University of Yaounde II hosted yesterday, April 29, 2010, an international symposium on the contribution of dance development in Cameroon. Meka organized by the association in the international festival of dance and percussion
called "Abok i Ngoma this conference was an opportunity for teachers, artists and journalists to see how this art can contribute to the growth of our economy .
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Jean Tabi Manga, Rector of the University of Yaounde II: "We want to create a degree in cultural economy "
culture in any country is a celebration of the definition, promotion and preservation of national identity. The dance can not be regarded as folklore. It is an object of research. It is a very old craft that has made it possible for many countries to build. It is not understood that Cameroon can not fund its culture, supporting its artists, brief supporting cultural policies ... The United States and Canada, for example, derive great benefits from their culture through movies, music, dance ... If we stop funding of cultural products, this means that we accept the loss of our cultural identity, including our dancers. We must strengthen the legal framework of our art. The University of Yaounde II will create a BA and MA in economics of culture in the near future to the needs of Professionalization and wealth creation.
Jean-Claude Awono, writer: "Commercializing our dance"
Dance is an unchanging cultural role in the development, not necessarily of the economic universe, but of the individual. There is no economic development without the prior development humain. Or, pour le poète, la danse est un élément d’identité. Par la pratique de la danse, par la professionnalisation de cette discipline artistique, on peut arriver à gagner sa vie et animer des secteurs de la vie. Ce festival (Abok i Ngoma) réunit des danseurs qui viennent des quatre coins du monde. C’est un plateau intéressant qui nous permet de voir combien est-ce que l’industrie de la danse peut être bénéfique pour le développement de notre pays. Il faut commercialiser notre danse, la vendre à travers des festivals internationaux et amener des étrangers à venir au Cameroun pour faire rentrer des devises et valoriser nos instruments de musique qu’on peut également market.
Bingono Bingono Francis, a journalist: "The development of Africa will never come from the West" Whoever
dance is related to the cosmic world inhabited by our ancestors. We'll ask me where is the relationship with dance and development? Among black Africans, we know the place played by ancestors. When we have problems in town, we are told, returned to the village you "wash" that is to say, comes to be reconciled with your ancestors. The development of Africa will never come from the West. It will come from Africans themselves. But we must see what which was the foundation of our development. Precisely ties with our ancestors, that is to say with our dead. However, to stay in communication with the dead, the dance is an essential element. If Africa is therefore to develop in its own way, that is to say, in strict compliance with the ancestral worship that bind us to our deaths, we are obliged to use the dance for that communication to take place. Each tree can grow only from its own roots. If Cameroon wants to develop from its own roots, it must return to the ancestral.
Daniel Anicet Noah Teacher: "Cameroon may sell artwork"
In industries such as curtains of radio, television ... the dance is a product structure and communication that can be sold as such. This is not folk dances but the dance is a work of choreography. We must further professionalize our dances. The Chinese turn around the world with choreography composed. I made a statement on the dance of assiko which is a dance from the African coast from Ghana to Douala in Cameroon and inside the coast. It is a kind of structure from which I can reconstruct an imaginary area that can make creative choreographers and composers. Can be an art rather structured as assiko and turn out not as an ethnic community, but rather an artistic creation that Cameroon can sell.
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