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Dances performed for public is a modern phenomenon in Africa. In villages, it`s open for everyone to dance and express themselves through their movements. Some dances are ritual and could be about mythology, hunting, sowing, harvesting, war and different animals. In the modern societies (cities), the rituals has lost it`s meaning and it is therefore important to perform the dances in different form to make the public assimilate with it.


A playful modern dance which enables you a free space for improvisation. The movement of the body symbolises a conversation in the form of gestures.
This dance is from the southern part of Ghana

This dance begins with an attractive sound of a flute and a solo singing by the leader in the dance for the followers to respond. It is a hunting dance performed by the people in the northern part of Ghana for the memory of fallen heroes and kings.

This is also called the “Money dance” simply because it was only performed by the wealthy who display their wealth in the form of jewels and clothes. This dance is popular among the Ewe tribe in Ghana.

This is a creative dance by expose dance and music ensemble, it is a dance piece which is presented by different drumming with a djembe rhythm.

A dance of the Ashanti people of Ghana. This dance is especially noted for the grace and complexity of the dancers movements. The drumming is also noted for the complexity of the interlocking rhythms and two atumpan drums which are used as the lead master drum. Adowa is performed at festivals and social gatherings.

The traditional dance of the Ewe tribe of Ghana. It is characterised by the graceful choreograph of a couple seasoned with the rhythmic movement of the arms, the waist and the feet in perfect synchrony. Agbadza is traditionally war dance but is now used in social and recreation situations to celebrate peace. War dances are sometimes used as military training exercises, with the signals from the lead drum ordering the warriors to move ahead, to the right, go down, etc. these dances also helped in preparing the warriors for battle and upon their deeds in battle through their movements in the dance.

Much has been written about the politics of performance in Africa, usually addressing theatre, and usually from the perspective of occident. The focus of Africa (and its contemporary dance practices) is highly welcome and overdue, for discussion about this art form is often omitted or devalued within the critical literature. The text represents a unique account of critical reflection of both theory and practice that blends both personal experience and testimony with politics and cultural analysis. The review addresses conceptual issues, representational practices and some shortcoming of an important volume on African contemporary dance.