For the Africans, the musical experience is an emotional one, and for music to be meaningful, it should inspire a response. Dance not only releases emotions stimulated by the music, it can also convey thoughts that are personally or socially important. Movements, postures and facial expressions can show respect to superiors, appreciation to well-wishers or benefactors, a reaction to sensed hostility or friendship by others toward the dancer, or express beliefs of the dancer. In Ghana, you will find different types of dances depending on the ethnic group and region. In the dance, we are communicating movements and steps with the rhythms of the drum. Traditional dance prepares us to meet any kind of dance. Ghanaian dances frequently serve dual purposes, in joyful and sorrowful occasions. There can also be differences in male and female dancing, even when the basic movements are similar. Male dance movements may be angular or sharp, while females dance the same dance with more rounded and flowing movements.
Dances from the Volta region of Ghana, part of the republic of Togo and Benin
Agbadza: Among the oldest musical types performed by the Southeastern Ewe (Anlo-Ewe) people in Ghana, Togo, Benin and southwestern Nigeria. It is derived from an older war dance known as Atrikpui. Agbadza was first associated with the reign of King Tegbouesson in the kingdom of Dahomey (now Benin) in the mid-1700. The Ewe people brought it with them when they migrated across Togo and Ghana. The meaning of the name is not clear. Agba is a stretcher made from bamboo and rope used to carry a corpse or sick person. “Agba dze ta” means “we have carried the corpse”.
Boboobo: This is the most popular social music and dance of the Central and Northern Ewe of Ghana and Togo. This music and dance also known as Agbeyeye (new life), or Akpese (music of joy), emerged from a village, called Kpando in the Volta Region of Ghana during the struggle for independence between 1947 and 1957. Boboobo is derived from an old circular dance called Konkoma. Although this music was initially confined to a few villages in central and northern Eweland, it has now spread to all Ewe speaking territories in Ghana and Togo.
Gadzo: Gadzo is a warriors’ dance of the Anlo-Ewe people in Ghana. Originally, it was performed after battles so the warriors could reenact battle scenes for those at home. Now it is performed at ancestral stool festivals, funerals of important chiefs and for entertainment.
Atsiagbekor: it is among the oldest traditional dances of the Ewe-speaking people of the Southern Ghana, Togo, and Benin. Originally a war dance, performed after battle when the warriors returned to the village, it is now performed on many social occasions. Most songs contain historical references to their chiefs, war leaders, migration stories and invincibility related themes of the Ewes against their enemies.
Dances from the Ashanti/Eastern/Brong Ahafo Regions (Akan dances)
Adowa: Adowa is the most widespread social dance of the Akan people of Ghana. The word means antelope. Adowa is performed traditionally by women with men only assisting on instruments. It is performed mostly at funerals but can also be seen at annual festivals, visits by important dignitaries, or other celebrations.
Kete: A music type of the royal Ashanti court. A preparatory song by one or two soloists alternates with a flute ensemble. A canter brings in the chorus. Drums usually play alone with one dancer. The preparatory piece might be poetry read with a bell accompaniment. The master drummer pauses in between musical statements. The kete ensemble plays at least 8 different pieces. Each piece has specific meanings and is played for appropriate activities – such as a procession where the chief is carried, or as the chief walks, or during the display of shields by shield bearers who form part of the entourage of paramount chiefs, at a funeral, or for dancing.
Sikyi: (seechee) is a recreational dance of the Akan youth that developed between the two World Wars. The dance movements are light-hearted and flirtatious between the young men and women. The choreographed movements denote advance, rebuff, flirtation, and acceptance.
Frontomfrom: Fontomfrom is one of the most complex musical types of the Akans of Ghana. It is a series of warrior dances that are performed I religious, ceremonial and social contexts at the courts of chiefs.
Dances from the Northern, Upper East and Upper West regions
Bewa (Bawaa): One of the oldest traditional dances of the Dagaare speaking people of the Upper west Region of Ghana. Bawaa is a ritual and ceremonial dance performed to celebrate the beginning and end of the rainy season, good harvest, New Year and other social events.
Nagla: It is a dance performed by the Kasena Nankeni people of Paga and Navrongo in the Upper East Region of Ghana. In the olden days, it was performed at funerals but today, even though it still maintains funerary function, it can also be performed at most social gatherings except during marriage ceremonies. Movements in Nagla reflect the spirit of togetherness.
Nmane: it is a wedding music and dance of the Dagbamba women of Northern Ghana. Exclusively women in honor of a new bride perform this music. Songs used in this celebration relate to topical, human, marriage, and other social issues.
Kpatsa: Kpatsa is the principal traditional entertainment music and dance of the Dangme of Ghana, in West Africa. The dance itself involves sideways and forward shuffling movements, making use of short, brisk steps with the body slightly bent. The dance steps move the dancer either diagonally or backwards. With arms bent in front of the body, the right leg steps in concert with the movement of the right arm while the left leg steps at the same time as the left arm; while one foot remains flat on the ground, the heel of the other foot is lifted off the ground.
Dances from the Greater Accra region of Ghana
Kpanlongo: Kpanlongo is the most recent of all Ga recreational musical types, an offshoot of Gome, Oge, Kolomashie, and Konkoma. Referred to as "the dance of the youth," Kpanlongo started during the wake of Ghana's Independence as a musical type for entertainment in Accra. Kpanlongo is presently performed at life-cycle events, festivals, and political rallies.
Gome: Gome is one of the oldest musical types performed by the coastal Ga of Ghana, which was introduced by Accra fishermen from the Fernando Po Islands in the early eighteenth century. Originally, Gome was performed exclusively by fishermen after their expeditions to celebrate their catch. Other occupational groups, especially artisans, also eventually adopted this music and dance as a form of entertainment. Presently, Gome is performed by all categories of people-- young and old, male and female, on all social occasions.
Gome: Gome is one of the oldest musical types performed by the coastal Ga of Ghana, which was introduced by Accra fishermen from the Fernando Po Islands in the early eighteenth century. Originally, Gome was performed exclusively by fishermen after their expeditions to celebrate their catch. Other occupational groups, especially artisans, also eventually adopted this music and dance as a form of entertainment. Presently, Gome is performed by all categories of people-- young and old, male and female, on all social occasions.
Dances from the Central and Western Regions of Ghana
Kundum: Kundum music and dance, which is performed as part of the annual Kundum festival of the Ahanta and Nzema people of Ghana originated in a situation of famine and hunger around 1700. Although traditionally a harvest music and dance, Kundum can now be seen on all social occasions. Kundum is performed in 2/3 sections: The first is domo, a slow movement, in which dancers evoke beauty, majesty and gracefulness with stately postures of tilted bodies. The second section ewulay (literally meaning "pumping"), inspires fast and masculine movements. The third section edudule consists of vigorous torso to torso movements, strutting movements of the body.
The act of "plucking" in the fields is dramatized in the Kundum dance.
Asafo: Asafo is a warrior dance that is the mainstay of the Fantses in the Central and some parts of the Eastern, Ashanti and Greater Accra. Though there are variations in its performance and its ensemble according to the community,historically they all share similar characteristics. Asafo in the Central region especially at Mankessim is a solo dance that captivates the foreign audience.
Apatampa: The Fantse women of the Central region perform this music and dance. Except the musicians, Apatampa is mainly a female affair. Its movements resembles STEPS dance of the youth of the United States
Asafo: Asafo is a warrior dance that is the mainstay of the Fantses in the Central and some parts of the Eastern, Ashanti and Greater Accra. Though there are variations in its performance and its ensemble according to the community,historically they all share similar characteristics. Asafo in the Central region especially at Mankessim is a solo dance that captivates the foreign audience.
Apatampa: The Fantse women of the Central region perform this music and dance. Except the musicians, Apatampa is mainly a female affair. Its movements resembles STEPS dance of the youth of the United States
