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Journal articles on the topic 'Songs, ghanaian'
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1
Nkansah, Samuel Kwesi, and Rexford Boateng Gyasi. "Ambiguity as a Communicative Style: A Study of Rufftown Records." Advances in Social Sciences Research Journal 8, no. 12 (December 19, 2021): 116–27. http://dx.doi.org/10.14738/assrj.812.9629.
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Songs are one of the oldest forms of literature and they continue to play important roles in the socialization of members of a society. Considering the importance of songs, this study sought to analyze ambiguity in Ghanaian songs focusing on songs produced by one of the vibrant production houses in Ghana ‘Ruff town Records’. The study was based on 15 sampled songs by Ebony Reigns and Wendy Shay, the leading artistes of the record label. The study revealed instances of ambiguity in 10 of the sampled songs with the causes of these indeterminacies being mainly phonological intonation and lexical choices. These ambiguities were euphemistically deployed mostly to highlight sexual images. The study has implications for revealing the trends and patterns of contemporary Ghanaian music. It is therefore recommended that more studies should be carried out on Ghanaian songs, focusing on other styles and presentation techniques employed by song writers.
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Quayesi-Amakye, Joseph. "God in Ghanaian Pentecostal Songs." Journal of Pentecostal Theology 22, no. 1 (2013): 131–51. http://dx.doi.org/10.1163/17455251-02201011.
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This essay is about implicit ideas of God in Ghanaian Pentecostal songs. It examines and discusses some selected songs or choruses sung by Ghanaian Pentecostal churches. Today these songs have ceased to be the prerogative of the Pentecostals; they are sung by all: Christian and non-Christian. The songs I examine in this paper reveal Ghanaian Pentecostal understanding and interpretation of the being and nature of God. The paper aims at demonstrating the naturalness of Ghanaian Pentecostal songs. It also reveals the synthesis of the Akan primal worldview and biblical understanding in the Ghanaian Pentecostal concept of God. Yet this paper demonstrates that Ghanaian Pentecostals show a clear discontinuity with the primal worldview when they subvert the mediatorial and salvific roles of the traditional deities and spirits with those of Christ and the Christian God.
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Quan-Baffour, Kofi Poku. "Transformation and acculturation in Ghanaian Christian songs." Muziki 5, no. 2 (November 2008): 165–78. http://dx.doi.org/10.1080/18125980902796841.
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Kubi, Benjamin. "Department of Ghanaian Languages and Linguistics, University of Cape Coast, Ghana." International Journal of Comparative Literature and Translation Studies 6, no. 2 (April 30, 2018): 43. http://dx.doi.org/10.7575/aiac.ijclts.v.6n.2p.43.
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Love, as a subject, has received a lot of attention in literature, particularly poetry. This is probably because poetry is traditionally seen as the creative exploration and expression of an individual’s emotion and passion. A genre of Ga oral poetry that has love as its primary subject is the adaawe songs which are sung by Ga maidens. This paper examines an aspect of Ga women’s discourse on love in the songs. Particularly, it examines how love is bemoaned. This was done based on the premise that, as a creative exploration and expression of individuals’ emotions and passions, adaawe songs contribute a unique commentary on the subject of love. Songs which were recorded and transcribed, as well as songs collected from Hamond’s (1970) Obɔade Lalai were analysed, paying attention to content and style. The analysis revealed that love is usually bemoaned when there is lack of continuous interest in a persona by the other party in a love relationship, or when there is a betrayal of love.
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M.C., Mark, Obed E.K., Gershon Y., and Rita N. "Nana Ama Adadziewaa!: The Voice Behind Popular Hit Songs in Ghana?" African Journal of Social Sciences and Humanities Research 5, no. 2 (April 21, 2022): 34–51. http://dx.doi.org/10.52589/ajsshr-vqi9bjg5.
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In this paper, we unravel the personality, musical exploits, challenges and contribution of Nana Ama Adadziewaa, Ghana’s iconic female background vocalist to the music industry. Using interviews, documents and audio reviews for data collection, we reveal that Nana Ama Adadziewaa’s voice is behind a corpus of popular hit songs in Ghana. Furthermore, her voice is heard on the Ghanaian airwaves nearly every day; however, this does not bring her any economic gains due to Ghana's poor royalty collection system. We conclude by eulogising Nana Ama Adadziewaa as a model of excellence in the background vocals of Ghanaian popular music and a significant contributor to the Ghanaian music industry. Subsequently, we recommend that the Ghana Music Right Organisation (GHAMRO) and relevant stakeholders enhance the royalty collection system in Ghana so that Nana Ama Adadziewaa and her contemporaries benefit as a matter of urgency from their hard work.
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Quayesi-Amakye, Joseph. "Coping with Evil in Ghanaian Pentecostalism." Exchange 43, no. 3 (September 3, 2014): 254–72. http://dx.doi.org/10.1163/1572543x-12341327.
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From songs, sermons and practices, this article examines the way Ghanaian Pentecostals address the question of evil and suffering. It approaches this from the perspective of common believers and leadership. The discussions reveal that there are multiple understandings, perceptions and interpretative tensions concerning how to cope with evil among Ghanaian Pentecostals. Whereas common believers approach it through what Opoku Onyinah calls ‘witchdemonology’, leadership considers this as inadequate. This is because common believers fail to understand the role of evil and suffering in human existence. As such they tend to promote the devil far above the Almighty God. According to leadership the presence of evil may not necessarily contradict God’s goodness and purpose. The paper concludes with some Biblical propositions in an attempt to resolve the apparent tension.
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Yitah, Helen. "Adaptations of Play Songs in Ghanaian Children’s and (Young) Adult Drama." Children's Literature Association Quarterly 42, no. 1 (2017): 65–90. http://dx.doi.org/10.1353/chq.2017.0004.
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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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Quan-Baffour, Kofi Poku. "In praise of mothers: Songs composed by Ghanaian musicians as tribute to motherhood." Muziki 6, no. 2 (November 2009): 260–69. http://dx.doi.org/10.1080/18125980903250871.
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Yitah, Helen. "Artistic Expression through (Re)Creation: Children’s Play Songs in Ghana." Utafiti 15, no. 1 (June 23, 2020): 45–64. http://dx.doi.org/10.1163/26836408-15010022.
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Abstract This paper examines rural Ghanaian children’s creative performance of play songs in the context of recent scholarship on children’s rights in children’s literature. This scholarship, which has focused mainly on written literature in western contexts, seeks to give serious literary attention to children’s creative expression and thereby uphold their rights to contribute to the artistic life and culture of their societies. Kasena children of northern Ghana exhibit creative agency in adapting traditional play songs to new situations, as they re-create and reinterpret communal idioms, imagery and symbols, thus generating new forms, new concepts and new meanings. I illustrate the aesthetic qualities and transgressive features of this phenomenon by drawing on relevant indigenous Kasem concepts about art and creative resistance. If taken seriously, this dynamic heritage of children’s poetry can help us see emerging play genres as an affirmation of children’s creativity, and prompt a redefinition of ideas about childhood.
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Nkansah, Samuel Kwesi. "stylistic study of patterned repetition in Ghanaian hiplife lyrics." Drumspeak: International Journal of Research in the Humanities 5, no. 3 (December 1, 2021): 29–49. http://dx.doi.org/10.47963/drumspeak.v5i3.844.
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This study is a stylistic analysis of the dominant patterned repetition – schemes – in Ghanaian Hiplife lyrics. Schemes constitute a broad range of repetitive structures in literature. They represent the grammatical or linguistic breach of expressions, literally, to allow further emphasis and attention through some elements of repetition manifested in the phonological, graphological or formal patterning of these expressions. Data for this study came from fourteen hit Hiplife songs released between 1994 and 2018. The data were analysed within Leech’s (1969) framework for the stylistic analysis of schemes. The analysis revealed that both free repetition and parallelism were used in the data. Free repetition manifested in various kinds, such as epizeuxis and ploce, while epistrophe, symploce, anadiplosis and epanalepsis were the kinds of parallelism found in the data. These schemes were used to achieve an aesthetic effect and also highlight the necessity borne out of spontaneity and artistry of delivery of message. The paper has implications for literary studies in schools as the data are readily available and familiar to current students Again, it has huge relevance to African Stylistics as the concept has been generally seen as alien to the African context.
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Djokpe, Michael Kwame. "The role and place of music in Dipo Ceremony amongst the Krobo people of Ghana: A cultural exploration." Research Journal in Advanced Humanities 1, no. 1 (February 15, 2020): 8–17. http://dx.doi.org/10.58256/rjah.v1i1.114.
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Dipo, like all puberty or initiation rites, is an initiation ceremony performed for young girls who are of puberty age among the people of Krobo in the Eastern Region of Ghana. The Dipo rite ushers girls of puberty age into womanhood. It is one important event, during which they perform different types of indigenous music. At such cultural event, Ghanaian indigenous music is consummately performed in its context playing vital roles in the ceremony. A Guide for the Preparation of Primary School African Music Teaching Manual (1999); propounds that “songs are like books in a culture that is based upon oral traditions. They are means of transmitting culture and knowledge…” (P.16). In Krobo custom, the women in the community provide music during the entire ceremony. According to Nyumuah (1998), the millet beer (ngmada) is prepared on Friday. In the midst of the brewing, the women dance around the fireplace to the tune of klama songs.
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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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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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De-Graft Aikins, Ama, and Bernard Akoi-Jackson. "“Colonial Virus”: COVID-19, creative arts and public health communication in Ghana." Ghana Medical Journal 54, no. 4s (December 31, 2020): 86–96. http://dx.doi.org/10.4314/gmj.v54i4s.13.
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Since March 2020, Ghana’s creative arts communities have tracked the complex facets of the COVID-19 pandemic through various art forms. This paper reports a study that analysed selected ‘COVID art forms’ through arts and health and critical health psychology frameworks. Art forms produced between March and July 2020, and available in the public sphere - traditional media, social media and public spaces - were collated. The data consisted of comedy, cartoons, songs, murals and textile designs. Three key functions emerged from analysis: health promotion (comedy, cartoons, songs); disease prevention (masks); and improving the aesthetics of the healthcare environment (murals). Textile designs performed broader socio-cultural functions of memorialising and political advocacy. Similar to earlier HIV/AIDS and Ebola arts interventions in other African countries, these Ghanaian COVID art forms translated public health information on COVID-19 in ways that connected emotionally, created social awareness and improved public understanding. However, some art forms had limitations: for example, songs that edutained using fear-based strategies or promoting conspiracy theories on the origins and treatment of COVID-19, and state-sponsored visual art that representedpublic health messaging decoupled from socio-economic barriers to health protection. These were likely to undermine the public health communication goals of behaviour modification. We outline concrete approaches to incorporate creative arts into COVID-19 public health interventions and post-pandemic health systems strengthening in Ghana.
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Mumuni, Thompson. "Early childhood pedagogy in a Ghanaian socio-cultural medley: A case study of two Kindergarten classrooms." Revista Brasileira de Gestão Ambiental e Sustentabilidade 6, no. 12 (2019): 3–19. http://dx.doi.org/10.21438/rbgas.061201.
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In a quest for quality-driven early childhood education settings, it is important to explore subtleties that define socio-culturally-relevant pedagogy that is often ignored in scholarly literature. To address this gap in literature, a qualitative multi-case study approach was used to explore four Kindergarten teachers views regarding early childhood pedagogy over a six-month in Kindergarten classrooms in Tata School and at Kariba School. This study sought to establish "Why does children's socio-cultural contexts influence choice of pedagogy in kindergarten classrooms". The study was framed by Bronfenbrenner's framework, ecological theory. The sources of data comprised semi-structured individual interviews, pair-interviews and field notes of classrooms observations. Both within and across case interpretative analysis was used. The study established that, participants in the two cases perceived that a socio-cultural context-based pedagogy such as learning materials, storytelling, traditional songs and traditional rhymes supported children's development in terms of their understanding of concepts, language development, cognitive and moral development, respectively.
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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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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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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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Danquah Darko, Isaac, Daniel Afrifa-Yamoah, Charles Djorbua, and Clementia Danquah Darko. "A Clash of Worlds: A Stylistic Analysis of Imrana’s ‘Imagine Say’." International Journal of Language and Literary Studies 4, no. 1 (February 2, 2022): 33–40. http://dx.doi.org/10.36892/ijlls.v4i1.727.
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The study explores creativity and innovation in the song (music video) ‘Imagine Say,’ by Imrana, a young Ghanaian musician. Adopting various theories and principles of Stylistics, the study identifies such creativity and innovation as parallelism, deviation, contrast, and other figures of speech, and what they foreground, in order to examine how effectively they contribute to the overall meaning and message of the song. The result indicates that the artiste adopts multimodality to express the meaning and message of the song. The diction, background scenes and chorus, sound effects, personification, repetition Parallelism, deviation, metaphor, and other figures of speech highlight the theme and meaning of the song, and thus help the audience to get the message – Discrimination and injustice against those who come from the streets (the poor and vulnerable) must cease. It is not by choice that they come from the streets; coming from the street does not make one a criminal; if any street person can be charged for any crime s/he must be given a fair hearing at a court of competent jurisdiction, rather than subjecting him/her to mob/instant justice.
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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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Kadhim Al-Khafaji, Ammar Shamil. "Ama Ata Aidoo’s Diagnose and Representation of the Dilemma of the African American Diaspora in her play Dilemma of A Ghost." Advances in Language and Literary Studies 9, no. 1 (February 1, 2018): 136. http://dx.doi.org/10.7575/aiac.alls.v.9n.1p.136.
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The research investigates in details about the influence of cultural differences in Postcolonial Ghana as presented in Ama Ata Aidoo's Dilemma of a Ghost. The play centers on the cross cultural marriage of young couple; Ato Yawson, a Ghanaian who recently completed his studies in the United States and returns home, and Eulali, his African American bride. Ghanaian playwright Ama Ata Aidoo expresses the consciousness of the diaspora of Ato Yawson and his wife and the final effort of Yawson’s mother to find a compromise. The husband is caught between the challenging demands of his wife and his family, He feels torn and irresolute as the folkloric ghost in the children's song in the play. Aidoo has a strong historical and political awareness of Africa's colonial past and post-colonial present, and the problems facing an African woman in Africa and outside it. She is like a physician, diagnoses the symptoms of the troubled postcolonial age in Africa. In her use of Dilemma tale technique, she raises difficult questions without easy solution leaving her readers to contemplate about. She calls for an action to resolve the painful dilemma of African life in a world of change where the past and present, tradition and modernity suffer a fierce conflict. The aim of the research is to prove that according to the concept of compensation there is neither absolute gain nor absolute loss for with every loss there is again and with every gain there is a loss. Without the concept of compromise the dilemma of diaspora will lead to catastrophic results.
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Shaibu, Iddrissu Adam. "Nyame Somafo Yaw: His Calling, Mission and Messiahship." Oguaa Journal of Religion and Human Values 5, no. 1 (January 1, 2019): 1–17. http://dx.doi.org/10.47963/ojorhv.v5i1.336.
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This paper explores the genealogy, call and mission of Nyame Somafo1 Yaw, the founder and leader of the Asomdwee Ntonton Nkabom Som2 Movement in Ghana. Nyame Somafo Yaw who claims to be the promised messiah of the world is not known to many people and not much has been written about him. The researcher had a personal interview with the self-acclaimed Messiah, his mother and some of his followers. Additionally, an unpublished book and the 2018 calendar of the movement were consulted. Nyame Somafo Yaw traces his genealogy from Arki/Akan, claiming that Arki was the grandson of Ham, one of the sons of Noah. Nyame Somafo Yaw also believes that the descendants of Arki/Akan migrated from Sidon in search of God’s Promised Land and ended up in the Central Region of Ghana, where the various patriarchal heads went their separate ways to occupy the land of their choice. Since his call, Nyame Somafo Yaw has gradually won the hearts of some Ghanaians and non-Ghanaians alike. The paper concludes that considering the current rate of expansion of the movement and if it continues to exert influence on its existing as well as new members, the movement will be a force to reckon in Ghana and in the world in
future.
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Quan-Baffour, Kofi Poku. "Africanising the Catholic Mass Celebration in Ghana: Recognising Cultural Identity or Agenda to Retain the Faithful?" Studia Historiae Ecclesiasticae 44, no. 2 (May 22, 2018). http://dx.doi.org/10.25159/2412-4265/2822.
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The Catholic Church started in Ghana in the 1500s. The missionaries of this Eurocentric Church prohibited its converts from practising their culture, for example the singing of folksongs, drumming, dancing and wearing of talismans in and outside the church, because they were deemed satanic, savage, fetish, heathen and ungodly. The missionaries’ perception was that Ghanaians did not know God and they—the missionaries—had come to Africa to “teach the Ghanaians” about God. Church premises were decorated with the cross and Christ images to facilitate full conversion of converts; whereas Ghanaian traditional, cultural and religious shrines for the veneration of “their” gods were destroyed. Church hymns were in Latin and English with few translations. However, in a noteworthy change of heart, over the past two decades Ghanaian drums, songs and dance were once again accepted into the Mass. This ethnographic study, which was undertaken to understand the sudden “U-turn” on Ghanaian culture, found that the change of attitude was to recognise African culture with the agenda of retaining the faithful in the wake of competition from emerging charismatic churches.
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Bentum, Samuel Ato, and Daniel Oppong-Adjei. "Beyond Laughter: An Analysis of Phonological Joke in A. B. Crentsil's Atia and Osookoo." Journal of Communication Inquiry, December 20, 2022, 019685992211417. http://dx.doi.org/10.1177/01968599221141740.
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Phonological joke is an area that appears to be under-studied especially in its application to the analysis of humor in a given setup such as Ghana. This study explores the concept of phonological joke in the songs, Atia and Osookoo by the Ghanaian musician, A. B. Crentsil, paying attention to the critical issues that are embedded in the songs. These selected highlife songs are conveniently sampled in order to capture the elements of phonological joke. Phonological joke is explained as a type of humor that parodies the sound of another language for an effect other than simply amusement. This study's application of phonological joke, as an interpretative framework, is borne out of the views shared by phonological joke theorists, Adrjan & Muñoz-Basols. At the end of the study, the findings reveal that A. B. Crentsil uses phonological parallelism and paradigmatic associations to foreground the conveyance of critical messages such as: stereotyping certain ethnic group(s) and mixed or cross-cultural gender representations. The major implication of this study is that the utility of humor in Ghanaian music goes beyond amusement to convey critical issues. This study contributes to the on-going pedagogical understanding of phonological joke in the Ghanaian highlife culture.
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Thompson, Rachel G. A., Jerry John Nutor, and Julene K. Johnson. "Communicating Awareness About COVID-19 Through Songs: An Example From Ghana." Frontiers in Public Health 8 (January 18, 2021). http://dx.doi.org/10.3389/fpubh.2020.607830.
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Research has shown that music can be used to educate or disseminate information about public health crises. Grounded in the edutainment approach, we explored how songs are being used to create awareness about COVID-19 in Ghana, a sub-Saharan African country. YouTube was searched, and 28 songs met the study inclusion criteria. We conducted a thematic analysis of the song lyrics. Most lyrics were in English, Ghanaian Pidgin English, Akan, Ga, or Dagbani. Reflecting the multilingual population of Ghana, half of the songs contained three languages to convey their message, and only five songs were in one language. Eight themes emerged from the analysis: public health guidelines, COVID-19 is real and not a hoax, COVID-19 is infectious, prayer as method to stop the virus, emotional reaction and disruption of “everyday” activities; verbally expelling the virus, call for unity and collective efforts, and inspiring hope. We show that songs have the potential as a method for rapidly sharing information about emerging public health crises. Even though, it is beyond the scope of this study to draw conclusions about the reception and impact of songs on awareness and knowledge, the study shows that examining song lyrics can still be useful in understanding local attitudes toward COVID-19, as well as strategies for promoting preventive behaviors. We note that additional multidimensional efforts are needed to increase awareness among the general public about the COVID-19 pandemic.
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-, Peter Obeng, John Kofi Brewu -, and Edward Opoku -. "Use of Indigenous and Folk-Game Songs for Teaching and Learning in Early Childhood Education Setting." International Journal For Multidisciplinary Research 4, no. 6 (December 7, 2022). http://dx.doi.org/10.36948/ijfmr.2022.v04i06.1111.
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The purpose of the study was to collect some indigenous and folk-game songs that are developmentally appropriate for teaching and learning in early childhood education setting. The research identified some of the repertoire pre-school children use during musical activities and collected some indigenous songs and folk game songs for teaching and learning in early childhood settings. The researchers Adopted qualitative research approach supported by interpretivists’ paradigm and implemented the case study strategy. Purposive sampling technique was used to select twenty five participants (twenty pupils, four teachers, and one early childhood coordinator).The schools were conveniently selected. The instruments used were interview, observation and Ghanaian pre-school Creative Arts Curriculum. Findings revealed that indigenous and folk games songs in teaching would bring pre-school children to interact with environment since teachers will be compared to prepare teaching and learning aids using local materials of which pupils may be conversant with and this will make concept learning easier. The implication is that the use of Indigenous materials for teaching music are in line with the multiple intelligences by Gardner as it echoes cultural education and total development of the child. Teachers should not exhaust the early childhood music curriculum with Western and contemporary music, and leave no room for Ghanaian children’s indigenous and folk songs. Teachers should also apply diverse pedagogical strategy to unearth children’s musical intelligences through the use of indigenous and folk game songs.
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Amparbin, Ernest Francis, and Eric Debrah-Otchere. "The Use of Cymatics: Changing Face of Music Teaching and Learning in Ghanaian Schools." E-Journal of Music Research, January 12, 2023, 1–13. http://dx.doi.org/10.38159/ejomur.2023311.
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Functionally, Music and Science have a lot in common to offer humanity and are largely inseparable. However, very little attention is paid to an exploration that would expose music educators to the complementarity of music and science in their pedagogical approaches to music learning. The paper, therefore, focuses on the use of science in music to initiate innovation in music education through Cymatics. Using the experimental approach and Cymatic setup, the three main Ghanaian musical types and randomisation and five songs were selected from a collection of twenty songs based on the three musical types to generate cymatic figures which were induced by frequencies and amplitudes. It was observed that the figures created from the three Ghanaian musical types possessed some similarities, yet they uniquely stood out as a brand. It was also detected that melodies produced more figures than harmonised songs. The consumable sound levels (20 to 20000 Hz) were found to produce legible figures for use in other ventures. The study recommends that Music educators should record and use the generated frequencies and amplitudes for replication to aid comprehension in the teaching and learning process. Keywords: Cymatics, music teaching, science and music education
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ARHTUR, PETER, and CONFIDENCE GBLOLO SANKA. "When Ghanaian Traditional Songs become Modern: Cultural Replication of the Traditional Responsible Woman in the Modern Gold Digger Woman." All Nations University Journal of Applied Thought, November 20, 2020, 136–50. http://dx.doi.org/10.47987/ffrr2788.
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The fluidity of the text allows a mode of textual constitution by the user. Through an ethnographic research and a performance/literary analysis, this paper, interrogates the Akan patriarchal power construction which takes advantage of the fluidity of text. The paper investigates this cultural phenomenon by examining the replication of the traditional “bragorͻ” song texts in modern popular highlife and hiplife song texts. The Akan patriarchal community constructs power by manipulating the codes in the original “bragorͻ” song text and that this manipulation is possible because the copy of the original “bragorͻ” text develops ideological shift through a process of meaning change, a change that is closely related to Akan gender power relations. The Akan patriarchal community therefore uses the fluidity of the text as a resource to maintain power over the woman. A very interesting aspect pertaining to this development is that this power manipulation disguises itself in modern popular songs which are normally not taken serious by the Ghanaian intelligentsia. And so, though very compelling this power construction may be, it manages to stay away from both academic and public discourses and thus grows bigger and bigger with time without being noticed. The paper recommends that educational planners should seriously add the study of contemporary culture and what it holds for the development of Ghana to both the senior high and tertiary curricula. Keywords: Fluidity of Text, Ethnographic Research, Akan Patriarchal Community, Power Construction and Modern Gold Digger.
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Nortey, Naa Korkor Leeyoo Watson. "Dilemma Motives in Contemporary Ghanaian Hilife Songs: Paapa Yankson’s ‘Woyer Anaa WoMaame’in Perspective." International Journal of Humanities & Social Studies 9, no. 8 (August 31, 2021). http://dx.doi.org/10.24940/theijhss/2021/v9/i8/hs2108-025.
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Owusu-Poku, Ernest. "Ghanaian highlife sound recordings of the 1970s: the legacy of Francis Kwakye and the Ghana Film Studio." Popular Music, June 15, 2021, 1–18. http://dx.doi.org/10.1017/s0261143021000143.
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Abstract There is a striking variance between the sounds of highlife music recorded in the 1950s and 1960s and that of the 1970s. This difference can be attributed partly to the advancement of recording technology, a shift from shellac to vinyl records as well as the advent of multi-track tape recorders in Ghana. The 1970s had a unique highlife sound that can be situated within and explained by the socio-cultural context of recording approaches embraced by studio engineers. This paper investigates the technological approaches to the production of highlife songs at the Ghana Film Studio (GFS) and how they reshaped the highlife soundscape in the 1970s. It also draws attention to the influence of Francis Kwakye, the then resident recording engineer of GFS as a case study to explore highlife sound on records within this period. Employing document review, audio review, observations and interview for data collection, the paper reveals that the engineering techniques and tools employed on the recordings were socio-culturally influenced and constructed to resonate with the Ghanaian identity of the time. It further argues that the recording activities have been guided largely by a new imagination of the highlife sound recordings framed within a certain Ghanaian nationalistic context. The paper concludes that the methods employed to record highlife music of the 1970s were masterminded essentially from a Ghanaian socio-cultural sound perspective.