LAR 110

MUSIC APPRECIATION-DANCE

Dance is the art form in which human

movement becomes the medium for
sensing, understanding, and communicating
ideas, feelings, and experiences. Dance has
its own content, vocabulary, skills, and
techniques, which must be understood and
applied to be proficient in the art.
Dance can also be described as the movement of
the body in a rhythmic way, usually to music and
within a given space, for the purpose of expressing
an idea or emotion, releasing energy, or simply
delight in the movement itself
 What Is Dance (cultural)

It is a purposefully selected body movements in

an intentionally rhythmical and culturally
pattern, with an aesthetic value and symbolic
potential to express an idea to fit an occasion,
 What Is Choreography?
 Means of selecting and putting together body
movements, focusing on elements such as
dynamics, levels, sound and tempo, shapes and
spatial design to form a dance piece to
communicate or convey a message to a targeted
audience.
 Types Of Choreography

Abstract Choreography:
 It deals with the manipulation of structures such
as design, level, dynamics, directions and
rhythmic structures of the dance, with no
intention of telling a particular story or
communicating an idea”.
 Con’t. Types Of Choreography

Representational Choreography
 With representational choreography, the dance is
created or formed using traditional dance
movements as the basis for the creation and it
normally tells a story of a group of people in a
particular place.
Types of dance
 Indigenous/Traditional dance
 Highlife

 Hiplife
 Hip-hop

 Reggae
 Salsa
 Categories Of Dance

 Dance for adults (men, women or both)

 Dance for children (for games and
storytelling)
 Occasional dance

 Recreational dance

 Occupational dance
 Religious dance
 Importance Of Dance

Health Benefits:
 Body Exercise
 Weight Loss
 Improves Cardiovascular Health (Heart)
 Better Brain Health
 Boost Cognitive Performance (creative thinking skills)
 Minimize Stress
 Reduce Depression
 Increase Energy
 Con’t Importance Of Dance

Social Benefits:
 Better Coordination Strength/Balance

 Improve Flexibility

 Higher Self-Esteem

 Improve Social and Emotional Health

 Sense of Community (Unity)

 Entertainment

 Affiliation (Broader family)

 Con’t Importance Of Dance

Economic Benefits:

 Employment
 Income
 Revenue
 Promotes Tourism
 Education
 What Is Costume?
 Costumes can be referred to as everyday dress
worn by the individuals for a specific reasons or
occasions. Stage costumes are special clothe and
accessories such as mask, walking stick, head
gear, hairdo, bracelets and necklaces worn by
actors or actresses in order to aid dramatic actions
and interpretation.
 Importance of Costumes
 Identification (Ethnicity)
 Time

 Beautification
 Extension of body movement

 Put performers into character

 Position
 Gender
 ELMENTS OF DANCE

The elements of dance are the fundamental

concepts and vocabulary for developing movement
skills as well as understanding dance as an art form.
All these elements are simultaneously present in a
dance or even in a short movement phrase.
 Elements Of Dance

 Body

 Action
 Space
 Time
 Energy

(BASTE)
 1st Element Of Dance-BODY

Part of the Body Body Shapes

 Head Symmetrical/Asymmetrical

 Eyes Rounded
 Torso Twisted
 Shoulders Angular
 Finger Arabesque
 Legs
 Feet
 2ND Element Of Dance-ACTION
Locomotor:
Movements that takes the body from one point to
another
 Slide

 Walk

 Hop

 Somersault

 Run

 Skip

 Jump
 Con’t ACTION
Non-Locomotor:
Movements that the body can do and still stay in
one place
 Stretch

 Bend

 Twist

 Turn

 Shake

 Suspend
 3rd Element Of Dance-SPACE

The area surrounding a person in which he/she is

able to move.
 Size:

Large/Small/Medium/Wide
 Level: The vertical distance from the floor.

High/Medium/Low
 Con’t SPACE
 Place: The position of the person.
On the spot (personal space), through the
space(general space), Upstage, Downstage etc.

 Direction: Where the body moves.

Forward/Backwards/Sideways/Diagonal/Left/
Right/Zig-zag/Serpentine/Circle
 Con’t SPACE

Shape:
Circles, Squares, Triangles etc. made with parts of
the body, the whole body, with group of people or
by moving through space.
Focus:
Where the dancer’s eyes look when he/she is
dancing
 SPACE

o Size
o Level
o Place
o Direction
o Shape
o Focus
 4TH Element of Dance-TIME

Time: The duration of the movement.

 Beat: The ongoing underlying pulse.
 Tempo: How fast or slow the movement
 Accent: Strong beats that usually occur at
regular intervals.
 Con’t Time

Rhythmic Patterns: Patterns made

by arranging long and short
movements or strong and light
movements.
Duration: The length of time the
movements last.
 TIME

Beat

Tempo
Accent
Rhythmic Patterns
Duration
 5th Element Of Dance-ENERGY

Energy: How sharp, smooth, sadden or

sustained the movement is.
 Improvisation In Dance

Dance improvisation (commonly known as improv)

is the process of creating movement without pre-
planning any steps or choreography. Free
movement is a great way to have fun, relieve any
stress and explore new ways to move and the best
part is there are absolutely no rules!
 Importance Of Improvisation
 Self-expression
 Pushes you out of your comfort zone
 Helps you explore different types of movements
 Improves Musicality
 Help dancers understand what types of movement
patterns suit them and figure out their own unique
style.
 Some Ghanaian Traditional Ensemble

ADOWA
Historical Background:
Adowa is a music and dance type found among the Twi-
speaking people of Ghana.
There are several schools of thought about how Adowa
originated.
a. A hunter on his expedition saw a chimpanzee beating
the chest and it sounded like the graceful movement of
the antelope (adowa in Akan language)
 Con’t Adowa Ensemble
 A queen mother in Asante called Abrewa
Tutuwa, suddenly fell ill and when a deity were
consulted, there was a request for a live antelope
to be used for a sacrificial rite.
Asafo companies was promptly detailed for the
hunt. In attempt to imitate the movements of the
antelope in jubilation, started the adowa dance.
 Con’t Adowa Ensemble

Occasions for Performance:

 Festivals

 Funerals
 State functions

 Weddings
 Con’t Of Adowa

Instrumental Set Up:

1. Adawura - (2) slit bell
2. Torowa - rattle
3. Petia - supporting drums
4. Apentemma - supporting drums
5. Donno - supporting drum
6. Atumpan - master drum
 Con’t Of Adowa Ensemble

Instrumental Set Up:

Adawura Donno(slit bell)

 Con’t Of Adowa Ensemble

Instrumental Set Up:

Adowa drums Torowa

 Con’t Adowa Ensemble

Repertoire:
i. Adowatine
ii. Sere bedi
iii. Abubru din dum
iv. Adampa
v. Asokore Manpong
vi. Tekyiman
vii. Yj Keka no kwa
viii. Akapuma
ix. Akantem
 Con’t Adowa Ensemble

COSTUME
Costume for Adowa dance is in two varied form:
 Consists of two pieces of cloth. One piece is
wrapped around the body from the chest to knee
level. The second piece is worn so that one end of
the cloth is thrown over the left shoulder leaving
the longer end of the cloth hanging behind the
dancer. This is known as Baasankye.
 Con’t Adowa Ensemble

Costume:
 The second method is made up of a piece of
cloth tied around the body from chest to knee
level. Another piece is then folded into a smaller
width and tied around the midriff. The greater
part of the upper torso is exposed and decorated
with precious beads, gold ornaments and clay
design. The ornaments are worn around the head,
elbows and just below the knee.
 Con’t Adowa Ensemble

Costume
 Con’t Adowa Ensemble

Performance Practice:
 Instrumentalist sit in a horseshoe formation with
the singers standing behind them.
 The lead singer begins the performance by
singing an introductory piece in free style
referred to as “aho”.
 The master drummer invites the bell to introduce
the timeline.
 AdCon’towa Ensemble

Performance Practice:
 The other instruments are invited in turns to join
the performance.
 Members of the ensemble or the general public
take turns in the opening dancing arena.
 Baamaaya Ensemble
 Historical Background
 Baamaaya is the most popular recreational dance type
among the inhabitants of Dagbon in the Northern
Ghana. Baamaaya was derieved from two words: baa,
valley and maayaa coolness, which literally means,
“because the rain has come.” The history underscore
the philosophy and culture of the Dagbamba and their
attitude towards women. For centuries women in
Dagbon culture were treated as less human.
 Con’t Baamaaya Ensemble
 Oral tradition has it that, a great famine occurred in
Dagbon due to a severe drought and many of the
inhabitants were dying from hunger. Hunters could go
days without any successful hunt. Upon several
consultations sacrifices, the sabooniba, the rainmaker
revealed that the situation was a result of the way women
were being treated in the society. The men were asked by
the oracle to dress like women and dance in front of their
wives and go through the village as a public humiliation
and atonement for generations of maltreatment of women.
 Con’t Baamaaya Ensemble
 The men danced nonstop for three days. The gods
were touched by the subdued men of Dagbon.
Three days of prayer and performance yielded
continued heavy rainfall for days. When the
valleys, the farms and the land came back to life
with green pastures, rivers and cold weather, the
elders remarked, baamaaya which means “the
valley is cold” or “the valley is wet.”
 Con’t Baamaaya Ensemble
 Occasion for performance:
 Funerals

 Festivals
 Childbirth

 Weddings
 Other social events
 Con’t Baamaaya Ensemble
 Instrumental set up:
 Con’t Baamaaya Ensemble
 Costume:
 Con’t Baamaaya Ensemble
 Costume:
 Con’t Baamaaya Ensemble
Performance practice:
Baamaaya has developed into a ceremony with at least nine
distinct phases:
1. Baamaaya sochendi

2. Baamaaya valiƞa

3. Sikolo

4. Nyaɤboli

5. Kondoliya

6. Darkolikutooko

7. Abalimbee

8. Baaƞa

9. Baamaaya valiƞa
 Con’t Baamaaya Ensemble
 Baamaaya sochendi:
It is a slow procession performed to remind the
dances of the words’ value. They are cautioned to
walk slowly and carefully else they fall.
 Baamaaya valiƞa

The ability of the dancer to initiate his waist

movement from below the knee. This phase
encourages the dancers to make the movements their
own.
 Con’t Baamaaya Ensemble
 Sikolo
This reminds the dagbamba of their painful past.
Nobody was there to support them during their
crisis. They took care of their own problems.
 Nyaɤboli

At this phase, the dancers take a jump forward and

short steps backward. They would take a brief pulse
and then leap forward again. This movement is
symbolic as a moral lesson to teach history and
reflections on life.
 Con’t Baamaaya Ensemble
 Kondoliya
This phase pays special tribute to water as the
sustenance of life as the proverb says, “You do not
throw bad water away if you do not have good water
because you do not know when the next rain will fall.”
 Darkolikutooko

There is always room for comic relief during baamaaya

performance, therefore, this phase is created to laugh at
bachelors who do not farm because of their laziness.
The man without a wife sees no need for a farm.
 Con’t Baamaaya Ensemble
 Abalimbee
The beauty of baamaaya is shown in this phase from the dancers’
perspective. The dancers take the opportunity to show that they
are really enjoying themselves.
 Baaƞa

Songs reflecting their cultural history as a people are performed.

Praise songs are also performed to honor the chiefs, special
guests, and patrons who are present at the performance.
 Baamaaya valiƞa

After the performers are refreshed and final announcements are

made. This phase serves as a processional dance-drumming. This
fast dance-drumming is used as a recession back to the dressing
room.
 Kpanlogo Ensemble

Historical Background:
A musical type performed by the Ga people of
Ghana. It was introduced into the country from
Fernando Po by a Ga fisherman called Lincoln Otu
in the year 1962.
The name Kpanlogo can be divided into two Ga
words: “kpaa” meaning rope and “lcgc” meaning
“tie” or “twist” referring to the activity of
fishermen casting and pulling their net.
 Con’t Kpanlogo Ensemble

Occasions for Performance:

 Out-dooring (Kpodziemo)

 Enstoolment of chiefs

 Durbars

 Festivals (Homowo)

 Funerals

 Puberty Rites

 Marriages
 Con’t Kpanlogo Ensemble

Instrumental Set Up:

 Ngongo single bell (slit bell)
 Ngongonta double bell
 Dodompo castanet
 Shekeshe rattle or maracas
 Pati supporting drum
 Tamalin frame drum
 Atswereshie (2)master drum
 Con’t Kpanlogo Ensemble

Instrumental set up:

Slit bell (Ngongo) Double bell (ngongota)

 Con’t Kpanlogo Ensemble

Instrumental Set Up:

Dodompo (castanet) Shhekeshe (rattle)

 Con’t Kpanlogo Ensemble

instrumental set Up:

Pati Tamalin
 Con’t Kpanlogo Ensemble

Instrumental Set Up:

Atsewereshie
 Con’t Kpanlogo Ensemble

Costume:
There is no specific costume for Kpanlogo
performance. Any decent attire is allowed. A group
may wear a pair of trouser/knicker with short or
long-sleeved shirts for male. The female may put
on skirts just below the knee and blouse for the
female.
 Con’t Kpanlogo Ensemble

Performance practice:
 Every performance starts with libation but not all
groups perform it currently. This is followed by
series of songs in free style by the lead cantor.
 This performance is aimed at informing the gods
and the ancestral spirits of the band to be with
them. It is also to warm the participants. It is
called Osheboo lala.
 Con’t Kpanlogo Ensemble
 The ngongo starts with the timeline. The lead
cantor then invite all to clap to the rhythm. This
referred to as atswade atswade.
 After instruments enter after the chorus with the
master drummer dictating the tempo and the
mood for the performers.
 Agbadza Ensemble
Historical Background:
Agbadza is among the oldest music and dance
type performed by the southeastern Ewe of
Ghana. It is a social dance performed across the
entire sub-region of West African from Nigeria
to Ghana. Agbadza is also described as a
funeral dance-as Adowa is among the Akans of
Ghana.
Agbadza emanated from an older dance ritual
called Atrikpui.
 Con’t Agbadza Ensemble

The ensemble was then used by men to prepare for

was and also to celebrate victory or defeat.
Agbadza is now performed as a recreational dance-
drumming and it is open to all-male, female,
children irrespective of class or religion.
Agbadza is also known among the southern Ewe as:
agbomasikui, akpoka, agba, ageshie and kini.
 Con’t Agbadza Ensemble

Occasions for Performance:

 Festivals

 Funerals
 Visit of State Dignitaries

 Durbar of Chiefs
 Church Service
 Marriage Ceremonies
 Con’t Agdbadza Ensemble

Instrumental Set Up:

 Akpe Handclapping (wooden clappers)
 Gakogui Double bell
 Axatse Rattle
 Kidi Supporting drum
 Kagan Supporting drum
 Sogo Master drum
 Con’t Agbadza Ensemble

Instrumental Set Up:

Akpe Gakogui
 Con’t Agbazda Ensemble
Instrumental Set Up:

Axatse Sogo Kidi Kagan

 Con’t Agbadza Ensemble

Costume:
Costumes used are ordinary dress (awu) and cloth
(avc) women and special knee-high dancing shorts
(atsaka) with a cloth around the waist, for the men.
The men who do not go to the performance with
cloth can easily secure cloths from women who
may want to dance with them.
 Con’t Agbazda Ensemble

Costume:
 Con’t Agbadza Ensemble

Performance Practice:
The ensemble is usually performed in an open space.
The performers sit in semi-circle arrangement or in a
circle.
It is customary for the gakogui and axatse to sit
behind the Sogo, kidi and kagan players.
Performers (men and women) will leave their seats
and perform the dance in the circle arena or outside
depending on the gathering.