The ensemble specializes in a broad spectrum of musical styles ranging from work-based dances to ritualistic ones representative of East, West, Central and Southern Africa. Through hard work, dedication, research and training, the ensemble now boasts of a large repertoire of traditional dances from: Côte d’Ivoire, Ghana, Senegal, Guinea, Togo, Nigeria, Uganda, Benin, Kenya, Tanzania and Zimbabwe. In addition, the ensemble has created new contemporary dances and instrumental works such as: Creole African, Totobli Metrov #1, Three Movement Suite for Pan-African Chamber Orchestra, Totobli, Polyrhythms, Coexistence, RhythmKeepers, etc.

Dances from West Africa: Benin, Côte d’Ivoire, Ghana, Guinea, Senegal, Togo, etc.


A social dance-drumming ceremony of the Agni ethnic group from Côte d’Ivoire, West Africa.


Agbadza is among the oldest musical types performed by the Southern Ewe of Ghana, Togo, Benin, and parts of Southwestern Nigeria. Agbadza is derived from an older war dance known as Atrikpui. As a social and recreational music and dance, its performance is open to everybody in the community, irrespective of class, age, sex, and religion. There are other varieties of this musical type that have different names: Kini, Akpoka, Ageshie, and Agba-- tempo being the main distinguishing factor among these varieties. There are five sections or movements in Agbadza performance: 1. Banyinyi- a short introductory piece that is performed as a prayer to the gods and the ancestors, 2. Vutsotso- the main dance section, 3. Adzo- a less-vigorous dance section, during which only the master drum, Sogo, accompanied by Gakogui and Axatse are used, 4. Hatsatsa- song cycle, during which topical, historical, philosophical, and reflective songs are performed accompanied by Gakogui and Atoke, 5. Vutsotso- another round of the main dance section, which may last for several hours.

Agbaei is another social music and dance of the Krobo of Ghana. It is flirtatious in nature. Oral history has it that Agbaei was founded when the elders of the Krobo land in their early days of settlement realized that the youth were having problems with "Dating." The young men and women were therefore compelled to participate in this music and dance so that they can gather some tips to help them in real life situations.

Adowa is by far the most widespread and frequently performed social dance of the Akan people of Ghana. The Akan are located in Ashanti, Brong Ahafo, Eastern, Central and parts of the Volta Regions of Ghana. It is best described in Akan musical traditions as a women's dance because they dominate the performance. The few men that are seen during any performance handle the musical instruments. This dance is mostly performed at funerals, but can also be seen at yearly festivals, visits of important dignitaries, and other celebrations.


Adzogbo originated from Benin (Dahomey) as a Dzovu (spiritual/religious) music and dance). It was called Dzovu, in that during any performance, the men participants would display their dzoka (juju/charms) especially the so-called "love charms” to seduce women. When this music was brought to Togo and later Ghana in the late 19th century, its function changed. The southeastern Ewe of Ghana now performs it for entertainment during festivals and other social occasions. The women's’ section or phase of the dance is called Kadodo.


AAlangey was originally a ritual dance of the Nanumba of Northern Ghana. It is presently performed as a social dance among the various ethnic groups of Dagbon predominantly the Dagbamba.


Atsiagbekor is among the oldest traditional dances of the Ewe-speaking people of Southern Ghana, Togo, and Benin. Originally a war dance performed after battle when the warriors returned to the village, it is now performed on many social occasions. One of the outstanding features of the dance is the interaction between the master drummer and the dancers: ‘every rhythmic theme played on the master drum has a corresponding sequence of dance movements which is timed to precisely match the drum rhythms" (Locke, 1978). Atsiagbekor songs constitute an important heritage of Ewe oral tradition. Most of the songs contain historical references to their chiefs, war leaders, migration stories, themes relating to the invincibility of the Ewes against their enemies, themes of loyalty, bravery, and death etc. To watch an Atsiagbekor performance today in Ghana is to watch scenes, which may have their actual origins in battles that were fought as the Ewes trekked through hostile countries in search of peace.


Atsokla is one of the movements of Adzogbo music and dance ceremony. Adzogbo originated from Benin as a dzohu (spiritual/religious music and dance). It was then called adzohu, in that during any performance, the men participants/dancers (leshiwo) would display their dzoka (juju/charms) especially the so-called “love charms” to seduce women. When this music was brought to Togo and later Ghana in the late 19th century, its function changed. The southeastern Ewe of Ghana, Togo and Benin now perform it for entertainment during festivals and other social occasions. There are five stages of Adzogbo dance ceremony: Gbefadede (announcement), Adzokpadede (warm up), Tsifofodi (purification rites), atsokla/kadodo (dance for the women) and atsia (main theatrical display of drama, dance and virtuosity of dance skills by men). This presentation features only atsokla, a “show off” dance for women. Mirrors and other props are used to tease, show or bluff during the performance.


AAsaadua was once a popular recreation musical type among the Akan people of Ghana. Its performance is now limited to some few communities in Ashanti and Brong Ahafo regions. Like other popular entertainment music, which evolves from the ingenuity of some veteran traditional musicians, Asaadua started as a youth recreational music for the men of the Akan tradition.


Babasiko is a recreational music and dance of the Southeastern Anlo Ewe of Ghana, performed mostly at social gatherings; festivals and funerals. Babasiko is flirtatious in character. Its characteristic form is the strutting and bobbing up and down and a display of theatrical elegance. The dancers portray courtship through movements of the arms, eyes and total facial expression. Proposals of intimacy can be seen accepted or rejected through bodily gestures.


Bademalor is a woman's dance drumming from the Mahouka ethnic group.  This dance is performed at night after a hard day’s work or at weddings and other social gatherings


Baamaaya, meaning "The river (valley) is wet", is the most popular social music and dance (recreational dance-drumming) among the inhabitants of Dagbon` of Northern Ghana. The history of this classic dance which started as a religious musical performance underscores the philosophy and culture of the Dagbamba/Dagomba towards women. Baamaaya now functions during funerals, festivals, and national day celebrations. From a processional dance-drumming that started slow and changed to fast tempo, Baamaaya has developed into a ceremony with at least nine distinct phases including Baamaaya Sochendi,, Sikolo, Kondoliya, Dakolikutooko, Abalimbee and others. Each of the phases has unique set of dance routines, movements and choreography. Instruments used include Gungon (a) master drum (s) - double headed cylindrical drum), Lunna (si), supporting drum(s) - hourglass shaped drums, Siyalim- container rattles and Wia- notched flute.


Bata is a traditionally distinct ritual form of expression for Shango, the Yoruba Deity of Thunder and Lightning. Bata music and dance, mainly attached to this deity, play an essential part in the ritual process of the worship. It serves as an important communication link between the deity and the devotees. In Bata performances, the characteristics of Shango are exhibited in the fast and rigorous movements.

Bewa (Bawaa)

Baamaaya, meaning, "The river (valley) is wet", is the most popular social music and dance of the Dagbamba of Northern Ghana. It began as a religious musical performance, but now functions during funerals, festivals, national day celebrations, and other social occasions. Dancing the Baamaaya requires a lot of waist movement and twisting. The maiden name for this music and dance, Tubankpeli, is now the main dance movement. Originally, only men took part in the dance while the women would sing, shout praises, and encourage the dancers. Now, Baamaaya is for both genders.


The joy on achieving Independence in Ghana was expressed in various ways by the entire populace of the country. This "new life" envisaged, resulted in the emergence of several new musical types. These new creations relating to the "freedom" to be enjoyed through the said independence have roots in the popular Ghanaian Highlife. Boboobo is one of such musical creations of the period 1947 - 1957. Also known as Agbeyeye or Akpese; Boboobo originated from Kpando in the Volta Region of Ghana through the ingenuity of the late Francis Cudjoe Nuatro popularly called F.C. Boboobo is presently the most popular social music and dance of the central and northern Ewes of Ghana and Togo. It is generally performed at funerals and other social occasions. Boboobo music and dance ceremony is syncretic in character and it is performed principally in a circular formation.


Boloye is a sacred mask dance-drumming of the Senoufo ethnic group from the northern part of Côte d’Ivoire. Boloye appears in festivities marking the end initiation rites for boys and girls. Today, because of its popularity, some aspects of the dance are allowed in various social ceremonies. The name, “Panthers Mask” is now associated with Boloye because of the acrobat movements and costumes imitating panthers.

Djeme Don

Djeme Don is a social dance drumming of Odienné from the northwestern Mande region of Côte d’Ivoire. This is one of the original dances associated with the jembe drum. It is presently performed at weddings, festivals and other social gatherings.


A traditional ceremonial welcome performance from the Wassolon region of Guinea. Fankani also is performed at the feast of Tabaski, a full moon festival and other social occasions.

Fume Fume

Fume Fume is the most recent of all Ga recreational musical types. Tetteh Addy the eldest brother of the Mustapha Tettey Addy, Yakubu Addy and Obo Addy all master drummers from Avenor, in Accra, Ghana created this musical type in the late 1970s. Although a recreational dance drumming type, almost all the dance movements and instrumental rhythmic patterns used in Fume Fume performance are derived from traditional Ga religious dances such as Kple, Akom, Otu, Nana, Tigare, etc. Fume fume is presently performed at life-cycle events, festivals, political rallies and other social events.


Fontomfrom or Bomaa is the most complex of all musical types of the Akan of Ghana. It is a series of warrior dances that are performed in religious, ceremonial and social contexts at the courts of chiefs.


Gadzo is a war-dance drama of the southeastern Anlo Ewe of Ghana, which came from Notsie in the Republic of Togo. Originally, this music and dance was performed after wars so that the warriors could reenact battle scenes for those at home. Presently, Gadzo is performed during ancestral stool festivals, Zikpuiza, state festival Hogbetsotso, funerals of important chiefs and members of the group, and by professional and amateur groups for entertainment.


Gahu music and dance ceremony emanated from the musical traditions associated with marriage rites of the Yoruba people of southwestern Nigeria, precisely, Badagri. It is now a recreational music performed in some southeastern Ewe communities in Ghana, Togo and Benin on occasions such as marriage and wedding ceremonies, festivals, funerals and other social occasions. Gahu dance ceremony is organized in four main movements or sections: ayodede/ayoo (greetings and prayers to the ancestors), two vutsotso (main fast dance drumming), interspersed with hatsiatsia (songs accompanied by bells and rattles with limited dramatic dance movements).


Gota originated from the Kabre tribe of Benin, and was introduced to the Southeastern Ewe in the early nineteenth century through trade. Originally performed in Benin for their war god, Gota is now performed as a recreational music and dance by the Southern Ewe people.


Gome is one of the oldest musical types performed by the coastal Ga of Ghana, which was introduced by Accra fishermen from the Fernando Po Islands in the early eighteenth century. Originally, Gome was performed exclusively by fishermen after their expeditions to celebrate their catch. Other occupational groups, especially artisans, also eventually adopted this music and dance as a form of entertainment. Presently, Gome is performed by all categories of people-- young and old, male and female, on all social occasions.


Gue-Pelou, the tall mask, is seen at every celebration in any Mahouka village. The mask serves as the mediator between the world of the living and the spiritual world of the ancestors.


Gyewani, recreational music and dance is performed by the people of Nyamebekyere in the Akwapim Traditional Area of the Eastern Region of Ghana. It was one Christmas day when some young boys in the village went to the bamboo groove (which was situated near a river) to cut some bamboo stalks for their annual traditional fireworks. During the process of cutting, a piece of the bamboo stalk fell into the river. After retrieving this piece of bamboo from the river, one of the boys struck it against a near by rock. The “melodious” sound from this bamboo stem came as a surprise to all the boys. Instead of the fireworks, they cut the bamboo to various lengths, which they then used in making music. This gave birth to the Gyewani Bamboo music and dance. This type of music is also found in most forest areas of Ghana.


Husago is one of the phases/movements in Yeve ritual performance. Yeve (also known as Xebieso, Hú or Tohono) is a thunder God, a pantheon with historical relations to the Yoruba Shango and Xevioso of Benin. The cult is one of the most "powerful" and most secretive among others that exists in West Africa. Yeve musical repertoire usually involves at least seven or at most nine dance forms. Husago was the dance used by the Southeastern Anlo-Ewe of Ghana during their migration from Notsie in the Republic of Togo to their present settlements.

Jera (Jara)

Jera was originally a religious music and dance of the Kparibas in Dagbon, performed before and after hunting expeditions. It is now performed by most Dagbamba villages in Northern Ghana on diverse social occasions: festivals, funerals, and for recreation after a hard day's work. The religious costume is however retained.


Kete is commonly found in the royal courts of traditional Akan communities. It is performed in the courts of every chief whose status entitles him to be carried in a palanquin. The music therefore can be heard on state occasions and festivals. There are three parts of the performance: Drum music, pipe interludes, and vocal counterpart of the pipe tunes. At least, eight pieces are played during a performance. These pieces are identified by the general name for the type of drumming and dancing, by name of its usual context, function or general character, by name commemorative of an event, or by name indicative of the participants. Adaban also called Topre is used when the chief has to perform the ceremonial "shooting dance". Apente is used mostly for processions.


Kpanlongo is the most recent of all Ga recreational dance drumming musical types, an offshoot of “Gome, Oge, Kolomashie, and Konkoma.” Kpanlongo emerged during the wake of Ghana’s Independence as a dance-drumming musical type for entertainment in Accra mostly for the youth. This music is therefore described as, “the dance of the youth”. Kpanlongo is presently performed at various social and political events in Ghana.


A social dance-drumming ceremony from Conakry, Guinea.


Kpatsa is the principal traditional entertainment music and dance of the Dangme of Ghana, in West Africa. The dance itself involves sideways and forward shuffling movements, making use of short, brisk steps with the body slightly bent. The dance steps move the dancer either diagonally or backwards. With arms bent in front of the body, the right leg steps in concert with the movement of the right arm while the left leg steps at the same time as the left arm; while one foot remains flat on the ground, the heel of the other foot is lifted off the ground.


Klama music and dance is associated with puberty rites of the Krobo of Ghana. The celebration of this music and dance highlights the "outdooring” of girls who have undergone intensive tutoring in mother craft. Klama is now performed on various social occasions.


Kinatsu is a warriors/hunters dance of the Konkonba tribe of Northern Ghana. Although it began as a warriors/hunters musical performance, it now functions as a harvest dance during funerals, festivals, national day celebrations, and other social occasions.


Kundum music and dance, which is performed as part of the annual Kundum festival of the Ahanta and Nzema people of Ghana originated in a situation of famine and hunger around 1700. Although traditionally a harvest music and dance, Kundum can now be seen on all social occasions. Kundum is performed in 2/3 sections: The first is domo, a slow movement, in which dancers evoke beauty, majesty and gracefulness with stately postures of tilted bodies. The second section ewulalå (literally meaning "pumping") inspires fast and masculine movements. The third section edudule consists of vigorous torso-to-torso movements, strutting movements of the body. The act of "plucking" in the fields is dramatized in the Kundum dance.


A dance performed by the Kasena Nankeni people of Paga and Navrongo in the Upper East Region of Ghana. In the olden days, it was performed at funerals but today, even though it still maintains this function, it can also be seen on most social occasions excluding marriage ceremonies. Movements in Nagla reflect the spirit of togetherness.


Wedding music and dance of the Dagbamba women of Northern Ghana. This music is performed exclusively by women in honor of a new bride. Songs used in this celebration relate to topical, human, marriage, and other social issues.


Sanga is one of the recreational dance drumming of the Ashanti-Akan. Instruments used in this ensemble and their specific rhythmic motives suggest northern Ghana, Dagbamba origins. The dance may be called a “chase”. Its characteristic form is the strutting and bobbing up and down and a display of theatrical elegance. The women dancers wear bustles to attract and at the same time tease the men dancers.


Sikyi is a recreational music and dance of the youth of Ashanti. It originated in the 1920s but became very popular around Ghana’s Independence in 1957. It is performed in the vein of Kpanlongo of the Ga of Accra and Boboobo of the Northern Ewe of the Volta Region of Ghana. Sikyi is seen principally at social gatherings where the youth solely express themselves in courtship. It is flirtatious in character. Its characteristic form is the strutting and bobbing up and down and a display of theatrical elegance.


Sinte is a dance drumming performed during festivals by the Nalou who live around the Boke region of Guinea. Krins, “wooden slit drums” sometimes played by three percussionists on each drum were the original instruments used to accompany this dance. Jembes and dunduns are now used to perform the instrumental parts formerly played on the krins.


Takai is a royal dance of the Dagbamba chiefs and princes. It is performed on festive occasions such as the annual Damba festival, political rallies, and durbar of chiefs. Danced only by men, Takai movements involve pivot turns, torso swings, and stamping to the rhythm of the Luna and gungon, the only drums that are used in this dance.


Triba is performed by the Laduma who live in the Boke and Boffa regions of Guinea. Triba was once a dance performed in honor of a great dancer called Triba. The dance was later associated with puberty rites for young adults during which mothers and their daughters would dance together. Triba is presently performed as a mixed dance– drumming by both men and women during festivals and other social events.


Yeve is believed to be a "Stone or Thunder God" that falls from the sky during or after a rainstorm. This religious society is one of the most powerful and secretive among cults in the southeastern Ewe territories of West Africa. Among the Anlo-Ewe, it is also known as Xebieso, Hu or Tohono. Yeve has strong historical relations with the Yoruba Shango deity of Nigeria and Fon Xevieso of Benin. Yeve music and dance is distinct from other Ewe musical types because of its general structure. It is considered a suite of seven to nine dance forms or movements. Each movement is related to specific phases of worship. The major dance forms or movements include: Sovu, Husago, Sogbadze, Afovu and Adavu. Dances from Guinea and Senegal.


Dibon is played to accompany farmers returning from a long day of work in the fields among the Malinke of Guinea, West Africa. The rhythm comes from the calls of a particular species of birds. These calls help them locate each other in the morning after a night’s rest.


In the Guinean regions of Macenta and Balandougou, Kassa music is performed at life cycle celebrations (baptism, circumcisions, and weddings). Sofa is the Malinke term for hunter and the dance is a tribute to them. Some of the dance movements are symbolic gestures to these important members of Mande culture.


Soko is a Manlinke initiation music and dance from the Faranah region in Guinea performed during the months preceding the male rite of circumcision. Boys, who will be circumcised, traditionally will have their heads shaved during the performance.


A welcome ceremonial music of the Malenke people from the border region between Guinea and Mali in West Africa. This music is performed during traditional festivals such as the Ramadan, Tabaseki, weddings and other social occasions.


Wali shows work dances that are quite popular in the regions of Guinea in West Africa. It is performed in two sections, Koukou and Triba. Koukou is a Malinke dance from the Guinean highlands, and is a work dance for young men and women. Triba is shared with the Landouma of mid-Guinea; it is performed to celebrate their rice harvest.


Sabar is the primary form of drumming of the Wolof of Senegal. Traditionally, Sabar drumming was used in religious ceremonies, however, in modern settings, Sabar is used mainly for various dance-drumming events. The Sabar ensemble includes the m'bung m'bung, sabar n'der, lambe and talmbat gorong drums. This arrangement demonstrates the two basic musical structures used in Sabar drumming "bak" and "mbalax". Bak, which is characterized by unison drumming phrases, is performed as introductory or bridges in a performance. Mbalax, which uses multi-layered rhythmic patterns and improvisation, is used for the dance.


Zahouly is a mask of the Dje La Lou. It is used in a traditional mask dance-drumming ceremony by the Guru (Gouro) ethnic group from Côte d’Ivoire, West Africa.

Dances from East, Central and Southern Africa


A dance from the Giriama and Digo people of the Coastal Region of Kenya. This harvest dance is performed during happy celebrations of successful community achievements and bumper harvest. The dance movements originate from the style of grinding millet, which emphasize the shoulder and waist with special accentuation of the upper torso.


This dance is from the Kakamega people of the Luhyia ethnic group of western province of Kenya. It is performed mainly during festivities and ceremonies associated with wedding, child naming, bull fight and commemoration of new homes. Most of the songs that are used emphasize and praise the heroes and leaders of the communities.

Dances from Zimbabwe


Mbende (Shona word for “mole” was regarded as a symbol of fertility, sexuality and family), This dance drumming also known as Jerusarem comes from the Zezuru people of western Mashobaland of Zimbabwe. Originally, Mbende was performed exclusively during the marriage ceremony of a chief’s daughter but it is now open to all men and women of marrying age. The dance movements are “sexual in nature”; mimicking courtship and sexual encounters but at the same time exhibiting sexual prowess of both men and women

Baakisimba: Sematimba Ne Kikwabanga and Olutalu

Royal music for the Kabaka (king) of the Buganda of Uganda. Two types of log xylophones are found among the Baganda of Uganda and are played in the enclosure of the Kabaka's court. The amadinda is a twelve -key xylophone and the akadinda has seventeen or twenty-two keys. The akadinda is strictly performed for the King (Kabaka). In range, the akadinda extends beyond the amadinda, especially in the upper register. Three musicians play on the amadinda whilst the akadinda involves three to six players. Both xylophone styles are based on interlocking melodies that are performed in octave duplications. The individual parts are often relatively simple, but their combination yields music of extreme complexity and beauty. Accompanying the xylophones are: Endere (bamboo flute), Endigidi (one string fiddle), Ensasi (two container rattles), Empunyi, Engalibi, Nankasa and Embutu (drums).

A contemporary presentation of the hunters' music and dance from Eastern Tanzania incorporating variety of props and other visual elements from the Southern Region of Africa.

Contemporary Works

Music by Paschal Yao Younge
A composition for axatsewo (gourd rattles). This piece utilizes rhythmic motives, themes and structures from traditional dances of the Ewes from Ghana, Togo and Benin. The presentation combines, drumming, singing and movement.

Azagunogawo (The Divine Master Drummers)
To the African, the word "music" involves all the performing arts combined in a very systematic and organized manner as a unique public spectacle. To the African therefore, the drum, the voice and the dance body speak the same language and the individual with exceptional abilities to teach and perform all these cognate art forms is known as Azaguno, which means a "master drummer" among the Ewe people of Ghana, Togo Benin. We call ourselves Azaguno because we fall into this category of very special "master drummers". This contemporary work therefore highlights our unique name, nature and attributes. You can only see the drums dance, the body talks and the voice drum in this encounter.

Akpese Party
A 36-drum percussion piece, which is based on Boboobo and Guagunaco dance drumming. Boboobo is the most popular social music and dance of the central and northern Ewe of Ghana and Togo. Guaguanco is a moderate to fast style rumba. Rumba is the word used for a group of related music and dance styles in Cuba. The word is also sometimes used to refer to a Latin-influenced ballroom dance style that is completely different than authentic Cuban rumba. Rumba can also refer to an African style of pop music developed recently with Latin influences.

This piece highlights some of the dance drumming movements of Atsiagbekor, a war dance type of the Anlo-Ewe of Ghana and also incorporating features of other symbolic dances from Togo, Benin, Tanzania and Zimbabwe.
This piece highlights some of the dance drumming types from across sub-Saharan Africa. Aza (festival) is one of the unique ways most African communities celebrate life. Azaguno presents this finale as a tribute to all the African people.

Interwoven textures for Eight Dondo (Talking drums) of the Dagbamba of Ghana.

A call used to find someone lost in the bush in Australia
Cooee is an exploration of certain indigenous movements, ideas and philosophies from both Africa and Australia. The creation is based on the choreographer's research and experiences in both the Volta and Greater Accra regions of Ghana, and the states of New South Wales and Victoria in Australia.

African musical types are varied but have a lot in common. Coexistence explores these similarities from six ethnic groups in East and West Africa. The arrangement is based on Nankasa of Buganda; Duoduoba of Guinea; Takai, Fontomfrom, Adowa, and Agbadza all of Ghana

Creole Africaine

An exciting blend of West and South African dance movements with African American step dancing, accompanied by Anlo Ewe style drumming. The music also incorporates sections for multiple bells, Caribbean, Latin and Senegalese Jembe style music


A multiple percussion piece for seven bongos, kpanlongo drums, Atsimevu and several cowbells

Gbogbomenuwo (Spiritual Things)

Solo Work; Original Music: Africa Meets Asia; Specially composed for Dr. Zelma Badu-Younge's Choreography, Performed on Feb 4-5, Studio 303, Montreal, QU Canada.


Polyrhythm is a composition for seven Gakogui (double bells). This piece is based on selected rhythmic themes (time cycles) used in West African dance drumming. Echoes from Gabada, Boboobo, Kpatsa, Gota, Agbadza, and Yeve, all traditional dances from West Africa are heard throughout the piece.

3-Movement African Suite for Pan-African Chamber Orchestra

This 3-movement piece highlights the various timbres and the four acoustic categories of instruments: idiophones, membranophones, chordophones, and aerophones, which are used in contemporary African music traditions. The First Movement is based on the court music of the Akan people of Ghana, the Second movement, for seven double bells, is derived from the rhythmic themes of Gabada, Boboobo, Kpatsa, Gota Agbadza, and Yeve, all traditional dances from West Africa and the Third Movement, Zong be nye rei (The Blind cannot see), is based on the harvest music, Bawa, from the Upper West Region of Ghana.


RhythmKeepers is a reconstruction work for African, Tap and Irish dance forms. This choreography explores the various techniques, movements and styles of three varied contemporary dance forms accompanied by Dagomba/Dagbamba African dance drumming

Serenity.... Backside!

Serenity ... Backside is a fusion of West African, South African, Ballet, Modern, Brazilian, Caribbean and tap dance techniques

Totobli Metrov #1

Seven movement solo suite for Atopani Drums and 8 bells. Atopani or Atumpan is the most used drum at the courts of chiefs in Ghana mainly for communication. It is used to announce the arrival of chiefs at gatherings, play appellations, send messages with burden texts and for dance drumming. The atopani is therefore popularly known as the "Talking drums". Totobli Metrov' #1 is a composition based on various rhythmic themes used in the dance drumming of Adowa, Fontomfrom, Akpoka, Vuga and Agbadza of the Akan and Ewe of Ghana incorporating sections of spoken texts and movement.

Totob Metrov

A contemporary duet for one percussionist and a dancer. This work explores rhythmic concepts, structures, and themes; and dance movements of some traditional West African dances

Vuga Prelude 1- 4

Multiple percussion piece for six bomaa, atumpan, paso, adukurogya and dawuro. This is an adaptation of the Akan court music, Fontomfrom. Fontomfrom is the most complex of all Akan musical types. It is a series of warrior dances, which are performed to show the prowess of a valiant fighter using symbolic gestures to mime combat motifs.

Taking Flight

A new contemporary African music and dance dedicated to President Roderick J. McDavis of Ohio University on his first official visit to Ghana. This will be the North American premiere of this work.