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Journal articles on the topic 'Ghanaian Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Otchere, Eric Debrah. "Music teaching and the process of enculturation: A cultural dilemma." British Journal of Music Education 32, no. 3 (November 2015): 291–97. http://dx.doi.org/10.1017/s0265051715000352.

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The history of music in Ghanaian school programmes can hardly be separated from the general history of education in Ghana. Since the time of colonial administration in Ghana, music (especially as manifested through singing) has formed part of the educational curriculum for different reasons, one being a tool for promoting the culture of the colonialists. Several advances (particularly after independence in Ghana) have been made to incorporate aspects of the Ghanaian culture into the educational curriculum. Over 50 years down the line, what is the extent to which Ghanaian (African) music is studied in Ghanaian schools? In this paper, the extent to which African music is taught in African (Ghanaian) universities is analysed by looking at the undergraduate music course content of two Ghanaian public universities. Although African music is taught, it only forms an infinitesimal proportion of the total music courses that are offered to music students in these two universities. Considering that the process of music education is also a process of enculturation, the concluding recommendation is that although a multicultural music programme is necessary, the teaching of African (Ghanaian) music in Ghanaian universities should be the dominant feature.

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2

Dzansi, Mary. "Playground Music Pedagogy Of Ghanaian Children." Research Studies in Music Education 22, no. 1 (June 2004): 83–92. http://dx.doi.org/10.1177/1321103x040220011101.

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3

Adinkrah, Mensah. "Witchcraft Themes in Popular Ghanaian Music." Popular Music and Society 31, no. 3 (July 2008): 299–311. http://dx.doi.org/10.1080/03007760802009791.

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4

Agawu, Kofi. "The Amu Legacy." Africa 66, no. 2 (April 1996): 274–79. http://dx.doi.org/10.1017/s0001972000082437.

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AbstractEphraim Amu, 1899–1995, was the leading Ghanaian composer of ‘art music’ (the music of concerts, churches, schools and formal performance). This article is both a brief appreciation of the man as his ideas, personal practice and musical style developed over the years, and an account of the influence Ephraim Amu exercised over Ghanaian musical life.

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Adjoteye, Eugene Agbasi. "The Cultural Environment of Popular Music Discourses in Contemporary Ghana: A Media and Communication Approach." Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 4, no. 1 (January 16, 2021): 330–35. http://dx.doi.org/10.33258/birci.v4i1.1597.

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The field of popular music is important within the cultural matrix of contemporary Ghana. This paper posits the cultural environment of contemporary music discourses in Ghana as a relevant and significant terrain of media and communication worthy of research in Africa. The paper also sets off the relationship between popular music discourses and micro-identity formation in Ghana and subsequently sets off the nexus between the systemic world and the life world of contemporary Ghanaian quotidian sphere. The first part discusses the terrain of contemporary music discourses in Ghana, whilst the second part treats the emerging issues in terms of popular music discursive functionality and dysfunctionality within the interstices of the Ghanaian cultural environment.

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Collins, John. "Ghanaian Christianity and Popular Entertainment: Full Circle." History in Africa 31 (2004): 407–23. http://dx.doi.org/10.1017/s0361541300003570.

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In this paper I look at the relationship between Christianity and popular entertainment in Ghana over the last 100 years or so. Imported Christianity was one of the seminal influences on the emergence of local popular music, dance, and drama. But Christianity in turn later became influenced by popular entertainment, especially in the case of the local African separatist churches that began to incorporate popular dance music, and in some cases popular theatre. At the same time unemployed Ghanaian commercial performing artists have, since the 1980s, found a home in the churches. To begin this examination of this circular relationship between popular entertainment and Christianity in Ghana we first turn to the late nineteenth century.The appearance of transcultural popular performance genres in southern and coastal Ghana in the late nineteenth century resulted from a fusion of local music and dance elements with imported ones introduced by Europeans. Very important was the role of the Protestant missionaries who settled in southern. Ghana during the century, establishing churches, schools, trading posts, and artisan training centers. Through protestant hymns and school songs local Africans were taught to play the harmonium, piano, and brass band instruments and were introduced to part harmony, the diatonic scale, western I- IV- V harmonic progressions, the sol-fa notation and four-bar phrasing.There were two consequences of these new musical ideas. Firstly a tradition of vernacular hymns was established from the 1880s and 1890s, when separatist African churches (such as the native Baptist Church) were formed in the period of institutional racism that followed the Berlin Conference of 1884/85. Secondly, and of more importance to this paper, these new missionary ideas helped to establish early local popular Highlife dance music idioms such as asiko (or ashiko), osibisaaba, local brass band “adaha” music and “palmwine” guitar music. Robert Sprigge (1967:89) refers to the use of church harmonies and suspended fourths in the early guitar band Highlife composition Yaa Amponsah, while David Coplan (1978:98-99) talks of the “hybridisation” of church influences with Akan vocal phrasing and the preference of singing in parallel thirds and sixths in the creation of Highlife.

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7

Kwami, Robert. "A Framework for Teaching West African Musics in Schools and Colleges." British Journal of Music Education 12, no. 3 (November 1995): 225–45. http://dx.doi.org/10.1017/s0265051700002722.

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Existing classifications of West African musics seem to have a limited applicability as models for music education in schools and colleges. Hence, a more comprehensive classification, highlighting a range of syncretic forms, is merged with a structure in Ghanaian drum ensembles to yield a sequential, two dimensional, model. It is then argued that the model can be used as a framework for teaching West African musics in primary, secondary and tertiary educational institutions. A more general discussion is followed by an integrated arts application; finally, a musical perspective, including compositions by the present writer, is presented.

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8

Avorgbedor, Daniel Kodzo. "Nigerian Art Music: with an Introductory Study of Ghanaian Art Music (review)." Research in African Literatures 32, no. 2 (2001): 219–22. http://dx.doi.org/10.1353/ral.2001.0043.

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9

Vercelli, Michael B. "CONSTRUCTING DAGARA GYIL PEDAGOGY: THE LEGACY OF BERNARD WOMA." African Music: Journal of the International Library of African Music 11, no. 2 (December 1, 2020): 60–67. http://dx.doi.org/10.21504/amj.v11i2.2314.

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Bernard Woma (1966–2018) was a virtuoso musician and global ambassador of Dagara music. From his extensive outreach, workshops, and touring, Bernard’s work teaching the Dagara gyil (xylophone) around the world is recognisable through his detailed compositions emphasising the use of Dagara musical forms. His founding of the Dagara Music Center in Medie, Ghana in 2000, provides instruction on Ghanaian music and dance to hundreds of non-Ghanaian students. Bernard’s pedagogical pieces for gyil introduce Dagara music systematically, building students’ technique and facility on the instruments in addition to ensuring student comprehension of Dagara musical practice. Based on sixteen years of apprenticeship with Bernard, this article investigates his pedagogy, detailing his methodical process through his use of cultural and educational scaffolding techniques theorised as “deliberate practice” by Ericsson and Pool (2016) and underscores the importance of recognising the individual African musician in academic and educational settings.

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10

Collins, John. "The Introduction of Popular Music Studies to Ghanaian Universities." IASPM@Journal 2, no. 1-2 (February 29, 2012): 34–44. http://dx.doi.org/10.5429/2079-3871(2011)v2i1-2.4en.

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11

Carl, Florian. "The Ritualization of the Self in Ghanaian Gospel Music." Ghana Studies 17, no. 1 (2014): 101–29. http://dx.doi.org/10.1353/ghs.2014.0000.

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12

Salamone, Frank A. "Nigerian and Ghanaian Popular Music: Two Varieties of Creolization." Journal of Popular Culture 32, no. 2 (September 1998): 11–25. http://dx.doi.org/10.1111/j.0022-3840.1998.00011.x.

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13

Ntarangwi, Mwenda. "Living the Hiplife: Celebrity and Entrepreneurship in Ghanaian Popular Music." Journal of the Musical Arts in Africa 13, no. 1-2 (July 2, 2016): 113–15. http://dx.doi.org/10.2989/18121004.2016.1267951.

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Pier, David G. "Living the Hiplife: Celebrity and Entrepreneurship in Ghanaian Popular Music." Journal of Intercultural Studies 35, no. 4 (June 4, 2014): 463–64. http://dx.doi.org/10.1080/07256868.2014.914871.

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15

Amuah, Joshua Alfred, and Hilarius Mawutor Wuaku. "Use of proverbs as communicative tool in Ghanaian choral music compositions." Legon Journal of the Humanities 30, no. 1 (November 11, 2019): 133. http://dx.doi.org/10.4314/ljh.v30i1.6.

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16

Reynolds, Geoffrey. "Ghanaian Folk Songs: Training Ground for Music and Social Skill Development." General Music Today 19, no. 1 (October 2005): 17–21. http://dx.doi.org/10.1177/10483713050190010105.

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17

Otu. "Decolonizing Freedom through Voodoo: Queer Worldmaking in a Ghanaian Music Video." QED: A Journal in GLBTQ Worldmaking 8, no. 1 (2021): 154. http://dx.doi.org/10.14321/qed.8.1.0154.

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18

Agawu, Kofi. "The Challenge of African Art Music." Circuit 21, no. 2 (July 21, 2011): 49–64. http://dx.doi.org/10.7202/1005272ar.

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This essay offers broad reflection on some of the challenges faced by African composers of art music. The specific point of departure is the publication of a new anthology, Piano Music of Africa and the African Diaspora, edited by Ghanaian pianist and scholar William Chapman Nyaho and published in 2009 by Oxford University Press. The anthology exemplifies a diverse range of creative achievement in a genre that is less often associated with Africa than urban ‘popular’ music or ‘traditional’ music of pre-colonial origins. Noting the virtues of musical knowledge gained through individual composition rather than ethnography, the article first comments on the significance of the encounters of Steve Reich and György Ligeti with various African repertories. Then, turning directly to selected pieces from the anthology, attention is given to the multiple heritage of the African composer and how this affects his or her choices of pitch, rhythm and phrase structure. Excerpts from works by Nketia, Uzoigwe, Euba, Labi and Osman serve as illustration.

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19

Osumare, Halifu. "Becoming a “Society of the Spectacle”: Ghanaian Hiplife Music and Corporate Recolonization." Popular Music and Society 37, no. 2 (January 10, 2013): 187–209. http://dx.doi.org/10.1080/03007766.2012.747262.

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20

Ampofo, Akosua Adomako, and Awo Mana Asiedu. "Changing representations of women in Ghanaian popular music: Marrying research and advocacy." Current Sociology 60, no. 2 (March 2012): 258–79. http://dx.doi.org/10.1177/0011392111429229.

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21

Schmidt, Sebastian. "New Ways of Analysing the History of Varieties of English – An Acoustic Analysis of Early Pop Music Recordings from Ghana." Research in Language 10, no. 2 (June 30, 2012): 123–31. http://dx.doi.org/10.2478/v10015-011-0045-6.

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Focusing on English in Ghana, this paper explores some ways in which early popular music recordings might be used to reconstruct the phonology of colonial and post-colonial Englishes in a situation where other recordings are (mostly) absent. While the history of standard and, to a certain degree, non-standard varieties of “Inner Circle Englishes” (Kachru 1986) has received linguistic attention, diachronic investigations of Outer Circle varieties are still the exception. For the most part, descriptions of the history of post-colonial Englishes are restricted to sociohistorical outlines from a macro-sociolinguistic perspective with little if any reference to the linguistic structure of earlier stages of the varieties. One main reason for this lack of diachronic studies is the limited availability of authentic historical data. In contrast to spoken material, written sources are more readily available, since early travel accounts, diaries or memoirs of missionaries, traders and administrators often contain quotes and at times there are even documents produced by speakers of colonial Englishes themselves (cf. the diary of Antera Duke, a late 18th century Nigerian slave trader; Behrendt et al. 2010). Such material provides insights into the morphology, syntax and the lexicon of earlier stages of varieties of English (cf. Hickey 2010), but it is inadequate for the reconstruction of phonological systems. Obtaining spoken material, which permits phonological investigation, is far more difficult, since there are comparatively few early recordings of Outer Circle Englishes. In such cases, popular music recordings can fill the gap. I will present first results of an acoustic analysis of Ghanaian “Highlife” songs from the 1950s to 1960s. My results show that vowel subsystems in the 1950s and 1960s show a different kind of variation than in present-day Ghanaian English. Particularly the STRUT lexical set is realized as /a, ɔ/ in the Highlife-corpus. Today, it is realized with three different vowels in Ghanaian English, /a, ε, ɔ/ (Huber 2004: 849). A particular emphasis will also be on the way Praat (Boersma and Weenink 2011) can be used to analyze music recordings.

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22

Otchere, Eric. "Toward a "Culturally Responsive Music Curriculum": Harnessing the Power of Ghanaian Popular Music in Ghana's Public Education Sector." Ghana Studies 20, no. 1 (2017): 93–110. http://dx.doi.org/10.1353/ghs.2017.0006.

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23

Díaz, Juan Diego. "The Musical Experience of Diasporas: The Return of a Ghanaian Tabom Master Drummer to Bahia." Latin American Music Review 41, no. 2 (December 2020): 131–66. http://dx.doi.org/10.7560/lamr41201.

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24

Schauert, Paul. "Shipley, Jesse Weaver: Living the Hiplife. Celebrity and Entrepreneurship in Ghanaian Popular Music." Anthropos 109, no. 1 (2014): 338–39. http://dx.doi.org/10.5771/0257-9774-2014-1-338.

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25

Otchere, Eric Debrah, Isaac Richard Amuah, and Margaret Delali Numekevor. "Affective Wellbeing and the Teaching of Music in Ghanaian Basic Schools: A Reflection." Legon Journal of the Humanities 27, no. 2 (June 19, 2017): 106. http://dx.doi.org/10.4314/ljh.v27i2.7.

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26

Adjahoe, Mawuyram Quessie. "From Ghanaian Folk Song to Contemporary Art Music for Bb Atɛntɛbɛn and Piano." Malaysian Journal of Music 6, no. 2 (March 2, 2017): 94–114. http://dx.doi.org/10.37134/mjm.vol6.2.5.2017.

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27

Santos, Dominique. "Jesse Weaver Shipley, Living the hiplife: Celebrity and entrepreneurship in Ghanaian popular music." Critique of Anthropology 35, no. 1 (March 2015): 116–18. http://dx.doi.org/10.1177/0308275x14568035.

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28

Agyekum, Kofi, Joshua Amuah, and Adwoa Arhine. "Proverbs and stylistic devices of Akwasi Ampofo Agyei’s Akan highlife lyrics." Legon Journal of the Humanities 31, no. 1 (December 30, 2020): 117–44. http://dx.doi.org/10.4314/ljh.v31i1.5.

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This paper examines the stylistic features and proverbs in ɔba nyansafo wɔbu no bɛ na wɔnka no asɛm, ‘A wise child is spoken to in proverbs’ a popular Ghanaian highlife song by the late Akwasi Ampofo Agyei. This is an area which is still grey in the study of highlife music. The paper basically adopted qualitative methodology through interviews and recordings. The paper combines the theories of language ideology and ethnomusicology, and looks at the indispensable, didactic and communicative functions of stylistic devices and proverbs in Akan highlife. These tropes as forms of indirection help the musicians to comment on very delicate issues. They depict the musician’s communicative competence in the Akan language, cultural beliefs, worldview and social structures. The paper further reflects on the relative absence of proverbs in current Ghanaian highlife. The stylistic devices and proverbs in the song are subjected to ethnomusicological, stylistic and pragmatic analysis.

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Agyekum, Kofi, Joshua Amuah, and Adwoa Arhine. "Proverbs and stylistic devices of Akwasi Ampofo Agyei’s Akan highlife lyrics." Legon Journal of the Humanities 31, no. 1 (December 30, 2020): 117–44. http://dx.doi.org/10.4314/ljh.v31i1.5.

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This paper examines the stylistic features and proverbs in ɔba nyansafo wɔbu no bɛ na wɔnka no asɛm, ‘A wise child is spoken to in proverbs’ a popular Ghanaian highlife song by the late Akwasi Ampofo Agyei. This is an area which is still grey in the study of highlife music. The paper basically adopted qualitative methodology through interviews and recordings. The paper combines the theories of language ideology and ethnomusicology, and looks at the indispensable, didactic and communicative functions of stylistic devices and proverbs in Akan highlife. These tropes as forms of indirection help the musicians to comment on very delicate issues. They depict the musician’s communicative competence in the Akan language, cultural beliefs, worldview and social structures. The paper further reflects on the relative absence of proverbs in current Ghanaian highlife. The stylistic devices and proverbs in the song are subjected to ethnomusicological, stylistic and pragmatic analysis.

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30

O.A., Emmanuel, and Isaac K.M. "The Nature of Ghanaian Music and Dance Syllabus and the Challenges of Teaching its Contents in Tamale International School." British Journal of Contemporary Education 1, no. 1 (May 19, 2021): 40–51. http://dx.doi.org/10.52589/bjce-iiwhzrrt.

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This paper examined the nature of the Junior High School (JHS) music and dance syllabus in the context of growing cultural education and current socio-cultural transitions in Ghana. It also sought to highlight the challenges of teaching the syllabus in the schools. The design used was a case study while archival document analysis and interview incorporated the data collection instruments to collect the appropriate data to answer the research questions. The content of the syllabus was analyzed while two main participants of the study were also interviewed. The study reveals a mismatch in the relationship between the content of the music and dance taught in the classroom and what actually exists in the syllabus to be taught. It is recommended that music teachers properly align their instructional content to the syllabus since it contains enough African music content that can prepare the pupils to appreciate their musical culture.

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31

Burns, James. "Living the Hiplife: Celebrity and Entrepreneurship in Ghanaian Popular Music by Jesse Weaver Shipley." Notes 71, no. 2 (2014): 295–97. http://dx.doi.org/10.1353/not.2014.0148.

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32

Nii-Dortey, Moses. "LIVENESS, MULTIFOCALITY, EAVESDROPPING IN ETHNOMUSICOLOGICAL FIELDWORK RESEARCH AT GHANAIAN FESTIVALS AND ROYAL FUNERALS." African Music: Journal of the International Library of African Music 11, no. 2 (December 1, 2020): 102–18. http://dx.doi.org/10.21504/amj.v11i2.2316.

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Ethnomusicological research that involves live, sprawling, multifocal and integrated ceremonies often present liveness-induced challenges that may undermine the authenticity of the research outcomes. )is article describes multifocal and integrated music making performances such as festivals and royal funerals in Ghana and how the vagaries of liveness are largely responsible for nuanced peculiarities which every live musical performance assumes. )e article argues in favour of a central role for eavesdropping among informed participating audience members in data gathering efforts as an important strategy for dealing with liveness-induced contingencies in multifocal and integrated performance events.

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33

Witek, Maria A. G., Jingyi Liu, John Kuubertzie, Appiah Poku Yankyera, Senyo Adzei, and Peter Vuust. "A Critical Cross-cultural Study of Sensorimotor and Groove Responses to Syncopation Among Ghanaian and American University Students and Staff." Music Perception 37, no. 4 (March 11, 2020): 278–97. http://dx.doi.org/10.1525/mp.2020.37.4.278.

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The pleasurable desire to move to a beat is known as groove and is partly explained by rhythmic syncopation. While many contemporary groove-directed genres originated in the African diaspora, groove music psychology has almost exclusively studied European or North American listeners. While cross-cultural approaches can help us understand how different populations respond to music, comparing African and Western musical behaviors has historically tended to rely on stereotypes. Here we report on two studies in which sensorimotor and groove responses to syncopation were measured in university students and staff from Cape Coast, Ghana and Williamstown, MA, United States. In our experimental designs and interpretations, we show sensitivity towards the ethical implications of doing cross-cultural research in an African context. The Ghanaian group showed greater synchronization precision than Americans during monophonic syncopated patterns, but this was not reflected in synchronization accuracy. There was no significant group difference in the pleasurable desire to move. Our results have implications for how we understand the relationship between exposure and synchronization, and how we define syncopation in cultural and musical contexts. We hope our critical approach to cross-cultural comparison contributes to developing music psychology into a more inclusive and culturally grounded field.

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34

Arlt, Veit, and Ernst Lichtenhahn. "Recordings of African Popular Music: A Valuable Source for Historians of Africa." History in Africa 31 (2004): 389–91. http://dx.doi.org/10.1017/s0361541300003557.

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In December 2002 the Swiss Society for Ethnomusicology (CH-EM), in cooperation with the Centre for African Studies of the University of Basel and with mission 21 (formerly Basel Mission), organized a symposium on the theme “Popular Music from Ghana: Historical Records as a Contribution to the Study of African History and Culture.” The conference concluded a week of lectures, workshops, and concerts with Ghanaian “palmwine” and Highlife music, a program which was realized in cooperation with the Basel Academy of Music and the two associations, Ghana Popular Music 1931-1957 and Scientific African e.V. The papers read at the symposium are, in our opinion, of interest to the readers of History in Africa, as they discuss a specific kind of source and the methodological issues pertaining to it, as well as offer insights into possible themes of research, giving some idea of the potential of the recordings as a source. We present the contributions here in a slightly revised form, and, in order to round off the discussion, we have invited the curators of two further sound collections of interest to scholars working on African history, to describe their archives.

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35

Annin, Felicia. "Poetry of Ghanaian Hip-Life Music: Reflections on the Thematology of Selected Hip-Life Songs." IOSR Journal of Humanities and Social Science 19, no. 1 (2014): 41–48. http://dx.doi.org/10.9790/0837-19134148.

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36

Ayettey, Benjamin Obido. "Jumping like a Kangaroo: Music and Dance in the Campaign Strategy of Ghanaian Political Parties." Muziki 13, no. 1 (January 2, 2016): 2–18. http://dx.doi.org/10.1080/18125980.2016.1182380.

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37

Haynes, Jonathan. "A literature review: Nigerian and Ghanaian videos." Journal of African Cultural Studies 22, no. 1 (June 2010): 105–20. http://dx.doi.org/10.1080/13696810903488645.

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38

Plageman, Nate, and Jesse Weaver Shipley. "Praxis, Perspectives, and Methods of Ghanaian Popular Music: A Special Issue in Honor of John Collins." Ghana Studies 20, no. 1 (2017): 3–12. http://dx.doi.org/10.1353/ghs.2017.0001.

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Park, Jeong Kyung, James Nyachae Michira, and Seo Young Yun. "African hip hop as a rhizomic art form articulating urban youth identity and resistance with reference to Kenyan genge and Ghanaian hiplife." Journal of the Musical Arts in Africa 16, no. 1-2 (July 3, 2019): 99–118. http://dx.doi.org/10.2989/18121004.2019.1686225.

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40

Petrie, Jennifer L. "Advancing student success: assessing the educational outcomes of music and dance education in Ghanaian senior high schools." Compare: A Journal of Comparative and International Education 50, no. 3 (September 24, 2018): 332–51. http://dx.doi.org/10.1080/03057925.2018.1513319.

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41

Avorgbedor, Daniel K. "REVIEW: Bode Omojola.NIGERIAN ART MUSIC, WITH AN INTRODUCTORY STUDY OF GHANAIAN ART MUSIC, Ibadan: Institut Fran�ais de Recherche en Afrique, University of Ibadan, 1995." Research in African Literatures 32, no. 2 (June 2001): 219–22. http://dx.doi.org/10.2979/ral.2001.32.2.219.

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42

Agawu, V. Kofi. "Tone and tune: the evidence for Northern Ewe music." Africa 58, no. 2 (April 1988): 127–46. http://dx.doi.org/10.2307/1160658.

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Opening ParagraphOne of the most intriguing features of most African languages is that of tone, by which variations in speech tone generate different meanings (Pike, 1948, offers a valuable introduction to this subject and includes an extensive bibliography; Fromkin, 1972, is a comprehensive evaluation of specialised studies). In the Ewe language, for example, the word to [H] pronounced with a high tone means ‘ear’, as in To le venye (HLMM), ‘I have an earache.’ To can also mean ‘through’, Meto akonta me [MHLHML], ‘I have gone through the accounts.’ But as soon as the high tone is replaced by a low one the meaning of the word changes drastically: to [L] means ‘thick’ as in Dzogbo la to [LHHL], ‘The porridge is thick’. Similarly, mi [H] is a pronoun for the first person plural (Mieto adegbe, ‘We are on the way to the hunt’). The same word refers to ‘faeces’ as in [HL], ‘goat's faeces’. A shift of tone from high to low results in a change of meaning. Mi [L] is a pronoun for the second person plural (Mile tsi [LLM], ‘You (should) take a bath’); it also means ‘swallow’ (mi amatsi, ‘swallow [or take] the medicine’). The phenomenon is not restricted to monosyllables. Kuku [HH] refers to a ‘hat’ (Meɖe kuku na wo, ‘I remove your hat,’ which is a figurative way of saying ‘I beg you’). Kuku [LH] on the other hand refers to ‘death’. Asi [LH] is the word for ‘hand’, while asi [LM] denotes ‘market’. Tone is operative on a number of levels within the syntagmatic chain: on the level of syllable, word, phrase and sentence. Furthermore, a number of constraints—syntactic, international or natural factors—influence the disposition of speech tones (consult Ansre, 1961, for information about Ewe tone and Dakubu, 1988, for the most recent study of this and other aspects of Ghanaian languages).

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43

de-Graft Aikins, Ama. "'Colonial virus'? Creative arts and public understanding of COVID-19 in Ghana." Journal of the British Academy 8 (2020): 401–13. http://dx.doi.org/10.5871/jba/008.401.

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In this paper I examine how responses to COVID-19 by Ghana�s creative arts communities shape public understanding of the pandemic. I focus on comedy, music, textile designs, and murals created between March and August 2020, through frameworks of the social psychology of everyday knowledge and arts and health. The art forms perform three functions: health promotion (songs), improving environmental aesthetics (murals), and memorialising (textile designs). Similar to arts-based interventions for HIV and Ebola, Ghanaian artists translate COVID-19 information in ways that connect emotionally, create social awareness, and lay the foundation for public understanding. Artists translate COVID-19 information in ways that connect emotionally, create social awareness, and lay the foundation for public understanding. Some offer socio-political critique, advocating social protection for poor communities, re-presenting collective memories of past health crises and inequitable policy responses, and theorising about the Western origins of COVID and coloniality of anti-African vaccination programmes. I consider the implications for COVID public health communication and interventions.

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DASWANI, GIRISH. "Living the Hiplife: Celebrity and Entrepreneurship in Ghanaian Popular Music. Jesse Weaver Shipley. Durham, NC: Duke University Press, 2013. 344 pp." American Ethnologist 43, no. 4 (November 2016): 788–89. http://dx.doi.org/10.1111/amet.12417.

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Jeffery, Brian. "Artistic Dialogue and Artistic Exchange through Movement." Congress on Research in Dance Conference Proceedings 2012 (2012): 81–84. http://dx.doi.org/10.1017/cor.2012.3.

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This article will narrate the process of working in artistic collaboration utilizing traditional Ghanaian dance forms and Western dance-making methods while incorporating a common artistic thread between the two cultures. Invited to create a new work of choreography for the Ghana Dance Ensemble (GDE), the author as guest artist choreographer explored ways of creating a hybrid dance work that honored the artistic footprint of GDE. The choreographer engaged company members, consisting of both dancers and musicians, in daily rehearsals and dialogue about the artistic process and the aesthetic roots from which each artist was grounded. Compositional structures were explored cross-culturally. Traveling out to several field sites, the choreographer was able to view and participate in sacred ceremony for more grounding and artistic information. From this process, a dialogic space was created in which new meanings were shared between cultures and traditional artistic values re-imagined. Dialogue through conversation was not the only exchange of importance. An additional dialogue was that of dancing bodies viewing each other, adapting and integrating change firmly grounded in each other's originating aesthetic footprint. Equally important was the exchange in a culture where it is inherent that the music sounds the dance and the dance moves the music. Thus the dialogue extended itself where the choreographer tried on new ways of thinking about the sounding body just as GDE integrated the choreographer's approaches and made it their own through their own processes of creative invention.

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Erlmann, Veit. "Living the Hiplife: Celebrity and Entrepreneurship in Ghanaian Popular Music. Jesse Weaver Shipley. 2013. London and Durham, NC: Duke University Press. 329pp." African Music: Journal of the International Library of African Music 9, no. 3 (2013): 187–89. http://dx.doi.org/10.21504/amj.v9i3.1917.

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Meyer, Birgit. "‘Tradition and colour at its best’: ‘tradition’ and ‘heritage’ in Ghanaian video-movies1." Journal of African Cultural Studies 22, no. 1 (June 2010): 7–23. http://dx.doi.org/10.1080/13696810903488553.

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Collins, John. "Living the Hiplife: Celebrity and Entrepreneurship in Ghanaian Popular Music. By Jesse Weaver Shipley. Durham, NC: Duke University Press, 2013. 329 pp. ISBN 082-2-35366-0." Popular Music 33, no. 3 (August 28, 2014): 566–68. http://dx.doi.org/10.1017/s0261143014000543.

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MBAYE, JENNY F. "JESSE WEAVER SHIPLEY , Living the Hiplife: celebrity and entrepreneurship in Ghanaian popular music. Durham NC and London: Duke University Press (hb $89.95 – 978 0 8223 5352 2). 2013, 344 pp." Africa 84, no. 2 (April 9, 2014): 339–41. http://dx.doi.org/10.1017/s0001972014000096.

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Wiggins, Trevor. "Jesse Weaver Shipley: Living the Hiplife: Celebrity and Entrepreneurship in Ghanaian Popular Music. xiii, 329 pp. Durham, NC and London: Duke University Press, 2013. £16.99. ISBN 978 0 8223 5366 9." Bulletin of the School of Oriental and African Studies 77, no. 1 (February 2014): 261–62. http://dx.doi.org/10.1017/s0041977x13001328.

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