Abstract
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.
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