Contesting the Concept of Timeline in African Traditional Music-Dance: Perspectives from Ghana

Abstract

The term timeline in Sub-Saharan African traditional music has been treated by several scholars in diverse ways. However, there are other dimensions to the so-called timeline beyond the constant point of reference as described by Nketia. The foremost challenge that this paper seeks to address is the fact that the term has been restricted and needs to be expanded. Consequently, it is obvious that the main goal of the entire paper is to re-examine the term Timeline. Data was gathered by listening to live performances, rehearsals, interviews, and various online performances including Zoom meetings with performers, and observing YouTube, Facebook and other platforms for critical analysis and comparative study of various dance styles from different parts of Ghana, as well as existing literature on the subject matter. Overall, the paper argues that the definitions and discussions about the concept by a couple of scholars ought to be amended and also elaborated for a deeper understanding upon further research. This will serve as a continuous discussion by other scholars and moreover, some of the confrontational approaches or arguments may help future generations to build on the discussion for the benefit of posterity. Keywords: Timeline, African music, Multifarious, Ghana