In this paper I discuss the praise prayers excerpt of Afua Kuma, an African, within the view that beliefs emerge and are “enfolded within practices, things and feelings that shape individuals and communities over time” (Morgan 2012: xiv). Expounding on this statement, Idowu in his book about African Traditional Religion makes a point that a person knows as much he or she is exposed to and as much as is given to him to know, and he or she expresses his or her beliefs accordingly. These beliefs are
afterlife of Yaa Asantewaa." AFRICA-LONDON-INTERNATIONAL AFRICAN INSTITUTE- 77.2 (2007): 151. - http://www.ghanaweb.com/GhanaHomePage/tribes/ http://www.ghanaweb.com/GhanaHomePage/tribes/languages.php http://www.ghanaweb.com/GhanaHomePage/NewsArchive/photo.day.php?ID=76637 http://irenekodotei.org/content/history-ghana http://www.ghana.gov.gh/index.php/about-ghana/ghana-at-a-glance/455-pre-colonial-ghana http://www.thenagain.info/webchron/africa/ghana.html http://sharenews.com/nana-yaa-asantewaa-rallied-her-people-against-the-british/
century, but he bridged the ... ... middle of paper ... ...ce, or to better sum it up: “Alonzo King's choreography is a call to the spirit, and also an intimate form of listening for the spirit's response” (Linesballet.org). Works Cited Asantewaa, Eva Yaa. "Alonzo King LINES Ballet." Dance Magazine. 08 May 2012: n. page. Web. 18 Feb. 2014. . Jensen, Jill Nunes. "Transcending Gender in Ballet’s LINES." When Men Dance: Choreographing Masculinities Across Borders (2009): 118. Keen, Laurel. E-mail