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West African Drumming and Dance in North American UniversitiesAn Ethnomusicological Perspective$
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George Worlasi Kwasi Dor

Print publication date: 2014

Print ISBN-13: 9781617039140

Published to University Press of Mississippi: September 2014

DOI: 10.14325/mississippi/9781617039140.001.0001

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The Impact of West African Drumming and Dance on the Participating Student

The Impact of West African Drumming and Dance on the Participating Student

(p.131) 4 The Impact of West African Drumming and Dance on the Participating Student
West African Drumming and Dance in North American Universities

George Worlasi

Kwasi Dor

University Press of Mississippi

Chapter 4 investigates West African dance drumming's impact on the student participant by reporting reasons for current ensemble members’ sustained membership beyond obtaining semester credits—ranging from fun to building relationships through symbolic interactions. Also, the chapter shares pragmatic experiences of mature scholars, composers, and/or percussionists, previous West African dance drumming beneficiaries. While Jacqueline DjeDje, Hood's student, recalls the “bi[multi]-musicality” concept that supported the inception of UCLA's world music ensembles, Olly Wilson stresses the importance of studying African music, including dance drumming, to his career as an African American composer and scholar. Similarly, chapter 4 explores Russell Hartenberger's observation that knowledge in West African dance drumming is a quintessential hallmark of today's professional percussionist, given the abundance of repertoire that draw on creative techniques of this genre. Further, Kobla Ladzekpo, Christopher Ladzekpo, Anna Melnikoff, and Modesto Amegago illustrate how their courses elucidate aspects of West African ethnic music cultures.

Keywords:   Bi-musicality, Pre-compositional resources, Hallmark of percussionists, dance drumming as culture, building relationships

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