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date: 20 March 2019

Abstract and Keywords

Dance-drumming performance practices in West Africa reveal multiple modes of communication that take place between performers and informed audiences, in an ongoing exchange of novelty. In the Ewe case, the critical nature of the relationship between movement, music, and language lies within their explicit drum syntax producing Ewephone comprehension, which is processed through the body’s varying porous kinaesonic surfaces. This principle process is conceptualized as Dynamic Rhythm, the metacomponent of Embodiology, which is both a training methodology and a theoretical framework that makes inherent improvisation discernable to the nonpractitioner. In addition, as a result of this understanding, interlocking aesthetic values within West African performance practices are identifiable within the African Diaspora. This articulation of improvisation from a West African perspective creates a gateway for both the scholarly and artistic fields of dance to develop a way to understand these autopoietic phenomena that were, until now, largely hidden.

Keywords: Improvisation, rhythm, drumming, Ewe, dance, embodied cognition, informed audience, fractal, sensory, joy

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