsia (lit. ‘song selection’/’song circle’) is an integral part/movement in Kinka and other social dance forms. It is the period of performance when emphasis is laid on the lyrics of songs, mostly philosophical songs in proverbial text that comment on different topical issues.
Kinka is one of the popular southern Ewe secular dance-drumming styles of recent origin (1940s) and is characterized by themes reflective of the youthful inclinations for a more liberal lifestyle common among the younger generation in contemporary societies. Short repetitive metaphoric phrases are the norms of this communal entertainment. The dialogues of this idiom may provoke different sentiments and emotions including love, joy, anger, resentment and confusion among different generations. Traditionally Kinka features songs that are especially well crafted and usually political.
