Course Description:
This African Diaspora dance technique Introduces students to African Level I
knowledge of movement, rhythms and cultural context of selected dance
traditions from the African Diaspora. The course will provide an active
dancing experience with live West African drum accompaniment, and student
opportunities to drum. In accordance with common West African traditions,
students will participate in full community engagement with their classmates
and learn the cultural context of each dance and rhythm studied. The survey
includes a focus on Kpanlogo drum and dance tradition from Ghana, and
Kuku (Cou Cou) drum and dance traditions from Guinea.
Kpanlogo
“Kpanlogo is a relatively new type of music and dance form created by Ga
youths in the 1960s. Kpanlogo originated as a dance before a drum beat was
created accompany the dance form. Like the Azonto, this is an example of
how Ga youths use traditional art forms to create more modern art forms. In
the case of Kpanlogo this Dance from came from Oge and Gome combined
with Highlife and even rock ‘n’ roll influences. Kpanlogo at the time was
resisted by the elders but now forms a popular dance form worldwide.
The name ‘Kpanlogo’ originated from a story Otoo Lincolns grandfather told
him when he was a child. His friends Okulay Foes and Ayitey sugar then
developed a drumbeat to accompany it. The Kpanlogo beat usually uses
three drums and the lead drummer solos against the rhythm created.
Kpanlogo also uses the Gome, Rattles, and Gourd shakers but the kpanlogo
drum is always the central piece. As with much of our music there is a Call
and response pattern with the main drummer.”
Source: https://thegadangme.com/kpanlogo/
Kuku (2 Rhythms)
“Kuku is a rhythm from the Susu ethnic group in the forest region of Guinea
around the city of Beyla (Not far from the Ivory-coast border). It is one of
the most popular west African rhythms. In Guinea, it is played in many
different celebration occasions, and at very different speed, depending on
the region. It was originally played without Doundoumba/Sangban/Kenkeni
for women to dance when returning from fishing.”
Source: wpsu.psu.edu - Roots of Life Intro to West African Dance
This African Diaspora dance technique Introduces students to African Level I
knowledge of movement, rhythms and cultural context of selected dance
traditions from the African Diaspora. The course will provide an active
dancing experience with live West African drum accompaniment, and student
opportunities to drum. In accordance with common West African traditions,
students will participate in full community engagement with their classmates
and learn the cultural context of each dance and rhythm studied. The survey
includes a focus on Kpanlogo drum and dance tradition from Ghana, and
Kuku (Cou Cou) drum and dance traditions from Guinea.
Kpanlogo
“Kpanlogo is a relatively new type of music and dance form created by Ga
youths in the 1960s. Kpanlogo originated as a dance before a drum beat was
created accompany the dance form. Like the Azonto, this is an example of
how Ga youths use traditional art forms to create more modern art forms. In
the case of Kpanlogo this Dance from came from Oge and Gome combined
with Highlife and even rock ‘n’ roll influences. Kpanlogo at the time was
resisted by the elders but now forms a popular dance form worldwide.
The name ‘Kpanlogo’ originated from a story Otoo Lincolns grandfather told
him when he was a child. His friends Okulay Foes and Ayitey sugar then
developed a drumbeat to accompany it. The Kpanlogo beat usually uses
three drums and the lead drummer solos against the rhythm created.
Kpanlogo also uses the Gome, Rattles, and Gourd shakers but the kpanlogo
drum is always the central piece. As with much of our music there is a Call
and response pattern with the main drummer.”
Source: https://thegadangme.com/kpanlogo/
Kuku (2 Rhythms)
“Kuku is a rhythm from the Susu ethnic group in the forest region of Guinea
around the city of Beyla (Not far from the Ivory-coast border). It is one of
the most popular west African rhythms. In Guinea, it is played in many
different celebration occasions, and at very different speed, depending on
the region. It was originally played without Doundoumba/Sangban/Kenkeni
for women to dance when returning from fishing.”
Source: wpsu.psu.edu - Roots of Life Intro to West African Dance
- Teacher: Jeannine Osayande
- Teacher: Wesley Rast