In Ghana, dance serves a diverse range of purposes and undergoes transformative evolution as individuals and communities progress through various life stages. This chapter will thoroughly explore the landscape of dance scholarship in Ghana, critically examining its theoretical underpinnings from both Afrocentric and Anglo-European perspectives. The analysis aims to assess the profound impact of these viewpoints on dance transmission and scholarly pursuits within Ghana and the broader African context. Special attention will be given to the contributions of indigenous researchers in advancing dance research, with a focus on existing literature addressing Ghanaian dance, particularly the intricate Kete dance form. Throughout this exploration, the chapter will highlight the foundational role of Afrocentric paradigms in shaping Ghanaian dance theory and their crucial contribution to the global recognition of African dances in academic discourse.

The available literature supporting the epistemological exploration of dances from Africa/Ghana by insider/indigenous researchers is limited. Most existing literature from the rest of the world on African dances falls into categories such as historical colonial reports, early anthropological records depicting “primitive societies,” neocolonial publications reflecting Western opinions about African dances, and some multicultural ethnomusicological texts. This exploration begins with an overview of the Traditional Kete dance form, tracing its historical roots and contemporary functions. The narrative then delves into the role of dance as a pivotal element in the post-Ghana independence Pan-Africanist revolution. A closer examination follows, scrutinizing the integration of dance into academia and its profound implications for the conceptualization and promotion of the “African Personality” ideology championed by Dr. Kwame Nkrumah.

I support the inclusion of an Afrocentric perspective in the analysis of Ghanaian performance practices, drawing on the deeply rooted practices and philosophies inherent in African indigenous traditions. This validation extends to concepts emerging from African dance-music forms. Initially introduced by Molefi Asante and further championed by scholars like Frances Owusu-Ansah and Bubela Mji in their endeavors to establish the acknowledgment of African knowledge forms, there is a shared understanding of the necessity of adopting an Afrocentric approach. They emphasize the necessity of developing alternative approaches to studying African reality and advocate for steering away from reliance on Western methodologies.