Ghanaian dance is as diverse as its music. Each ethnic group has their own traditional dances and there are different dances for different occasions. There are dances for funerals, celebrations, storytelling, praise and worship etc. Some of these dances include:
Adowa - A dance of the Akan people of Ghana. This dance is especially noted for the grace and complexity of the dancers' movements. The drumming is also noted for the complexity of the interlocking rhythms and the two atumpan drums which are used as the lead or master drum. Originally funeral dance music, Adowa is now also performed at annual festivals and social gatherings.
Dancers performing in Ghana.
Azonto - It is performed by both the Akan people and Ga people of Ghana. It is often referred to as "the dance of the youth," Azonto originated from the Greater Accra Region of Ghana. Azonto is an expressive dance and music form of the Kpanlogo. Azonto Dance form incorporates complex co-ordinated body movement and non-verbal communication in a rhythmic fashion in very few one-two timed steps. Just like most sub-Saharan African dances, knee bending and hip movements are rudiments to dancing it. The dance has effectively evolved from a few rudimentary moves to embrace depictions of ironing, washing, driving, boxing, and others. Generally, the dance reflects the creativity and rich sense of humour of the Ghanaian people.
Kpanlogo - A performed dance by the Ga people of Ghana. It is also often referred to as "the dance of the youth," Kpanlongo started during the wake of Ghana’s Independence as a musical type for entertainment in Accra. Kpanlongo is presently performed at life-cycle events, festivals, and political rallies.
Klama - It is the music and dance associated with puberty rites of the Krobo people of Ghana. It emphasizes the graceful movement of hands and feet. With small rhythmic steps and heads turned demurely downward, the dancers embody quiet elegance. The different movements of the dance are designed to reveal the beauty of the dancers. Suitors watching from the sidelines will often approach a girl's family after the ceremony and make an offer for her hand in marriage.
Bamaya - It is performed by the Northern Dagomba people of Ghana. It narrates the legend of a time of great drought. An oracle told the people that the drought was brought about by the manner in which the men were severely repressing and demeaning the women. It further stated that the drought would be relieved only when the men lowered themselves to the role they were imposing on the women by putting on skirts and participating in this dance. When the men did this it began to rain. It is currently performed during harvest time in northwestern Ghana by both Dagbani men and women.