Performance aesthetics of the Klama dance of Gbugbla (Prampram), Ghana

Abstract

The purpose of this thesis is to explore the performance aesthetics of Klama as a movement system of the Dangme people of Gbugbla (Prampram). I observe that Klama as a movement system, integrates the core manifestations of Klama (music, dance, medicine/healing and performance) into a complete epistemological system for the purpose of enculturation, entertainment and revival of the culture. As a body of knowledge, Klama has embedded within it philosophical, socio-political, religious and aesthetic dimensions. Klama is also believed to reflect the cosmic structural composition here in the temporal world. Therefore, when mediums begin to manifest their tutelary spirits and commence their dance in the temporal world, it is indeed the cosmic beings who are performing themselves into being through music, dance, and ritual drama. Through ethnographic participant observation and interviews, I discovered that Klama connotes four thematic conceptual frames. These are Klama as Baa/Tsupa (herbal medicine/healing), Lami (songs), Doo (dance) and Fiԑmi (performance). To this end, a combination of three theoretical perspectives has been used to analyze this work. Drewal’s performance perspective of repetition as a form of engendering creativity has been the main theoretical framework used to explain the performance processes and conventions. Gyekye’s aesthetic perspective that explains that beyond the functional and symbolic roles of African art forms, they can be contemplated upon from the purely aesthetic viewpoint has been used to explore the aesthetic sensibilities of the Dangmes of Gbugbla. Finally, Peirce’s semiotic theory enables us to understand the diverse meanings employed in the usage of props, costumes, make-up and body adornments.