Darkowaa A-K; African Dance in New York City; Response 8

I think this article is one of the best we encountered in class so far. I love how we are finally being introduced to the different African countries that contributed to what is now modern dance, through what we call 'traditional African dance'. Now, instead of generalizing 'West African dance' or 'East African dance' forms and not knowing exactly where in West Africa or East Africa these dance forms originated, readers are aware of some of the leading countries: Nigeria, Liberia, Sierra Leone, Guinea, Ghana, Kenya.

It was great to know some of the African pioneers of African dance being introduced in America, particularly in New York in the early 1920's and 1930's. Asadata Dafora seemed to be the most influential artist from Sierra Leone. He taught several dance and drum artist including Katherine Dunham and Pearl Primus and also founded Shogola Oloba. Many of the drummers and dancers he trained, have either formed their own companies or excelled artistically through his training. Tonyea Masequoi, another pioneer from Liberia was also a huge influence as he introduced African dance into college setting in America, particularly Hampton Institute. He and the great Dafora also performed together at New York's World Fair.

In the 1950's to the 1990's, it was amazing to know how influential the Black Power Movement was in African American Dance. The Black Power Movement stood for self-reliance and black pride. Hence, this movement allowed Black youth to search their self-discovery in music and dance of their motherland, Africa. I never knew that African dances were the pivot of political events, college courses and the like. Music by Guy Warren, Chief Bey, Olatunji and African (Akan) culture and religion (in community center, created by Nana Yao Opare Dinizulu) were all taught and appreciated in the United States during this vibrant Civil Rights era.

Its inspiring to know that nowadays, artists like Chuck Davis and Doris Green are dedicated and focused on educating others on African (concert) dance and music. The article explains that besides New York, there are other dance companies that teach African dance, like Chicago, Milwaukee and North Carolina- spreading African dance traditions and African music influences on modern dance.

Despite the brief mention on the poverty and/or financial issues the artists' companies faced, due to the struggles of the dance industry, the artists were nonetheless dedicated to sharing their knowledge, experience and talent of African dance and music. This article was truly inspiring and insightful and created a defined circle of the history of African/African American dance in the United States.