Adzesaw: A Contemporary Dance Choreography Based on Adzewa Dance Movements

Abstract

Ghana is gifted with numerous traditional dance forms but unfortunately many of such dance forms are endangered. Some of such dance forms are totally out of the traditional setting or its participation is limited to the aged. The youth who are the transporters of traditional to the future generation, do not take interest in the participation in those traditional dance forms. The reason, I believe, lays in the artistic and aesthetic nature of the dance forms. To rejuvenate these endangered dances for participation of all regardless of age, religious affiliation and social status, one of the main instruments to use to achieve that purpose is choreography. This thesis discusses a contemporary dance choreography Adzesaw, which takes inspiration from Adzewa, a predominantly female music and dance ensemble found among the Fantes along the coast of the Central Region of Ghana. The study critically examines all activities undertaken in the process of choregraphing the dance. These included pre-production, production and post-production stages and the theatrical elements applied. The study further outlines the daily activities of the two Asafo Companies of Winneba during their annual Aboakyer festival. The study employs qualitative research design in its execution and interviews and participant observation as data collection instruments. Data was analyzed through the use of transcription, coding, theme development and interpretation of data. The study engages three concepts as framework. Creative Thinking model as propounded by Webster (1990), ethnography and gender as a guideline for the dance choreography. The study reveals that conversion to Christianity has led to the reduced participation of the youth and some folks in the central coastal of Ghana in Adzewa performance. The prohibition of Christians in participating is linked to the practice of performing libation which is associated with pagan or devil worship. It is worth noting that some churches in Winneba and Apam, who found their members engaging in traditional activities in the community, suspended or placed extreme restrictions on their participation in church services. It is therefore recommended that knowledge and performance of traditional ritual dance be revitalized and integrated into the curriculum of higher learning at specialized institutions. Enhancing capacities to teach such dances and performances within institutions such as the School of Performing Arts at the University of Ghana, Centre for Cultural and African Studies at the Kwame Nkrumah University of Science and Technology, Kumasi, the Department of Music and Dance and the Department of Film and Theatre Studies at the University of Cape Coast, as well as the Department of Theatre Arts and the Department of Music at the University of Education, Winneba, through invitations to traditional performers will be a first step to reviving long lost traditional dance forms and performances. Additionally, new dance repertoires could be added to ensure the sustainability and continuity of Ghanaian traditional dance.