In this research, the data from fieldwork is categorized into four main groups: “Personal Experience,” “Revelatory Incident,” “Realization and Concept,” and “Performance and Propagation.” I employed a “Pheno-choreological” approach, combining “Pheno,” representing the phenomenology of experience, and “Choreology,” signifying the study of movement structure. This approach aligns with John Dewey's theoretical framework on the “social construction of knowledge,” as elucidated by John Okrah in his exploration of African Philosophy of Education (Okrah 2012). The argument posits that if a people's culture comprises nuanced elements specific to their self-identification and their interaction with the environment, then the collective knowledge facilitating such assimilation through individual experiences becomes integral to their social reality. Conducting a pheno-choreological analysis involves examining the implicit and explicit personal and collective experiences of musicians and dancers involved in Kete to generate interpretations consistent with their realization and concept of the dance form, as articulated by Bakka and Karoblis (2010).

The embodied realities mentioned above significantly shape the categorization systems of a community, impacting the creation of phenomena and their contextual understanding. When an individual assimilates social knowledge, such as Kete dance-music, they become an agent within a cultural network encompassing art, communication, and the generation of meaning through performance for subsequent generations. To interpret this interconnected data, I will utilize Kuwor's indigenous holistic approach to dances from Africa (Kuwor 2017).

In this chapter, I delve into the analysis of specific elements of Kete based on the data recorded during my fieldwork in Ghana. The data is categorized under the codes of “Personal History,” “Revelatory Incident,” “Realization and Concept,” and “Performance and Propagation.” These categories were derived from recurrent themes found in responses from my informants and discussions with experts during recording sessions. These themes are then situated within Kuwor's concept of “Ghanaian/African Holistic Nature.” This approach is justified by the phenomenological nature of the research, exploring the transmission of Kete dance in both palace/traditional and academic settings. I argue that understanding the transmission of dance-music in Ghanaian villages or rural communities requires an exploration of their total cultural makeup and the parameters that shape their way of life.