West African Drumming and Dance in North American Universities: An Ethnomusicological Perspective

325 Pages·2014·62.75 MB·English

by  George Worlasi Kwasi Dor

West AfricAn Drumming AnD DAnce
in north AmericAn universities
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West AfricAn Drumming AnD DAnce
in north AmericAn universities
An ethnomusicological Perspective
george WorlAsi KWAsi Dor
University Press of MississiPPi • Jackson
www.upress.state.ms.us

The University Press of Mississippi is a member of the Association of American
University Presses.

Copyright © 2014 by University Press of Mississippi
All rights reserved
Manufactured in the United States of America

First printing 2014
∞
Library of Congress Cataloging-in-Publication Data

Dor, George Worlasi Kwasi, author.
West African drumming and dance in North American universities : an ethno-
musicological perspective / George Worlasi Kwasi Dor. — First printing.
pages cm
Includes bibliographical references and index.
ISBN 978-1-61703-914-0 (cloth : alk. paper) — ISBN 978-1-61703-915-7 (ebook)
1. Drum—Instruction and study—North America. 2. Drum—West Africa—In-
fluence. 3. Dance—Study and teaching (Higher)—North America. 4. Dance,
Black—Africa, West—Influence. I. Title.
MT662.D67 2014
786.90966’0973—dc23 2013028812

British Library Cataloging-in-Publication Data available
For steadfast love and support, I dedicate this book to
Rose Ama, Yawa Nyuiemedi, Mozart Nuku, Joana Dziedzom, and Shelter
Senyoagbe, my beloved family living here in Oxford, Mississippi.
To the virtuosic custodians of African indigenous knowledge who have
originated and planted the various dance drumming genres that our stu-
dents learn to perform. You have given the world some of its most sublime
artistic expression. Even kings cannot resist taking regal steps to the vitality
and affect from the vibes of your ingenious creativity.
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contents
Acknowledgments IX
Introduction 3
1. Historical Overview of West African Drumming and Dance in
North America
From the Period of Slavery (1619–1863) until the Early 1960s 14
2. Selected University Ensembles
History, Resources, Repertoire, Teaching, Learning, Performance(s), and
Reception 44
3. Pedagogical Approaches of Dance Drumming Instructors 98
4. The Impact of West African Drumming and Dance on the Participating
Student 131
5. Path-finding Agency of Administrators and Ensemble Directors 156
6. A Transplanted Musical Practice Flourishing in the African Diaspora 188
7. World Music and Globalization
West African Drum-Dance Ensembles 225
Postscript 254
Appendix A. Interviews
Consultants and Field Sites [University Campuses and Conferences] 267
viii contents
Appendix B. A Survey for Student Members of Ensembles 269
Notes 280
Glossary 284
References 292
Index 301
AcKnoWleDgments
Projects such as this book begin with ideas. As such, I thank Adam Gussow,
professor of English at the University of Mississippi, a passionate blues musi-
cian and a friend, who suggested to me to consider exploring the Ole Miss
African Drum and Dance Ensemble as a possible theme for my University of
Mississippi Faculty Research Fellowship proposal. I gratefully received the
idea, expanded it to cover similar ensembles in North America, and that pro-
posal positively yielded the award of the fellowship.
I am indebted to the Office of Research and Sponsored Programs for the
award of the Faculty Research Fellowship that empowered me to conduct
my ethnographic field trips to university campuses where I interviewed
consultants and other informants. Also, I thank the University of Missis-
sippi’s Office of Multicultural Affairs (Don Cole), the Department of Music
(Charles Gates), and again the ORSP for financially sponsoring other travels
including conferences during which I interviewed other informants.
Furthermore, I thank the University of Mississippi for granting me a sab-
batical leave during which I wrote most of the chapters of this book.
My next and profound acknowledgment goes to all the research consul-
tants for their shared knowledge, time, and other resources, but above all,
the special hospitality that most of you accorded me. Dance drumming di-
rectors/teachers: Kobla and Beatrice Ladzekpo, Gideon Alorwoyie, David
Locke, Christopher Ladzekpo, Kwasi Dunyo, Anna Melnikoff, Modesto
Amegago, Elikem Samuel Nyamuame, James Burns, Patricia Tang, Kofi
Gbolonyo, Ama Aduonum, Kwasi Ampene, Robert Simms, Frank Gunder-
son, Damascus Kafumbe, and Charles Lwanga. Also, I am grateful to mem-
bers of the Society for Ethnomusicology’s (SEM) African Music Section for
organizing activities that resonate with this book’s theme.
I sincerely thank the following administrators for their support for my
project: Olly Wilson, Jacqueline DjeDje, Russell Hartenberger, Glenn Hop-
kins, Charles Gates, and Eric Charry. The invaluable insights you shared
IX