DANCE DRAMA (Selected Pieces)
Nsrabo (Drill) – Emmanuel Ampofo Duodu
This short piece is a lighthearted army drill which calls on the youth to be prepared to defend their nation at any time. It was inspired by the dominance of the military in public life between the early 1970s and 1990s.
Kusum Gboo – Dr. Benjamin Obido Ayettey
Kusum Gboo, (The Traditional Goes On) is a dance drama through which the choreographer, Obido Ayettey seeks to interpret his experience of the Ga religion, social and performance culture. He does so by portraying a young couple who seek assistance from the gods for child. They are granted their request but do not subsequently show the necessary gratitude.
Blanza - Dr. Benjamin Obido Ayettey
This is an energetic choreographed piece by men and women. The strong beats of the Dundun drum provide the core rhythmic force to this neo-African piece. The name “Blanza” is the creation of the choreographer, Obido Ayettey.
The Legend of Okoryoo
This piece by Nii Yartey (1991) takes a plunge into contemporary African dance and blends dance, theatre and poetry, enacting a Pan African version of universal spiritual story of creation. The legend of Okoryoo uses sound in a unique manner, going beyond regular patterns to the depiction of atmospheric cosmic elements and human moods.
The King’s Dilemma
Nii Yartey’s 1978 piece is built around dances of Northern Ghana. Set in the imaginary kingdom of Nyindongo, it is based on a Dagomba legend portraying a king of little wisdom whose foolishness leads to a grave injury to an innocent warrior. The women of the kingdom play a major role in restoring justice.
Lamentations for Freedom Fighters Sohu, Husago, and Atsia – Prof. A. M. Opoku
Sohu and Husago are Yeve cult dances. The Yeve have a secret language of their own which, together with their beautiful and stimulating dances, they teach to converts during initiation. In this repertoire, the Husago and Atsia are used to lament for departed heroes. In its original form the Husago is a special funeral dance for the ancestral priests. In the present arrangement, the slow, sad Husago theme sounded by voices and drums creates a mood of sadness and loss. Atsia follows as a second movement to show the defiance, fighting spirit, courage and strength of the heroes and the knowledge that they will continue to fight as invisible hosts in the other world. This piece is the first dance-theatre production in Ghana and was choreographed by Mawere Opoku in 1965.
Ajenuloo (Riddles 2019) May 2019 - Choreographed by Dr. Aristedes Narh Hargoe)
Synopsis Of Ajenuloo
Ajenuloo, a Ga word for Riddles, concerns itself with creativity, witticism, and high sense of intelligence needed to unravel coded messages captured in short phrases meant to intrigue the mind. This dance piece, Ajenuloo, bodily narrates the unexplainable acts embedded within our varied art forms. These myriad art forms speak to the multi dimensionalities of our cultures and the complexities it evokes as part of the aesthetics of the Ghanaian or African art forms. The piece also echoes fond childhood memories/play activities like games, riddles etc. that seem to be losing grounds to new media technology. This is captured through the medium of performance art forms - music, dance, drama and poetry. Ajenuloo, finally, takes us on a journey to unearth hidden messages that cannot be easily communicated in words but only through the senses. The meanings that are gleaned from this piece is dependent on the individual’s sensitivity and his/her connection with the piece.
Aze Yilo? (Is it Witchcraft?) March 2022 – Choreographed by Dr. Aristedes Narh Hargoe
Synopsis Of Aze Yilo?
Aze yilo? This is a Dangme phrase that mean, Is it the Witchcraft? This dance installation is set in an imaginary multi-ethnic community who, after a period, set out on a reflexive journey into their past to inquire, what is required of them as citizens of their community? In answering this question, they reflect on their daily realities and compare them to their contemporaries in other communities who have turned out better. They, therefore, ask who is to blame, the Aze (witch) or themselves?