Adowa:
Music and dance originated among Akan people of southern Ghana. It was mainly performed on funeral occasions. In the present days, Adowa is also performed during social events, such as, festivals, weddings, political rallies, speeches and prize day celebrations in schools, theatres and contemporary settings. The dance is characterized by graceful rhythmic movement of the body; various part of the body pick up certain movements which together blend in harmony. It uses specific movements and gestures to communicate essential cultural values.
Adzogbo:
Originated among the Fon-Ewe of Dahume, now called the Republic of Benin during the 17th century, and spread along the southern part of Togo and the Volta Region of Ghana. It was a sacred dance through which the divinity Adzohu would reveal to the community any impending battles and ways through which the people could emerge victorious. Such revelations are expressed through appropriate choreographic patterns and form part of the repertoire of Adzogbo. In the present days, Adzogbo is performed during festivals, social events in communities, schools, theatres and contemporary settings as a form of artistic and cultural presentation.
Agbadza:
Is one of the oldest Ewe music and dance forms which evolved from and older (military dance) called Atrikpui. The Akpoka, Ageshe and Agbadza Reggae are some of the sub-styles of Agbadza. It is popular among the Ewe of West Africa and is performed mostly at funeral, festivals and many social gatherings.
Atsyia:
Means style in Ewegbe (Ewe language). Atsyia music and dance is performed by Ewe women of Ghana and Togo. The performance provides a forum for Ewe women to express their social relations, feelings, love for performance and aesthetic values. Our arrangement draws mainly from the Togo version of Atsyia.
Agbekor or Atsyiagbekor
Is one of the oldest music and dance forms of the Eweawo of Southern Ghana, Togo, and Benin. The word, agbe, means life and kor, means clean, clear, or social norms or ethics. The name, Agbekor, implies life is clean, or clear or social norms/ethics. The performance was also called Atamga, meaning great-oath, thus referring to the highest oath of solidarity and patriotism sworn by the Eweawo during their historical process. The name, Atsyia–gbekor, or stylized Agbekor is the modern name, which refers to the stylization of life experiences. In essence, the performance reflects the trekking of the Ewe through places in search of new settlement, their sufferings and hardships, military, socio-cultural and occupational experiences, stylistic expressions, as well as curricular and extra curricular activities in contemporary educational institutions. It is now performed in many Ewe communities, schools and theatres and in contemporary settings during festivals, and other social events.
Bambaya:
Originated among the Dagbamba/Dagbani people of northern Ghana in the context of the rains that eluded them for months. When the God Tingbana finally answered the dancers’ prayer with a heavy down pour, the people jubilated, Bambaya, Bambaya, meaning the valley has become wet. Bambaya is usually performed after harvest to give thanks to God, the giver of rains and life. These days, Bambaya is also performed in other communities of Ghana, theatres and contemporary settings during festivals and many social and educational events.
Bawaa or Bewa:
Is performed by the Dagarti, (Dagaare speaking people) of the Upper west Region of Ghana to celebrate the beginning and end of the rainy season, good harvest, New Year, to offer gratitude to God and appeal to him/her for future yields. These days, Bawa is also performed in schools, communities, and contemporary arts institutions of Ghana.
Gahu:
A social dance and music which originated among the Ewe of Egun state of western Nigeria. It is usually performed by the Ewe youth of West Africa to dramatize their social relations and display their artistry, beauty and richness of their costumes. In the present days, the dance is also performed and taught in many Ghanaian communities, schools, theatres and contemporary settings.
Gota:
Is a social music and dance, originally performed in the Republic of Benin. It is now performed by the Ewe-youth of Ghana, Togo and Benin to dramatize their household chores, cleanliness, social relations and occupational activities.
Gyile:
West African Xylophone (arranged by Modesto Amegago). Gyile is one of the main instruments found among the Lobi-Dagarti and Sisala of northern Ghana. Variants of this instrument are found in Mali, Senegal, Guinea and Ivory Coast. Gyile is used to announce funerals and other social events, provide distinct music and music for dance. Gyile is now performed and taught in some Ghanaian and West African communities, institutions and contemporary settings.
Kete:
A Royal dance and music of the Akan of southern Ghana performed mostly in the palaces of the Asante king and chiefs for entertainment, cultural presentation and education.
Kpanlogo:
Music and dance is said to have originated from Otto Lincoln in the 1950s within the context of socialization and recreation. Kpanlogo is usually performed by the Ga-youth to express their own creativity, topical and occupational themes along the coastal areas of Ghana. In the present days, Kpanlogo is performed in other communities, and institutions of Ghana and contemporary settings.
Kpatsa:
Kpatsa music and dance originated among the Ga-Adangme of southern Ghana. The performance provides an avenue for the youth to socialize, express their values and entertain themselves. The dance is characterized by sideways and forward shuffling of the feet , involving the use of short, brisk steps with the body slightly bent. Kpatsa is also taught and performed in some Ghanaian arts institutions and contemporary settings
Tokoe:
Is performed among the Ga-Adangme and the Ewe in the Tongu area of southern Ghana during initiation or puberty along with the learning of the activities of motherhood. The dance movements appear to be simple but stylish, and present the newly eligible girls to the community. Currently, Tokoe is also performed by some Ghanaian-African performing groups in Ghana and in contemporary settings.
