ABSTRACT
There are the new experiments in ‘creative’ dance, some of which are based on traditional forms, while others are based unhappily on material and models from African-derived dances from the other side of the Atlantic. The demand for cabaret form of entertainment in hotels and night clubs and the attractions of the tourist trade have tended to have adverse inuence on the quality and scope of some of the experiments. It appears, however, that this situation will change as dancers and choreographers of today become more and more familiar with traditional African dance forms and the values that guide performance.
