Fare Ra Lankhi

ABSTRACT

 Somatic memoirs from the author’s participation at dance intensives with acclaimed dancer-choreographer Moustapha Bangoura in the West African Republic of Guinea reveal how solo dance experiences can test acoustic literacy, promote music interaction, and foster an aptitude for movement invention. These skills are fundamental to West African dance and are learned in the fare ra lankhi (dance circle). This dance ethnography explores the pedagogical attributes of the circle and strives to provide dance educators an enhanced awareness of indigenous approaches to dance education inherent across the region. Distinct West African objectives of dance, musicality, improvisation, dance education, and choreographic practice are discussed.

ACKNOWLEDGMENTS

I want to thank the folks who contributed to this research. Gratitude goes to my editors, Miriam Marler and Erica Akamura. Many thanks for the critical conversations with colleagues go to Dr. Lela Aisha Jones, Dr. Megan Todd, Dr. Alfdaniels Mabingo, Uzo Nwamkpa, and Abagail Fritz. Much appreciation to Baba Moustapha Bangoura and to the peer reviewers for their enthusiastic and constructive feedback.

Notes

1. For the purpose of this article, I use the term West African dance to define indigenous practices found in several countries in the region including Guinea, Mali, Senegal, Gambia, Burkina Faso, Sierra Leone, Ivory Coast, and others, where dance circles and djembe music and dance traditions are prominent. However, this article focuses on the research carried out in Guinea.

2. Fare ra lankhi translates into dance circle in the Susu language that is spoken in Guinea. I have also heard Fareta used to denote dance circle or dance village (M. Bangoura, personal communication, January 3, 2018; Abdoulaye Sylla, personal communication, July 16, 2014).

3. Sometimes spelled jembe, but djembe in French, this goblet shaped Mande/Malinke hand drum originates from the Malian empire (Charry 1996; Keita 2012; Price 2013). Jembe is a Malinke word that means “we are together” (Moussa Traore, djembefola, personal communication, July 9, 2014).

4. There are three dundun drums: dounduba, sangba, and kenkeni, which are played with sticks.

5. Griot is a French word for oral historian that has been adopted in Francophone West Africa.

6. Kassa is a popular dance and rhythm from Guinea from the Malinke people. The rhythm and dance are traditionally performed during the planting season to invigorate the hard work (Keita and Billmeier 1999).

7. Kuku (also known as coucou) is a popular Guinea dance and rhythm from the Bela people. This rhythm and dance are associated with fishing rites (Keita and Billmeier 1999).

8. Sorsonet is a popular dance and rhythm from Guinea from the Baga people. Historically it is a mask dance that is believed to be a protector of the village (Keita and Billmeier 1999).

9. Manjani (also known as Mendiani) is a popular dance and rhythm from Guinea from the Malinke people. This rhythm and dance is traditionally for young girls and associated with initiation rituals (Keita and Billmeier 1999).

10. Mane is a popular Guinea dance and rhythm that comes from the Susu people. It is performed during wedding celebrations and considered a women’s dance (M. Bangoura, personal communication, January 15, 2010).