An African Opera in America

Asadata Dafora signifies a significant movement both within the united States as well as Europe of African Dance within concert and performance. Arriving in New York in late 20’s, Dafora had established himself within significant circles in Europe. Originally in pursuit of a career as an operatic singer, influenced greatly by his mothers music training, Dafora unintentionally stumbled into a career of dance. While dance and music have inextricable linkages as artistic language, particularly within African and Africanist dance forms, Dafora expressed a committed independent interest in tribal and native dance forms throughout siere leone and west Africa. Bringing this understanding and interest into his artistry, he ability to translate his understanding of music was evident in his imitations and creations of these dance forms.
Upon his arrival in the united states, Dafora is able to navigate his way into the dancing forefront as an new perspective within the world of black dance. In the titled and signature work work, Kykunkor, also known as Witch Woman gained significant recognition.. Many of the characteristics visible within the africanist aesthetic, discussed extensively within Gotschild’s Black Dancing Body, are described, such as the use of asymmetry, polyphonic and polyrhythym as well as angled postures are evident within his choreography.
The response to his presentation was astoundingly . During a period marked by dramatic changes within African American artictic forms such as dance, literature and music, it seems that Dafora’s presence complimented much of this movement, and was perhaps a beneficiary of an already established movement. Within new York, by the early thirties, the great depression as well as the Harlem renaissance have taken a front stage within the cultural landscape, and arguably play a significant role in Dafora’s success. While these movements seems to provide assistance within Dafora’s success, surrounding sentiments around the black aesthetic and respective Victorian racialized and inferiorized notions undermined the genius Dafora was introducing to the American audience, often considered “highbrowed.” This suggestion of “elitism”, while not surprising, is thoroughly frustrating in the emergence of authentic cultural expression.