Kykunkor, or the Witch Woman; Darkowaa A-K; Dance 0163; Response 9

This article by Maureen Needham is one that focuses greatly on one of the greatest influences on the introduction of African dance in the U.S.A: Asadata Dafora. In this article however, readers get to know that Dafora introduced African Opera into the United States as well.

From the article, readers are informed that Dafora initially aspired to sing opera, but was instead pursued dance. Being originally from West Africa (Sierra Leone), Dafora was very familiar with his ethnic group's dances and other West African dances as well, because he toured West Africa and studied both music and dance. When Dafora arrived in NYC in 1929, he and many other African dancers, from his ethnic group danced in many theaters and performed dances he choreographed. His well known theatrical production, 'Kykunkor' is one that brought Dafora much fame in the United States.

Many of Dafora's theatrical productions consisted of short skits that merged African dancing and singing, alongside with an engaging storyline. His dances were known to be 'never danced before in America dances' as they dumbfounded American audiences. Dafora and his dancers used a lot of asymmetrical movements, engaging shoulders and upper torso in percussive movements, as they danced to drum beats. The productions consisted of dancers moving in rhythmic synchrony, alongside with conveying messages.

One of his pieces involved a skit which involved a bride, groom, witch and other characters. To effectively convey the good/evil theme of the skit, Dafora's dancers combine West African movements and 'devil dances' as the evil in the skit was conveyed.

Even though many critics debate whether Dafora's productions were actually considered Opera or Ritual Drama, his productions were unique to Americans at the time, and hence he had every right to call his productions what he pleased. Many believed that music was a secondary aspect of his productions and his choice and blend of music being a mix of Methodist hymns with African songs were blasphemious. But nonetheless, Dafora's 'strange' and very engaging theatrical productions have influences a lot of concert dances/productions, like that of the Whitman Sisters and many other intriguing artists.