Abstract:
This research aims at incorporating some Ghanaian neo-traditional and contemporary dance forms such as Agbadza, Adowa and Apatampa into the liturgy of St. Monica Anglican Church, Accra. While different dance styles resembling Ghanaian traditional dances have penetrated church services, few studies exists to reveal how these dance forms have been fused into church services. I define Ghanaian neo-traditional dances as those removed from their original setting for aesthetic, entertainment and education purposes. This research explores the role of some Ghanaian Neo-traditional dance forms in the Anglican Church using St. Monica Parish as the case study. Some of these above mentioned dance forms have rhythmic patterns that have been integrated into church chord music resulting to the acceptance in the Church. I applied a context base approach to study the culture of the Anglican Church since dance and music serve as tools for communicating with God. This study is based on Kierkegaard‟s theory of existentialism, giving congregants the freedom to express themselves to enhance the worship experience. The research approach is qualitative, employing ethnography as its paradigm. The research resolves the question of the incorporation of Ghanaian Neo-traditional dances into the church. As part of the research, a choreography presentation spoke to the need for integrating movement aspects into the church. Therefore, the research is important as it strives to present Ghanaian Neo-traditional dance style in a positive light, as vital as the survival of indigenous culture and a constructive contribution to an entrenched Ghanaian cultural identity. University of Ghana http://ugspace.ug.edu.gh
