Abstract:
According to earlier scholars including Nketia (1965) and Opoku (1964), dance education and practice in Ghana emerged as an offshoot of a cultural educational programme that was geared towards inculcating strong sense of discipline and professionalism amongst Ghanaians, to induce collective co-existence and national growth after the attainment of self-rule in 1957. Furthermore, Adinku (1994) recalls Nkrumah’s employment of indigenous dance and arts as a unifying tool amongst citizens during the early periods of Ghana’s post-independence era. Yet, even though dance theatre system in Ghana by the National Dance Company epitomizes growing standards of arts within the continent currently, not much has been seen in terms of dance theatre for sensitization and public advocacy. This thesis gives an account of dance theatre not merely as a means of entertainment, but as a strong tool for communication and discourse. It sheds light on some political concerns that undermine good governance and responsible citizenship in Ghana, and Africa at large. It is a testimony of the power of dance to speak on political issues that are detrimental to sustainable national cohesion and development. Within this thesis, the Asipim1 dance theatrical production, by the prolific choreographer and dance scholar Francis Nii-Yartey2 is employed as case study in ascertaining the value of engaging dance theatre in political discourse, through both primary and secondary sources of data collection.
