The traditional musicology of Ghana may be divided geographically between the open and vast savanna country of northern Ghana inhabited by Ghanaians of Gur and Mande speaking groups; and the fertile, forested southern coastal areas, inhabited by Ghanaians speaking Kwa languages such as Akan.[7]
During the Gold Coast era, the area was a hotbed of musical syncretism. Rhythms especially from gombe and ashiko, guitar-styles such as mainline and osibisaba, European brass bands and sea shanties, were all combined into a melting pot that became high-life.
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Ghana became an independent nation in 1957. The music of Ghana often reflects a Caribbean influence, yet it still retains a flavour on its own. While pan-Ghanaian music had been developed for some time, the middle of the 20th century saw the development of distinctly Ghanaian pop music. High-life incorporated elements of swing, jazz, rock, ska and soukous. To a much lesser extent, Ghanaian musicians found success in the United States and, briefly, the United Kingdom with the surprise success of Osibisa's Afro-rock in the 1970s.
In the 1930s, Sam's Trio, led by Jacob Sam (Kwame Asare), was the most influential of the high-life guitar-bands. Their "Yaa Amponsah", three versions of which were recorded in 1928 for Zonophone, was a major hit that remains a popular staple of numerous high-life bands. The next major guitar-band leader was E. K. Nyame, who sang in Twi. Nyame also added the double bass and more elements of the Western hemisphere, including jazz and Cuban music on the recommendation of his producer and manager E. Newman-Adjiri. In the 1960s, dance high-life was more popular than guitar-band high-life; most of the guitar bands began using the electric guitar until a roots revival in the mid-1970s.
Dance highlife evolved during World War II, when American jazz and swing became popular with the arrival of servicemen from the United States and United Kingdom. After independence in 1957, the socialist government began encouraging folk music, but highlife remained popular and influences from Trinidadian music. E. T. Mensah was the most influential musician of this period, and his band The Tempos frequently accompanied the president. The original bandleader of The Tempos was Guy Warren, who was responsible for introducing Caribbean music to Ghana and, later, was known for a series of innovative fusions of African rhythms and American jazz. Ebo Taylor, King Bruce, Jerry Hansen (musician) and Stan Plange also led influential dance bands during the 1950s and 1960s. By the 1970s, however, pop music from Europe and the US dominated the Ghanaian scene until a mid-1970s roots revival.
By the beginning of the 1970s, traditionally styled highlife had been overtaken by electric guitar bands and pop-dance music. Since 1966 and the fall of President Kwame Nkrumah, many Ghanaian musicians moved abroad, settling in the US, and UK. High-life bands arose like Sammy Kofi's (also known as Kofi Sammy). In 1971, the Soul to Soul music festival was held in Accra. Several legendary American musicians played, including Wilson Pickett, Ike and Tina Turner and Carlos Santana. With the exception of Mexican-American Santana, these American superstars were all black, and their presence in Accra was seen as legitimizing Ghanaian music. Though the concert is now mostly remembered for its role as a catalyst in the subsequent Ghanaian roots revival, it also led to increased popularity for American rock and soul. Inspired by the American musicians, new guitar bands arose in Ghana, including Nana Ampadu& the African Brothers, The City Boys and others. Musicians such as C. K. Mann, Daniel Amponsah and Eddie Donkor incorporated new elements, especially from Jamaican reggae. A group called Wulomei also arose in the 1970s, leading a cultural revival to encourage Ghanaian youths to support their own countryman's music. By the 1980s, the UK was experiencing a boom in African music as Ghanaian and others moved there in large numbers. The group Hi-Life International was probably the most influential band of the period, and others included Jon K, Dade Krama, Orchestra Jazira and Ben Brako. In the middle of the decade, however, British immigration laws changed, and the focus of Ghanaian emigration moved to Germany.
The Ghanaian-German community created a form of highlife called Burger-highlife. The most influential early burgher highlife musician was George Darko, whose "Akoo Te Brofo" coined the term and is considered the beginning of the genre. Burgher highlife was extremely popular in Ghana, especially after computer-generated dance beats were added to the mix. The same period saw a Ghanaian community appear in Toronto and elsewhere in Canada. Pat Thomas is probably the most famous Ghanaian-Canadian musician. Other emigres include Ghanaian-American Obo Addy, the Ghanaian-Swiss Andy Vans and the Ghanaian-Dutch Kumbi Salleh. In Ghana itself during the 1980s, reggae became extremely popular.
By the late 1990s, a new generation of artists created a new genre of music called Hiplife.[8] The creator of this style is Reggie Rockstone, a Ghanaian musician who dabbled with hip-hop in the United States before finding his unique style. Hiplife basically was hiphop in the Ghanaian local dialect mixed with elements of the traditional High-life.[9] Ace music producer Hammer of The Last Two unveiled artistes including Obrafour, Tinny and Ex-doe who further popularized the Hiplife music genre respectively. Hiplife has since proliferated and spawned stars such as Reggie Rockstone, Sherifa Gunu, Ayigbe Edem, Samini and Sarkodie. Producers responsible for steering this genre to what it is today were Hammer of The Last Two, Ball J, EL and Jupitar Dancehall Artiste.
Ghanaian hip hop is a subculture and art movement which developed in Ghana during the late 1990s. The hiphop genre came into existence in Ghana through Reggie Rockstone, who is known as the hiplife father[10] and other notable musicians such as Jayso and Ball J. It first came to Ghana as Hiplife where Reggie Rockstone introduced a fusion of hiphop beats with African sounds to create a whole new genre known as Gh hiphop.
In the late 2000s, a new generation of artists introduced the Afro beats genre into the Ghana music scene which is mostly referred to as Afro-pop. 4x4 and Fuse ODG among others popularized it and it has become part of the Ghanaian music Culture.
The musical traditions of the northern Ghana are part of the larger Sahelian musical traditions. It includes lyrical compositions on stringed instruments like the kologo lute and the gonjey fiddle, wind instruments like flutes and horns, and voice, as well as polyrhythms clapped or played on the talking drum, gourd drums, and breckets bass drums. Gyil (balafon) music is also popular, especially in northern Ghana near Wa and Lawra. Melisma plays a key role in melodic and vocal styles in northern genres, and music is generally set to a minor pentatonic or chromatic scale. Griot or praise-singing traditions have a long history in Africa.
Electric guitar bands and pop-dance music had surpassed traditional highlife by the beginning of the 1970s. Burger-highlife is a kind of highlife originated by the Ghanaian-German community. Burgher highlife was immensely popular in Ghana, especially following the addition of computer-generated dance rhythms. Reggae became highly popular in Ghana throughout the 1980s.
Hiplife was discovered by a new generation of musicians in the late 1990s. Reggie Rockstone, a Ghanaian artist who experimented with hip-hop in the United States before developing his own style, is the creator of this style. Hiplife was essentially hip-hop in the Ghanaian native vernacular, with elements of traditional High-life thrown in for good measure.
A new generation of singers brought the Afro beats genre, often known as Afro-pop, to the Ghanaian music industry in the late 2000s. It was popularized by artists such as 44 and Fuse ODG, among others, and has now become part of Ghanaian music culture.
Tourism in Ghana is regulated by the Ministry of Tourism, Arts and Culture. This ministry is responsible for the development and promotion of tourism related activities in Ghana. Tourist arrivals to Ghana include visitors from South and Latin America, Asia and Europe.
Tourists come to Ghana to enjoy its all year round tropical warm climate and its wildlife. Ghana boasts waterfalls (such as Kintampo Waterfalls and the largest waterfall in West Africa, the Tagbo Falls, Ghana's palm-lined sandy beaches, caves, mountains, rivers, meteorite impact crater.
Other attractions include reservoirs and lakes such as Lake Bosumtwi or Bosumtwi meteorite crater and the largest man-made lake in the world by surface area, Lake Volta. Ghana also has dozens of castles and forts, UNESCO World Heritage Sites, nature reserves and national parks.
The Ministry of Tourism, Arts and Culture (MoTAC) is to facilitate the interface between government, implementing bodies in tourism, culture, and the creative industries as well as international civil society partners. The Ministry is to develop sustainable tourism pivoted on Ghanaian culture and creative arts as a key to accelerated national development. MoTAC executes its mandate through implementing agencies and currently has thirteen (13) institutions as its main frontline and key implementing agencies
Akwaaba! (Welcome), to West Africa, precisely Ghana where I live, my name is Isaac Agyemang Badu. After my basic education, I pursued Music Education and Theology and Community Development at Vineyard School of Music and Ghana Christian University College respectively.
Currently, in my country, most of the citizenry are Christians, but most rural communities have been abandoned, because missionaries (evangelists) are drawn to the urban folks, leaving the former in abject poverty, ancestral worship, witchcraft, diseases and the like. In addition, seeking for local assistance (financial) and partnership most often does not yield much, because most Christian groups and organizations focus on themselves. 152ee80cbc
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