KORI BARKLEY
Staff Writer
In Ghana, the word “saakumu” signifies tradition.
As part of the United States Black History Month celebrations, the award winning Saakumu Dance Troupe, comprised of professional musicians from all over Ghana, West Africa, has connected with audiences throughout the United States, representing one of the most unique cultures in the world: African culture.
Sponsored by the Fredonia Percussion Guild and the Student Association, the company, directed by master musician Bernard Woma, graced Fredonia with its presence on Monday, Jan. 26, filling Rosch Recital Hall with a vibrant energy that infected the audience.
Exceedingly interactive and expressive, Woma and the colorful Saakumu Dance Troupe were consistently joyful, and in turn kept a smile on audience member’s faces from the beginning of the show all the way to the standing ovation.
As the name implies, the purpose of the Saakumu Dance Troupe is to share the traditional and contemporary music and dance of the Dagara people with audiences.
Each song and dance they performed told a story that represented a spiritual, ceremonial or recreational aspect of their culture.
Sacred equality plays a major role in African culture.
“Bamaya” is the most popular social music and dance in Northern Ghana, performed at festivals, national day celebrations and other social occasions. Originally, only men were allowed to take part in “Bamaya,” while the women sang and shouted praises, encouraging the dancers. Today, “Bamaya” represents equality, as it is now for all genders.
“This is a dance where women become women and men become … women! We are all human, so why should we not be treated the same?” Woma said before dancers began emerging from backstage, singing.
With extremely fast-paced waist movements and body twists, the Saakumu Dance Troupe appeared onstage dressed in colorful skirts and elaborate jewelry — including the male dancer, who wore lipstick. Each dancer had the chance to express his or her own creativity, personality and spirituality by forming his or her own element of movement and sound separately, while in the background, percussionists played shakers and djembes (large, rope-tuned, African drums).
Both the musicians and the dancers had a ferocious energy about them that never subsided. It was noticeable at times that throughout the performance dancers became tired — you could see it on their faces — but they remained surprisingly animated and euphoric.
Brian Babel, a sophomore sound recording technology major, was inspired by the Saakumu Dance Troupe’s vivacity.
“The way the group performs one form of music with an array of different instruments and dances is an incredible art both to the ears and eyes,” he said. “They came out with such a driving force of positive energy that’s overwhelmingly happy … I was moving in my seat because the music made me move. It was a show I would see every weekend if I could.”
The concert concluded with one of the most interactive performances of the evening, involving the entire audience.
“Kpanlogo,” referred to as “the dance of the youth,” is the most recent recreational music types of the Dagara people. A profane and indecent dance, Kpanlogo originated in Accra during the wake of Ghana’s independence as an expression of entertainment and is today performed at life-cycle events, festivals and political rallies.
“This is the dessert; everyone has to taste it today,” Woma cheered as he encouraged everyone to join on stage. “When you are dancing, the ground will never complain.”
About half the audience took the offer, while the other half remained in their seats, contributing with the alternate movements Woma had demonstrated earlier (a rhythmical double clap followed by shouting “shake your body!”).
Many agree the Saakumu Dance Troupe presented Fredonia with one of the most riveting and engaging concerts of the season.