Abstract:
Neo-traditional dancing has come a long way since it claimed the spotlight in the 1960s. Right from then, the influence of the proscenium stage and its effects on traditional dance structures and performance has contributed immensely to dance development in Ghana. The Ghana Dance Ensemble as the pioneer of dance experimentation and modern development provided inspiration to other smaller dance groups to continue in that direction. The amateur group’s reinterpretations of the Ghana Dance Ensemble’s choreographies have continued to alter the paradigms of neo-traditional dance concepts and performances for some time now. Largely situated in the capital city of Ghana, Accra, they have become a dominant force in the area of neo-traditional dancing so much that their involvement cannot be overlooked. In this presentation, I concentrate on two (2) amateur groups and their internal politics of power that influences their creativity and performances of neo-traditional dances within the context of appropriation and globalization. By exposition, I will examine how and why the amateur dance category effect changes in dances they have learnt from the traditional settings, the Ghana Dance Ensemble, among the amateur groups themselves, and from outside Ghana with regards to the adaptations to new situations. This will be analyzed through a comparative analysis of the Bawa dance to be able to shed light on the findings. The purpose of this presentation is not to assume the sole responsibility of influencing any changes in the dances as has been done over the years without due regard to concepts of cultural dynamism but rather to become conscious of them.