Towards this end, I will adopt a double focus on gospel music as media content as well as congregational performance practice. [End Page 102] Analytically, my argument draws on both the close reading of selected gospel music videos,2 as well as ethnographic data that emerged from my ongoing research in Accra and elsewhere in southern Ghana since 2006. My experiences with Charismatic worship have focused particularly on the ministry of a smaller church in the Teshie-Nungua Estates in the southeast of the Accra metropolitan area, Christ Victory Ministries International, which I regularly attended between 2006 and 2009 and since then on a non-regular basis whenever I happen to be in Accra. Over the course of the past seven years I had the chance to participate in and observe church services and other programs at Christ Victory on many occasions, to conduct formal interviews with church officials and musicians, as well as to engage in innumerable informal conversations with congregation members and to form lasting friendships with some of them. In 2011, I additionally embarked on a study of the reception of gospel music videos consisting of a series of focus group discussions with graduate students at the University of Cape Coast.3 On a more personal note and to position myself within this ethnographic setting, I...
That gospel music is the fastest growing genre of music in the country even today cannot be contended. That gospel music and musicians are the most critiqued, yet the less recognised cannot be gainsaid. That gospel music holds Ghana music, performance-wise is a truism.
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Gospel music is a whole industry; the genre has sustained the music industry all this while. That is why when there is a seeming decline in the kind of gospel songs churned out in recent times, it becomes a topical issue.
There is a school of thought that the spirit-filled effect of gospel songs these days is rare. The school believes that messages in the songs are not as edifying as they used to be. The argument is even extended to the caliber of the artistes: that gospel had seen better days, not what exists now.
If the Charismatic movement played a major role in influencing modern day gospel music, it did not leave in its tract, tradition. Traditional music forms such as agbadza, asafo, adowa, borborbor and jama, which has been popularised in recent times by the youth, have all been part of the gospel agenda.
Regardless, I recollect many era of trends in the gospel. A special mention of the Ahensan Gospel Band and Prof. Kofi Abraham from the Ashanti Region readily influenced gospel. Wofa Asomaning did his bit, as I grew up to his unique repertoire. Legend Yaw Sarpong with his Asomafo Band, who has over 25 albums to his credit, has relived generations, and till today, performs and sheds some relevance on the industry.
If the Charismatic movement is a portent to modern or contemporary gospel, then Pentecostalism has Elder Mireku to thank: phenomenon minister of the gospel, and female stars Esther Nyamekye and Comfort Annor.
The springing up of music groups, especially campus ministrations, as part of the evangelistic movement, saw the birth of Joyful Way Incorporated in 1972. The group, which has 13 albums in its 45 year history, cannot miss out in the annals of the success of gospel music in Ghana.
If today you enjoy the likes of Joe Mettle, Akese Brempong, Denzel Agyemang-Prempeh, KODA and the many contemporary gospel music talents, then these forerunners, who blazed the trail of gospel music in the early Charismatic era need special mention: Tom Bright Davis, Rev. Eric Kwarpong, Ola Williams, Danny Nettey, Rev. Okasa Lamptey, to mention a few.
Gospel music retains a pivotal role in the Ghanaian music industry, showcasing a complement of distinctive and talented artists. This article will take you through some of the leading Ghanaian gospel artists that have impacted the music industry with their sensational hits and uplifting spiritual messages.
1. Joe Mettle: Joe Mettle is undoubtedly one of Ghana's top gospel artists, known for his outstanding talent and remarkable contributions to the music industry. He is the first Ghanaian to win the VGMA Artist of the Year Award.
2. Diana Hamilton: Diana Hamilton has been a significant figure in the gospel music scene, recognized for her extraordinary passion and enchanting voice. Receiving several awards, Hamilton's music continues to inspire and evoke spiritual growth.
3. Celestine Donkor: Celestine Donkor is an inspirational gospel artist hailed for her dynamic vocals and powerful songs. Known as the 'Gospel Soldier', Donkor's music provides spiritual upliftment and draws listeners nearer to God.
4. KODA: KOFI Owusu Dua Anto, popularly known as KODA, is a sensational gospel musician, songwriter and talented music producer. He is celebrated for his African flavor in his tunes and beautifully crafted lyrics.
5. Joyce Blessing: Joyce Blessing's music is distinctive, characterized by her lively and spirited performances. With her unique fusion of native rhythms and Western harmonies, her songs provide an enriching and refreshing gospel experience.
9. Sonnie Badu: Sonnie Badu is an internationally acclaimed gospel artist known for his dynamic performances. His music style, a fusion of African rhythms and contemporary gospel, makes him appealing to a broad audience.
12. Amy Newman: Amy Newman, with her iconic voice and impressive track record, is undoubtedly a legend of Ghanaian gospel music. Newman's body of work continues to provide spiritual inspiration to many.
13. Bernard Amankwah: Known for employing a dynamic mix of contemporary and traditional styles, Bernard Amankwah's songs resonate with many and continue to augment his reputation in the gospel music industry.
Internationally acclaimed Nigerian gospel singer Nathaniel Bassey, who is currently in Ghana for the Jesus Christ Encounter Convention alongside fellow Nigerian ministers Dunsin Oyekan and Evangelist Enitan Adaba, has stirred controversy with his recent comments during a ministerial visit to the country.
During his ministration, Bassey went on to offer his perspective on how Ghanaian singers could enhance their craft and garner international recognition. In a surprising twist, he urged them to reduce the use of their native language, Twi, in their songs.
The year 2022 has gloriously come to a close as creatives in the Christian and gospel space wrap up to embrace what God has for the new year 2023. Among the most important things are the songs and Psalms released by prolific ministers in the year 2022.
Gospel music in Ghana has garnered much popularity and respect over the years with 2022 being astonishing and more power-packed than the previous years. Record labels, music groups, choirs, quartets, duets, and covers were proficient in the delivery of Christ-centered songs that were intended to churn the hearts of saints to God amidst the perils of the day.
Ghanaian Gospel music is a genre of Christian music that originated in Ghana. It is a blend of traditional African rhythms and melodies with contemporary gospel music. It is characterized by its upbeat, joyful sound and its use of traditional African instruments such as drums, xylophones, and bells. The lyrics are often in English, Twi, or Ga, and focus on praising God and spreading the gospel message. Ghanaian Gospel music is popular in churches and is often used in worship services.
In recent times, the industry has witnessed a crop of Gospel musicians who have incorporated foreign styles and beats into our conventional styles, this kind they call Contemporary Gospel Music. Some of these songs has a mix of genres like RnB, Pop and ballads. In the last five years, such record producing artists include Cwesi Oteng, Joe Mettle, No Tribe, Eugene Zuta, KODA, Joyce Blessing, Sonnie Badu amongst a few other contemporary choirs.
My question to all these contemporary gospel artist is, who will buy your product if no one knows it exists? Certainly not me. They spend all their investments on concerts rather than promoting the songs to be heard around the world as a form of evangelism.
The annual concerts are filled by same audience that cut across every concert and that brings patrons of these environment into a very small circle with a delusion that once the songs are been sung in a few modern day churches, the songs are known. This frame of mind has influenced the actions of the contemporary Gospel artists and has deterred potential investors from plying the industry.
PA Ghanaian gospel artiste based in UK, Edward Amponsah, has cautioned worship and praise leaders to be selective in the kind of songs they use during worship and praise ministrations.
According to US-based gospel songstress, Millicent Yankey promoting Ghanaian music in the United States is restricted. She attributed this problem to a handful of online media platforms. Therefore reaching a wider audience is difficult.
She stated that gospel musicians based in the US are forced to come to Ghana to promote their music. This is because there are numerous media platforms in the country and the a higher possibility of reaching a wider audience.
Over the years, the Ghanaian gospel music scene has seen a transformation from the traditional highlife and reggae rhythm to the fusion of the hip-hop element and culture. Musicians who fall under this category mostly sing or rap in English with the lyrics more focused on praising God.
Pioneers of this new genre were subjected to criticisms by a section of the public who asserted that their style was rather worldly. Despite claims that such genre of gospel music was for the night club which is against Christian norms, the gospel musicians have firmly stood by their reason.
Currently, many of the Ghanaian gospel music videos are competing with the secular music videos. The improvement in costume, editing, special effects and other features accompanying gospel music videos cannot be overemphasised. 17dc91bb1f
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