CONTENTS

A.B. Assensoh Foreword ix
Acknowledgments xiii

Introduction: The Inception of My Ideology:
Formations, Research Method, and Preamble 1

1
Evolution and Transformation of Highlife Musical
Tradition in Ghana 11
2
“Her-Storical” Legacy:
Female Highlife Musicians in Ghana 23
3
Resistance and Survival: The Trailblazing Stories 41
4
Female Musical Compositions: She Advocates and I Analyze! 69
5
The New Deal: New Era of Contemporary Ghanaian Music:
From Globalization to Modernization 87
Conclusion
Future Research, Theoretical Queries, and Underpinnings 103

Appendix 1: Ghana Travel Map 107
Appendix 2: Samples of Ghana Cedi Currency 109
Appendix 3: Loaded Highlife Musical Discs 111
Appendix 4: Interview with Professor Kwabena Nketia 113
Appendix 5: Interview Photos 119
Appendix 6: Song Lyrics 127

Glossary 155
Bibliography 157
Index 165
About the Author 171

CONTENTS

I. Foreword 6

II. Critical acclaim for Osibisa 9

III. Prologue 14

IV. Early Days
Asante roots 39
Highlife 46
Mr Duker and The Comets 50
Cool Brittannia 55
Roots of Afro Rock 60
Ginger Baker and the surge of excitement 64
Underground alternative 72

V. Afro Rock Years
Star attraction 85
From The Rolling Stones to the Royal Ballet 91
Empire of the sun 101
Soul Food And The Jacksons 104
Stir It up 109
Something is seriously rotten … 113
The Lagos jinx 131
Flight of the Elephant 139
Rolf Harris and the didgeridoo 149
Ragtime 154
Mighty men of Osibisa157
In brotherhood we stand 161
Black magic gremlins 168
Fire in the rain177
Land of the prophet 180
Record sales don’t lie 185
Sunset 188
Osibisa forever 192

VI. Epilogue 195
VII. Sources 201
VIII.Osibiography 203
IX.Osibifile 206

CONTENTS

PART 1

Preface  5

The History of Concert Parties 8
The Actors, the Comedians 30
Humor in the Plays 36
Music and Dancing 40
Presentation 50
Thematic Sources 57
Comedians and Their Audience 63
Audience Response 68
The Social Functions of the Plays 74

Appendix 83
Notes and References 97

PART 2

Note on the Transcripts of Two Concert Parties 101
“The Jealous Rival” 103
“The Ungrateful Husband” 129

CONTENTS

Acknowledgments ix
Note on Orthography xi

1
Introduction 1

2
Reading Blackface in West Africa
Wonders taken for signs 17

3
“The Rowdy Lot Created the Usual Disturbance”
Concerts and emergent publics, 1895-1927 53

4
“Ohia Ma Adwennwen,” or “Use Your Gumption!”
The pragmatics of performance, 1927-1945 78

5
Improvising Popular Traveling Theatre
The poetics of invention 104

6
“This Is Actually a Good Interpretation of Modern Civilization”
Staging the social imaginary, 1946-1966 133

Epilogue 159

Notes 163
Bibliography 173
Index 187

CONTENTS

Introduction 1

Chapter 1 Early Days 9
Chapter 2 The War and The Early Tempos 13
Chapter 3 The King of Highlife 18
Chapter 4 Satchmo 23
Chapter 5 Independence 27
Chapter 6 Travels in West Africa 29
Chapter 7 The Trip to England 37
Chapter 8 Problems of a Band Leader 42

Discography 49

CONTENTS

Foreword  vii

Chapter 1 Early Days 1
Chapter 2 The War and The Early Tempos 5
Chapter 3 The King of Highlife 11
Chapter 4 Satchmo 17
Chapter 5 Independence 21
Chapter 6 Travels in West Africa 25
Chapter 7 The Thp to England 35
Chapter 8 Problems of a Band Leader 41

Discography 49

Overview of Highlife 53

CONTENTS

Preface Flemming Harrev

Chapter 1 John Collins
An Introduction to the Early History of West African Highlife Music
Palm-Wine and Guitar-Band Highlife       
Brass-Band, Adaha and Konkomba Highlife        
Dance-Band Highlife

Chapter 2 Early Days
Early Musical Influences
Local Music in the Area
Achimota College

Chapter 3 Learning the Trompet
Taking Up the Trompet
Finding a Place to Rehearse
The London Jazz Scene

Chapter 4 Back in Accra with the Accra Orchestra
Stock Arrangements and Highlifes
Part-Timers
Falling between Two Stools
Leaving the Accra Orchestra

Chapter 5 First Generation Black Beats
The Influence of Louis Jordan
Those Days of Sharing
Saka Acquaye Leaving
Early Repertoire
First Recordings

Chapter 6 The Golden Age of the Black Beats
Louis Armstrong and the Goatee Beard Look
The Lead Singers

Chapter 7 The Second Generation Black
Beats and the ‘B.B.’ Bands
Into the Limelight Again
Foul Play
Playing or Promotion?
The Seven ‘B.B.’ Bands

Chapter 8 Music Problems and Music Unions
The Musicians Unions
Royalties
MUSIGA
Spinners and Copyright Laws
Music Pirates

Chapter 9 Present and Future Plans
Future of Live Bands
The Pull of Music

Chapter 10 Black Beats’ Songs – Comments and Translations

Chapter 11 Flemming Harrev
 A Discography of the Black Beats

Index
Photos

CONTENTS

Aknowledgements xi
Foreword xix
From The Author xxi

Chapter 1
A Dream from a distance 1
Chapter 2
Water for roots 21
Chapter 3
All In a name 43
Chapter 4
 Sound, song and rhythm 63
Chapter 5
Louder than words 89
Chapter 6
Onyina 111
Chapter 7
Tete Wo Bi Ka, Tete Wo Bi Kyere 129
Chapter 8
Pieces of a world in scales 153
Chapter 9
Why we sing 169
Chapter 10
The sun sets away from home 199
Chapter 22
On the shoulders of legends 217
Chapter 12
Akora Dua Kube 241
Cliapter 13
A charge to keep 261
Chapter 24
How far the sound travels 275

Index 313

CONTENTS

OPUS xi

FOUR-BAR INTRO
“The Shape of Jazz to Come”  1

VAMP IN, HEAD
Acoustemology in Accra: On Jazz Cosmopolitanism 11

FIRST CHORUS, WITH TRANSPOSITION
Guy Warren / Ghanaba: From Afro-Jazz to Handel via Max Roach 51

SECOND CHORUS, BLOW FREE
Nii Noi Nortey: From Pan-Africanism to Afrifones via John Coltrane 87

THIRD CHORUS, BACK INSIDE
Nii Otoo Annan: From Toads to Polyrhythm via Elvin Jones and Rashied Ali 119

FOURTH CHORUS, SHOUT TO THE GROOVE
Por Por: From Honk Horns to Jazz Funerals via New Orleans 159

HEAD AGAIN, VAMP OUT
Beyond Diasporic Intimacy 199

“DEDICATED TO YOU” 245
HORN BACKGROUNDS, RIFFS UNDERNEATH 249
THEMES, PLAYERS 299

CONTENTS

1 Executive Summary 11
1.1 Introduction 11
1.2 Country Profile 11
1.3 The Creative Industries in Ghana 11
1.4 Music Sector Overview 12
1.5 Market Characteristics 12
1.6 Regional and Local Sector Dynamics 13
1.7 Regulatory Framework 13
1.8 Economic Value Analysis 13
1.9 Social Contribution 15
1.10 Industry Infrastructure 16
1.11 International Dynamics 17
1.12 Linkage with other Sectors 17
1.13 SWOT Analysis 17
1.14 Recommendations 18
1.15 Conclusion 19

2 Introduction 20
2.1 Project Background 20
2.2 Objectives 20
2.3 Scope of Work 20
2.4 Justification 21
2.5 Methodology 22
   2.5.1 Sources of Data 22
   2.5.2 Sampling Techniques 24
2.6 Limitations 24
2.7 Conclusion 24

3 Country Profile 26
3.1 Introduction 26
3.2 Political Environment 26
3.3 Economic Environment 27
3.4 Social Dynamics 29
3.5 Technological Factors 31
3.6 Country Outlook 31
3.7 Conclusion 32

4 The Creative Industry in Ghana 33
4.1 Overview 33
4.2 Characteristics of the Creative Industry in Ghana 34
4.2.1 Overview 34
4.3 Conclusion 36

5 Music Sector Overview 37
5.1 Historical Perspective 37
   5.1.1 Overview 37
   5.1.2 Music Genres 37
5.2 Industry Oversight 42
5.3 Professional Organizations 45
   5.3.1 Creators Associations 45
   5.3.2 Producers Associations 46
   5.3.3 Collective Management Organization (CMO) 47
5.4 Current State of the Sector – Challenges and Opportunities 48
5.5 Porter‘s Five Forces Model 48
5.6 Conclusion 49

6 Market Characteristics 51
6.1 Overview of Music Value Chain 51
6.1.1 Typical Music Value Chain around the World 51
6.1.2 Music Value Chain in Ghana 52
6.2 Volume of production by Type 75
6.3 Conclusion 78

7 Regional and Local Sector Dynamics 79
7.1 Regional Features of the Sector 79
7.2 Conclusion 93

8 Regulatory Framework 94
8.1 Review of Regulations 94
8.2 Review of Policy Documents 97

9 Economic Value Analysis 101
9.1 Introduction 101
9.2 Employment Characteristics 101
   9.2.1 Size of the Sector 101
   9.2.2 Characteristics of Employment 103
9.3 Value of Sector (Revenue Sources and Estimation) 124
   9.3.1 Framework for Analysis 124
   9.3.2 Domestic Revenue Estimation 126
9.4 Contribution to GDP 131
9.4.1 Summary of GDP 131

10 Social Characteristics & Contribution 132
10.1 Social characteristics of the sector 132
10.1.1 Creators 132
10.1.2 Business Category 133
10.2 Overview 141
10.3 Sociological aspects of music 141
10.4 Benefits of music 141
10.5 Social groups and events 142
   10.5.1 Social circles in Ghana 142
   10.5.2 Choral groups 142
   10.5.3 Traditional/folkloric bands 145
   10.5.4 Public bands 148

11 Industry Infrastructure 150
11.1 Introduction 150
11.2 Training Institutions 150
   11.2.1 Educational Institutions 150
   11.2.2 Capacity Building Institutions 153
11.3 Manufacturers 155
   11.3.1 Local Instrument Manufacturers 155
   11.3.2 Audio/Visuals 158
11.4 Digital Music Downloads 159
11.5 Event organisers and Venues 160
   11.5.1 Data analysis – Event organisers 162
   11.5.2 Data analysis – Venue operators 163

12 International Dynamics 166
12.1 Ghanaian music abroad 166
   12.1.1 Live performances 166
   12.1.2 International awards 166
   12.1.3 Operational base of music distributors 167
12.2 Exposure of tourists to Ghanaian music 167
12.3 Volume of Exports 170

13 Linkage with other Sectors 172
13.1 Music as a subject – Musicology 172
13.2 Music as an art – Applied Musicology 172
   13.2.1 Film 173
   13.2.2 Theatre art 173
   13.2.3 Fashion 174
   13.2.4 Medicine & therapy 175

14 SWOT Analyses 177
14.1 Introduction 177
14.2 Strengths 178
14.3 Weaknesses 178
14.4 Opportunities 184
14.5 Threats 184
14.6 Conclusion 185

15 Recommendations 186
15.1 Observations and Recommendations 186

16 Conclusion 191
16.1 Objectives 191
16.2 Methodology 191
16.3 Findings 191
16.4 Observations and Recommendations 192

17 Appendices 193
17.1 Appendix A – Details of Educational Institutions 193
17.2 Appendix B – Questionnaires administered for the survey 198
17.3 Appendix C – Names of some sensational Ghanaian music professionals,
        music archives and the impact of colonialism 274
17.4 Appendix D – Ghanaian population according to age groups and regions 276
17.5 Appendix E – Categories and sub-categories of the Music Industry 278
17.6 Committee Members 288
17.6.1 Oversight Committee Members 288
17.6.2 Technical Committee Members 288

18 Bibliography 290

CONTENTS

Chapter One
Introduction 1

Chapter Two
Musical Continuities between Popular and Traditional Music 19

Chapter Three
Highlife Texts 32
Anansesem, Storytelling and Guitar-Band Highlife

Chapter Four
Fusion Music and Experimentalism 46
Traditional Music as Resource

Conclusion 55

Appendix
Highlife Photographs 57

Listening List 64
Bibliography 65

TABLE DES MATIÈRES / CONTENTS

CLASSIC HIGHLIFE 50 8
E .T. Mensah & His Tempos
Stargazers
Rhythm Aces
Red Spots
Delta Dandies
Down Beats
Alkot Dandles
Black Beats
Rakers
Broadway Dance Band
Modernaires
Ambassador Dance Band
Springbok Dance Band
Comets Dance Band
Casino Dance Band
Casino Orchestra

GOLDEN HIGHLIFE 60 46
E.T. Mensah
Louis Armstrong
Jerry Hansen & Ramblers Dance Band
E.K. Nyame
King Oninya
Ko Nimo
The Comets
CK Mann

GUITAR HIGHLIFE  60/70 82
Dr. Gyasi & His Noble Kings
City Boys Band
Cutlass Dance Band
Alex Konadu
African Brothers Band
Yamoah’s Band
TO Jazz
Kaikaiku No 2 Band
Okukuseku Band
Prince Sparrows Band
Opambuo Internationals
Bob Akwaboah & His Supreme Internationals

FUNKY HIGHLIFE 70 114
Fela
Faisal Helwani
Hedzolleh
Bunzu Soundz
Osibisa
Uhuru Dance Band
Ogyatanaa Show Band
Ebo Taylor
Gyedu Blay Ambolley
Pat Thomas
Marijata
Joe Mensah
The Sweet Talks
Vis A Vis
De Frank
B.B. Collins
K. Frimpong
Tony Sarfo
Francis Kenya
Manu Atakora & His Sound Engineers

CONTENTS

Introduction 1

Owuo ton Adee a To bi 2
Death 3
Sure wo yonko 4
Beware of a Friend 5
So dee wowo mu yie 6
Accept your Lot 7
Me sure wo gya mu fite 8
Suspicion 9
Ahantan nye10
Pride has its Price 11
Asamando Wonko 12
Akyekyedee ne Adanko Annrikatuo 12
The Kingdom of the Dead 13
The Tortoise and the Hare 13
Owusu se mamma 14
The Driver’s Lament 15
Obi Aware sem 16
When Friends Interfere 17
Nkrabea nni Kwatibea 18
Fate is Just 19
Asante Abakosem bi 20
A History of Ashanti 21

CONTENTS

List of Figures ix
Acknowledgments xi

Introduction: “Every Hood Has Its Own Style” 1

1.
“Making An African Out of the Computer”:
Globalization and Indigenization in Hiplife 29

2.
Empowering the Young: Hiplife’s Youth Agency 83

3.
“Society of the Spectacle”: Hiplife and Corporate Recolonialization 119

4.
“The Game”: Hiplife’s Counter-Hegemonic Discourse 159

Notes 183
Bibliography 203
Index 213

CONTENTS

Acknowledgments ix
Ethnomusicology multimedia series preface xiii

Introduction: The Historical Importance of Urban Ghana’s
Saturday Nights 1

1.
Popular Music, Political Authority, and Social Possibilities
in the Southern Gold Coast, 1890-1940 31

2.
The Making of a Middle Class: Urban Social Clubs and the
Evolution of Highlife Music, 1915-1940 67

3.
The Friction on the Floor: Negotiating Nightlife in
Accra, 1940-1960 100

4.
“The Highlife Was Born in Ghana”: Politics, Culture,
and the Making of a National Music, 1950-1965 147

5.
“We Were the Ones Who Composed the Songs”:
The Promises and Pitfalls of Being a Bandsman, 1945-1970 183

Epilogue 224

Glossary 231
Notes 233
Discography 279
Bibliography 289
Index 311

INHALT

Vorwort  v
 
1.Einleitung  1
1.1 Erklärung des Konkoma-Begriffes 1
1.2 Stammt der Begriff Konkoma von einer Muschel? 2
1.3 Definition  4
 
2.Musikalische und Wirtschaftliche Früherziehung 5
2.1 Vorbemerkungen 5
2.2 Afrikanische Skalensysteme und Konkoma-Lieder 5
2.3 Erziehung der Jugend durch Singspiele 8
2.4 Kinderlieder 9
2.5 Musikalische Entwicklung der Mädchen 10
2.6 Musik bei Mondschein 12
2.7 Die musikalische Entwicklung der jungen Fischer 18
 
3. Fischergemeinschaften 29
3.1 Wirtschaftsaktivitäten 29
3.2 Arbeitsteilung und Lieder bei der Arbeit 30
3.3 Männer- und Frauenlieder – ein Vergleich 33
 
4. Andere Musikalische Erfahrungen 37
4.1 Reiseerfahrungen 37
4.2 Fischer-Migration 39
4.2.1 Canoe-men (Kanu-Männer) 41
4.3 EinfluB des Marktgeschehens auf die Musik 43
4.4 Spottlieder 48
4.5 Spottlieder über Eliten 56
 
5. Anfänge der Konkoma 58
5.1 Vorbemerkungen 58
5.2 Entstehungszeit 59
5.3 Entstehungsort 60
5.4 School drop-outs und Konkoma 61
5.5 Merkmale der Konkoma-Musik 64
5.6 Organisation der Konkoma 70
 
6. Die Musikinstrumente der Konkoma 71
6.1 Allgemeines 71
6.2 Idiophone 72
6.3 Membranophone 76
6.4 Charakteristika der Konkoma-Trommeln 78
6.5 Zusammenfassung der Musikinstrumente 81
 
7. Die Konkoma-Musik in Beispielen 83
7.1 Konkoma-Musikformen 83
7.2 Konkoma-Rhythmen 92
7.3 Die Aufführung von Konkoma-Musik 105
7.3.1 See there!  106
7.3.2 Tanzen zur Konkoma-Musik 108
7.4 Exkurs 110

8. Verbreitung von Konkoma in Ghana 113
8.1 Konkoma und Rock’ n’Roll-Musik: Ein Vergleich 113
8.2 Heimat der Konkoma-Musik: Die Zentralregion 114
8.3 Verbreitung im Binnenland 115
8.4 Wettbewerb 117
8.4.1 Absatzpolitische Gründe des Wettbewerbs 117
8.4.2 Kriegspropaganda 118
8.5 Konkoma nach dem Kriegsende 120
8.5.1 Konkoma und die “school leavers”  24
8.5.2 Konkoma als Broterwerb 124
8.5.3 Westliche Elemente in der Konkoma-Musik 125
8.6 Konkoma und die wirtschaftliche Entwicklung 126
8.6.1 Die neue soziale Wirklichkeit und Auflösung
der Konkoma 128
 
9. Was Kam nach Konkoma? 130

Zusammenfassung 132

Anmerkungen 135

Anhang 155
Karte 1 Übersichtskarte Ghana 155
Karte 2 Minengebiete Ghanas 156
Karte 3 Regionen Ghanas 157
Karte 4 Strassennetz von Ghana 1960 158
Tabelle Fischergemeinden der Goldküste 159
Instrumente der Konkoma-Musik 160
Beispiel filr die Solfa-Solmisation 163

Verzeichnis der Liedanfänge 165
Literaturverzeichnis 169

INHALT

Vorwort 1

1. Einleitung 5
1.1 Die Mfantse-fo in der Geschichtsschreibung Ghanas 7
1.2 Über den Ursprung der Mfantse-fo 12
1.3 Zur Etymologie des Begriffs “Mfantse” 14
1.4 Zur Familien-und Klanstruktur der Mfantse-fo 15
1.5 Religiöse Bräuche und Weltanschauung der Mfantse 22
1.5.1 “Nana Nyankopon” – der allmächtige Gott und das
          Mfantse-Marchen 24
1.5.2 “Nanaam’ Pow” – Symbol der einstigen Mfantse-Einheit 31
1.6 Die Mfantse-Akan-Sprache 33
1.7 Mfantse-fo und ihre Nachbarn 39
1.8 Traditionelle und moderne Erziehung der Mfantse-fo 42
1.9 Die Mfantse-Wirtschaft – Eine Quelle musikalischer
       Tätigkeit 44

2. Anfange der Neo-Traditionellen Musik in Ghana: Adaha 63
2.1 Einleitung 65
2.2 Die Instrumente des Adaha-Ensembles 65
2.3 Die Melodik der Adaha-Musik 69
2.4 Die Rhythmik der Adaha-Musik 73
2.5 Der formale Ablauf der Adaha-Musik 76

3. Von Adaha zur Brassband-Musik 93
3.1 Einleitung 95
3.2 Musikalischer Wandel 97
3.2.1 Vom traditionellen 12er-Rhythmus zum 2/4 Takt 98
3.2.2 Vom traditionellen Modalsystem zur westlichen
Dur-Moll Tonalitat 106
3.2.3 Von Wechselgesang und Strophenform zur “Songform” 112
3.3 Die wichtigsten Brassbands 114
3.4 Brassband und neo-traditionelle Tänze 114
3.5 Gibt es einen Highlife Dance? 127
3.6 Brassband-Highlife und der “African Blues” 128

4. Neo-Traditionelle Musik:
    “Singing Bands” mit Perkussion 141
4.1 Einleitung 143
4.2 Konkoma 144
4.2.1 Die Organisation des Konkoma-Ensembles 145
4.2.2 Die Musik der Konkoma 153
4.2.3 Konkoma-Musik und Tanz 159
4.2.4 Konkoma-Musik und der African Blues 160
4.2.5 Konkoma und der neue Rhythmus 163
4.2.6 Konkoma als Kriegspropaganda und der Konkoma-
         Wettbewerb 166
4.2.7 Ablauf einer Konkoma-Aufführung 169
4.3 Weitere Gesangsgruppen mit obligater Perkussion 177
4.3.1 Von Siolele zu Oge und Kpanlogo 178
4.3.2 Ahyewa 185
4.3.3 Osibisaba 194

5. Die Gitarre und die Guitar-Music 201
5.1 Einleitung 203
5.2 Afrikanische und europäische Saiteninstrumente in
      der Akan-Gesellschaft 203
5.3 Sam – die “traditionelle” Gitarre der Akan-Musik 206
5.4 Der Guitar-Stil und die Musik Sam’s 208
5.4.1 Adwen da nsum‘ (Der Wels lebt im Wasser) 208
5.4.2 Wogyem‘ m odede (Man verschmaht mich) 212
5.4.3 Kumase E.D. (Kumase Elder Dempster) 214
5.4.4 Sekunde mpanyimfo (Der Altenrat von Sekondi) 216
5.4.5 Banjo-und Gitarrenmusik in Asante 220
5.5 Palmwine-Music 226
5.5.1 Traditionelle Palmwine-Songs 227
5.5.2 Neo-Palmwine-Songs 230
5.5.3 Palmwine-Chords 232
5.5.4 Palmwine-Chords und neo-traditionelle
         Gitarre der Asante 244
5.5.5 KwaaMensah 245
5.5.6 E .K. Nyame und das Akan Trio 255
5.5.7 Die Gitarre und der “African Blues” 264
5.5.8 Kakaiku 270
5.5.9 Onyina 282

6. Hlghlife: Eine Form Ghanaischer Gegenwartsmusk? 291
6.1 Einleitung 293
6.2 Woher kommt – und was bedeutet “Highlife”? 294
6.2.1 Bisherige Versuche zur Definition von Highlife 297
6.2.2 Entstehung und Interpretation des Namens “Highlife” 303
6.2.3 Ballroom Orchestras und Highlife Dancebands 306
6.2.4 Highlife und Jazz 311
6.3 Highlife der 50er Jahre: Wettbewerb zwischen 
      Highlife-Dancebands und Brassbands 313
6.4 Highlifemusik der 60er Jahre: ein neuer Klang durch
      Arrangements 324
6.4.1 Sammy Lartey – die Professionalisierung der
         Highlife-Musik 327
6.4.2 Der Highlife-Wettbewerb von 1961 – die Highlife-Musik
          wird professionell 329
6.4.3 Die Broadway Danceband und der Highlife-“Jazz” 337
6.4.4 Das Ende der Broadway Bands: Ökonomische und
         politische Gründe 345
6.4.5 Uhuru Danceband: Bigband-Arrangements 347
6.4.6 Highlife Dancebands Ghanas 351

7. Institutionalisierte Wechselrede und 
    Musikalische Mehrstmmigkeit 359
7.1 Rhetorische Grundlagen des deklamatorischen Gesangs 366
7.2 Andere Quellen des deklamatorischen Singens 370

8. Musik In den Christlichen Kirchen 377
8.1 Neo-religiöse Musik der Mfantse 379
8.2 Die “Singing Band” 380
8.3 Lieder der Singing Band 381
8.4 Die Mfantse-Lyrics 386
8.4.1 Zur Definition und Interpretation 386
8.4.2 Mfantse-“Lyrics in der Praxis 389
8.4.3 Training zur Deklamation für die Mfantse-Lyrics 397
8.4.4 Bedeutung der Mfantse-Lyrics für die Methodisten-Kirche
         Ghanas 400

9. Musik in der Schule 411
9.1 Einleitung 413
9.2 Bedeutung der Schulmusik für missionarische Zwecke 413
9.3 Die Bedeutung und Anwendung der Schulmusik 414
9.4 “School bands“ und “marching songs” 417
9.5 Lieder für den Musikunterricht 422
9.6 Nkonkontsiwa – die Kaulquappe 426
9.7 Andere Anwendung der Lieder in den Schulen 433

10. Niedergang des Highlife – Entstehung
       neuer Musikformen 441
10.1 Einleitung 443
10.2 Auflösung der Bands und Niedergang von Night-Clubs 443
10.3 Afternoon-Jump 444
10.4 Soul-Musik und Highlife 445
10.5 Die Verminderung der Musikqualität in Ghana 448
10.6 Burger-Highlife 449
10.7 Die Wiederbelebung der Ahyewa- und Konkoma-Musik 
        sowie des rhythmischen Sprechgesanges 456
10.8 Zur Situation der ghanaischen Gegenwartsmusik 458
10.8.1 Instrumente 458
10.8.2 Kooperation der Hotel- und Barbesitzer 459
10.8.3 Der Mangel an Instrumentalmusikern 460

Zusammenfassung 462

Anhang 471
Anhang I: Lieder von Sam aus der Erinnerung transkribiert 473
Anhang II: Verzeichnis der Liederbeispiele 483
Anhang III: Abbildungen 487
Anhang IV: Landkarten 503
Anhang V: Literaturverzeichnis 513

CONTENTS

List of illustrations ix
Acknowledgments xi

Introduction
Aesthetics and Aspiration 1

1.
Soul to Soul: Value Transformations and Disjunctures
of Diaspora in Urban Ghana 28

2.
Hip-Hop Comes to Ghana: State Privatization and an
Aesthetic of Control 51

3.
Rebirth of Hip: Afro-Cosmopolitanism and Masculinity
in Accra’s New Speech Community 80

4.
The Executioner’s Words: Genre, Respect, and
Linguistic Value 108

5.
Scent of Bodies: Parody as Circulation 134

6.
Gendering Value for a Female Hiplife Star:
Moral Violence as Performance Technology 163

7.
No. 1 Mango Street: Celebrity Labor and Digital
Production as Musical Value 198

8.
Ghana@5O in the Bronx:
Sonic Nationalism and New Diasporic Disjunctures 230

Conclusion
Rockstone’s Office:
Entrepreneurship and the Debt of Celebrity 267

Notes 285
Bibliography303
Index 317

CONTENTS

The Original Bob 5
The Making of a Theatre Man 6
The Cinema 7
Decision 7
The Birth of a Company 8
A Two Bobs Comic Act 10
Words Composed by Bob Johnson 11
The Story of a Two Bobs’ Play:
 Afei Menu Moho (Had I Known) 13
Acceptance 15
Tour outside the Gold Coast 16
The Coronation and after 20
Sam the Guitarist 22
Sam and His Party (Kwame Esiar) 22
Bob Johnson and the Axim Trio 23

CONTENTS

Acknowledgments xi

Forewords
Daniel Avorgbedor
African Arts in Education: Theory and Practice 1
Komla Amoaku
Perspectives on Ghanaian Music 2
Francis Nii-Yartey
Perspectives on Ghanaian Dances 5

Preface 7
Introduction: Ghana in Perspective 9

Part One Dance-Drumming of the Southeastern Eves 13
1. Historical, Geographical, Cultural, and Social Background of the
    Southeastern Eves of Ghana 16
2. Adzogbo Ritual Dance-Drumming Ceremony 33
3. Agbadza Funeral Dance-Drumming Ceremony 46
4. Atibladekame Women’s Funeral Dance-Drumming Ceremony 52
5. Atrikpui Warriors’ Dance-Drumming Ceremony 61
6. Atsiagbeko Warriors’ Dance-Drumming Ceremony 70
7. Gadzo Warriors’ Dance-Drumming Ceremony 78
8. Gahv Recreational Dance-Drumming Ceremony 84

Part Two Dance-Drumming of the Central and Northern Eves 91
9. Historical, Geographical, Cultural, and Social Background
     of the Central and Northern Eves of Ghana 94
10. Adevu Hunters’ Dance-Drumming Ceremony 104
11. Boboobo Recreational Dance-Drumming Ceremony 112
12. Egbanegba Recreational Dance-Drumming Ceremony 120
13. Gbolo Recreational Dance-Drumming Ceremony 125

Part Three. Dance-Drumming of the Gas 131
14. Historical, Geographical, Cultural, and Social Background 
      of the Gas of Ghana 134
15. Gome Recreational Dance-Drumming Ceremony 147
16. Kolomashie Recreational Dance-Drumming Cerenmony 155
17. Kpanlongo Recreational Dance-Drumming Ceremony 160

Between pages 166 and 167 are 16 colour plates containing 25 images

Part Four Dance-Drumming of the Akans 167
18. Historical, Geographical, Cultural, and Social Background
      of the Akans of Ghana 170
19. Adowa Funeral Dance-Drumming Ceremony 180
20. Asaadua Recreational Dance-Drumming Ceremony 189
21. Sikyi Recreational Dance-Drumming Ceremony 193
22. Kete Royal Dance-Drumming Ceremony 198

Part Five Dance-Drumming of the Dagbamba 203
23. Historical, Geographical, Cultural, and Social Background
       of the Dagbamba of Ghana 206
24. Baamaaya Recreational Dance-Drumming Ceremony 213
25. Bla Religious Dance-Drumming Ceremony 222
26. Jera Religious Dance-Drumming Ceremony 230
27. Tora Women’s Recreational Dance-Drumming Ceremony 238

Part Six Songs and Percussion Scores 245
28. Transcriptions and Analysis of Songs 246
– Southeastern Eves Songs 246
– Central and Northern Eves Songs 270
– Ga Songs 285
– Akan Songs 294
– Dagbamba Songs 303
29. A Taste of the Percussion Ensembles 314
– Southeastern Eves Percussion Ensembles 314
– Central and Northern Eves Percussion Ensembles 326
– Ga Percussion Ensembles 332
– Akan Percussion Ensembles 337
– Dagbamba Percussion Ensembles 345

Part Seven Teaching African Music and Dance-Drumming 351
30. Components of an African Music Dance-Drumming
       Curriculum 352
31. Activities for Teaching Boboobo Dance-Drumming 367

Appendix: Performing Groups and Notes on DVDs 405

Glossary 419
Bibliography and Further Reading 429
Index 439

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CONTENTS

Foreword to the first edition by B. W. Andrzejewski ix
Foreword to the 1996 edition by Abdilahi Qarshi xi
Preface to the first edition xv
Preface to the 1996 edition xxiii

1. Introduction
The social context 1
The Nature of Traditional Pastoralist Poetry 12
The Historical Development of Modern Oral Poetry 17

2. The Family of Miniature Genres
The Nature of the Family of Miniature Genres 27
The Poetry of the Miniature Family 32

3. The emergence of the Belwo
The Historical Background 49
The Belwo is Born 53
The Poetry of the Belwo 59

4. The Heello: Period One
The Metamorphosis: Belwo to Heello A 75
The Modem Poem: Heello A to Heello B 82

5. The Heello: Period Two
The Historical Background 95
The Poetry of the Second Period 103

6. The Heello: Period Three
The Historical Background 117
The Poetry of the Third Period 146

7. Characteristics of the Heello: All Periods
Themes Common to All Periods 175
Structural Characteristics and
Development Common to All Periods 190
The Impact of Media on Modern Poetry 208

8. Conclusion
The Inheritance of the Heello 215
Forces Behind the Success and Development of Modern Poetry 216

CONTENTS

Acknowledgements 4

Introduction 5
   Methodology 6
   Technical notes 8

1 Ga culture 10
Geographical 10
Historical 11
Religion 12
Social organization 12
   Chieftaincy 12
   Family 13
Music 13
Festivals 16

2 Colonialism: Neo-Traditional Music and Cultural Groups 17
Colonialism in Ghana 17
   Pre-colonial period 17
   Colonial Period 18
   Post-colonial period 19
Neo-traditional music? 21
   Traditional music 21
   Popular music 22
   Neo-traditional? 23
Current developments in Ghanaian traditional music 25
   Cultural groups 25

3 Kpanlogo 28
Frankie Laine and Otoo Lincoln 28
Cultural, social and political context 30
   The creation of kpanlogo 30
   Influence of rock ‘n roll 30
   Conflicts 31
   Political situation 32
   Spread around the world 33
Traditional background 34
   Gome 34
   Kolomashie 37
   Oge 38
   Highlife 39

4 Musical aspects 43
The ensemble and the instruments 43
   The ensemble 43
   The instruments, organology 43
The musical structure 45
The songs 48
   Mo mibi le ohami 48
   Mo ble mi oho mie 49
   Alonte juloni 50
   Jelenbi 50
   ABC 52
   Everybody bring your calabash 53
   Daadaa Buko 54
The dance 57
   Some typical kpanlogo movements 60
Performance practice 63

Summary 66

Conclusions 67

Bibliography 68
Appendix 71
List of collected material 95

CONTENTS

Acknowledgements viii
Illustrations x
Technical Notes xi
   Geographic xi
   Linguistic xii
   Currency xii
Musical Transcriptions xii

Prologue: Rebirth at Kwanyako xiv

Introduction 1
   Methodology 3
   Organization of the Dissertation 5

Part I

1 Foundations of Thought 9
Terms of Culture Contact 9
   Ethnomusicology and the Terms of Culture Contact 16
Research on West African Music 22
   “A Novel Object” – A.M. Jones and the Rhythm Fetish 25
   Influence of Technology 27
   Role of the Indigenous Scholar 29
   Anthropology and African Musicology 30
Foundations of West African Music 35

2 Brass Bands as Power Symbol 40
Military Music in Europe 40
   A Brief History of Brass Bands in Britain 41
   Missionary Zeal and the Brass Bands 43
A Brief History of European Presence in Ghana 45
The Missionary Presence in the Gold Coast 49
   Evangelism and Band Proliferation: The Case of Kyebi 52
Early Military Music in the Gold Coast 53
   Other External Influences 56
Musical Responses to Culture Change 57
   Palm-wine 58
   Adaha and Other Band Styles 60
   Neo-Traditional Styles 64
British Response to Native Bands 64
World War I and the Bands 68
In Summary 71

3 Mass Education and National Culture 72
Cocoa Boom 72
World War II 74
Mass Education 75
Independence  78
In Summary 80

Part II

4 Band Types and Social Formations 83
The Bands 83
   Church Bands 84
   Village and Town Bands 88
   Security Forces and Service Bands 88
   School Bands 91
   Virtual Bands 92
Professionalism 92
Instruments: Ownership and Quality 95
Access to Instruments 98
Extra-musical Concerns 100
   Brass, the Body, and Gender 100
In Summary 102

5 Musical Particulars 105
Training 105
   Rehearsing 106
   Music Literacy 107
   Tone and Tuning 111
   Rhythm 117
    “Encomium”: The Fine Art of Improvisation 126
   Leadership 128
   Akan Evaluative Terms 129
In Summary 131

6 Performance Dynamics 134
Venue and Repertoire 134
   Competition 137
Dress 141
Movement and Proxemics 145
   Dance 145
   Playing Posture 147
Reception 148
Performances Observed 150
   Funeral 150
   Sporting Events 152
   Easter Picnic 155
   National Holidays 157
In Summary 161

7 Current Trends in Brass Band Performance 163
   Amplification 163
   Transnationalism 165
   Re-Contextualization 166

Conclusion 171

Appendix I: Bands in Study 175
Appendix II: Notes on Sound Examples 177
Appendix III: Transcriptions 180
Appendix IV: Paschal Yao Younge 188
Appendix V: Presbyterian Brass Band Guild Survey 196
Appendix VI: King’s Day Celebration Program 202

Glossary 204

Bibliography 209
   Interviews 209 
   Works Cited 212

CONTENTS

Foreword by Banning Eyre ix
Introduction 1

Part 1 Early Days
1 The Birth of Afrobeat 27
2 Joe Mensah Remembers 41
3 Fela in Ghana 49
4 Stan Plange Remembers 29

Part 2 Confrontation
5 Kalakuta is Born 67
6 “JB” Talks about Fela 73
7 The Kalakuta Republic 81
8 The Black President 114
9 Amsterdam and After 125

Part 3 Retrospect
10 Mac Tontoh on Fela 139
11 Frank Talk about Fela 152
12 Obiba Plays It Again 165
13 Smart Binete Sorts It Out 174
14 Anku Checks Out the Beat 178
15 Nana Danso Orchestrates 183
16 Some Early Afro-Fusion Pioneers 197
17 Interview with Fela 204
18 Afterthoughts and Updates 209
19. Felabrations at Home and Abroad 238

Chronology 259
Notes 269
Selected Bibliography 281
Discography 285
Appendix A: “Shuffering and Shmiling” Score 303
Index 309

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CONTENTS

Chapter One
Constructs in the History of Subcultural Youth 1
Locating Youth: What Are Youth Subcultures? 5
Youth and Youth Subcultures as a Topic of Scholarly Enquiry 13
Popular Culture, Urban History, and Subcultural Representation 20

Chapter Two
“All Roads Lead to Accra”:
 Changing Worldviews among Urbanites 40
The Changing Face of Accra in the Early Colonial
Era, 1877-1918 44
Becoming a “Colonial” City: The Struggle for Cultural
Space, 1918-1939 48
The Second World War and Its Aftermath 60
Globalizing Influences during the Second World War 71
Conclusion 80

Chapter Three
Crisis and Isolation: The “Invention of Youth” 83
Population and Immigration in the Post-War Era 85
Urban Social Problems: Housing, Economics, and
Unemployment 92
Social Protest 104
Education and (Un)Employment 109
The Problem of the School Leavers 116
Conclusion 123

Chapter Four
Cultural Images and Icons: Technological Changes
and Youth Cultural Expressions in the 1950s 127
Media and Technology 128
Hanging around the Cinema 144
The Changing Cultural Scene: Class and Generational
Divides in Popular Culture Expression 151
Changing Modes of Dress: Zoot Suits and Youth Identity 153
Entertainment and Nightlife in the 1950s: Elite Culture 160
“Mainstream” Urban Culture 164
Underclass Youth and Accra Nightlife 169
Americanization and “Scrap Band Mania” 175
Conclusion 183

Chapter Five
“Rain or Shine We Gonna’ Rock!” 187
Subcultural Formation 190
New Diversions 203
Public Expressions of Rock ‘n’ Roll Culture 208
Localizing Dance Styles: Class and Generational Conflict 217
Mainstream Twisting 226
Soul to Soul 230
Conclusion: Shifting Identities in Youth Subcultural
Expressions 232

Chapter Six
Modernizing Traditions: “My Own Form of Highlife” 239
The Origins and Spread of Kpanlogo 244
Underclass Youth as Cultural Brokers 253
The Struggle for Control of Popular Expression 263
Transforming Identities and Creating Opportunities 271
Conclusion: Modernizing Tradition 276

Chapter Seven
Conclusion: The Transformation of Youth 279
The Invention of Youth: The Second World War and the
Roots of a Youth Class 280
The Search for Meaning: New Cultural Expressions in
the 1950s 282
Transformed Identities: Subcultural Expressions in the
Early Independence Era 284
Continuity and Change in Youth Expressions 287
Accra Subcultures: A Quest for Modernity 291

Bibliography 293
Vita 320

INHALT

1. Einleitung 1
1.1 Thema und Fragestellung 1
1.2 Der Aufbau der Arbeit 5
1.3 Quellenlage 7
1.4 Eigene Forschung 9
1.5 Verständnis von Musik und Terminologien 10

2. Die Entstehung Populärer Musik in Ghana 14
2.1 Die Entstehung der populären Musik Highlife 15
2.1.1 Die Entstehung des Brassband-Highlife 17
2.1.2 Die Entstehung der Palmwine-Gitarren-Bands 19
2.1.3 Die Entstehung der Tanzkapellen 22
2.1.4 Die Entwicklungen nach dem Ende des 2. Weltkrieges 24
2.1.5 Die Krise des Highlife 27
2.2 Die Entstehung der Populären Musik Hiplife 30
2.2.1 US-HipHop als Modell für die Internationalisierung 30
2.2.2 HipHop in Ghana – Hiplife 39
2.3 Zusammenfassung 50

3. Populäre Musik als Ausdruck gesellschaftlicher
     Veränderungsprozesse 53
3.1 Social commentaries in der ghanaischen Musik 54
3.2 Social commentaries in der Populären Musik Highlife 58
3.2.1 Die Entwicklungen bis zur Einführung der indirect 
         rule 1925 59
3.2.1.1 Die Antikoloniale Einstellung in Highlife-Songs am 
            Beispiel Akpeteshie 60
3.2.2 Von der indirect rule bis zu Unabhängigkeit 1957 61
3.2.2.1 Das Nationalgefühl im Highlife 62
3.2.3 Die Ära Kwame Nkrumah (1957 – 1966) 64
3.2.3.1 Der politische Stimmungswechsel während der 
             Nkrumah-Ära im Highlife 66
3.2.4 Die Zeit der Militärputsche (1966 – 1981) 68
3.2.4.1 Die politische Instabilität im Highife am Beispiel 
            Nana Kwame Ampadu 70
3.2.5 Die Ära J.J. Rawlings (1981 – 2000) 73
3.2.5.1 J.J. Rawlings im Highlife 74
3.2.6 Modernisierungsprozesse nach dem Ende 
         des 2. Weltkrieges 76
3.2.6.1 Das Spannungsverhältnis von ,,alter” und ,,neuer” 
            Lebenssituation im Highlife 77
3.3 Social commentaries in der Populären Musik Hiplife 84
3.3.1 Die Themen und das Selbstverständnis der 
         Hiplife – Künstler 85
3.3.2 Der politische Machtwechsel 2001 – von der 
         NDC zur NPP 89
3.3.2.1 Der politische Machtwechsel 2001 im 
            Hiplife – Freedom of Speech 90
3.3.3 Politische, ökonomische und soziale Entwicklungen 
         in Ghana unter der NPP-Regierung 94
3.3.3.1 Die Politik der NPP, soziale Stratifikation und 
           Korruption im Hiplife 96
3.3.4 Aktuelle gesellschaftliche Entwicklungen und ihre 
         Auswirkungen in Ghana 100
3.3.4.1 Aktuelle gesellschaftliche Entwicklungen und ihre 
           Thematisierung im Hiplife 103
3.4 Zusammenfassung 113

4. Resümee 117

5. Bibliographie 121

CONTENTS

Introduction
Questions and research procedures 1

Chapter 1
The ethnomusicological setting: The musical heritage of Ghana to the time of Koo Nimo’s childhood 13

Chapter 2
Childhood, youth, and formative musical experiences, 1931-1954 65

Chapter 3
Defining a career in science, and in music, 1954-1957 93

Chapter 4
Family, work, and music, 1957-1966 120

Chapter 5
Maturity and recognition, 1966-1978 156

Chapter 6
Musical activism and a widening renown, 1979-1990 207

Chapter 7
Koo Nimo’s musical repertory in analytic overview 243
Part I:    Instruments and sonorities 244
Part II:   Rhythm 266
Part III:  Harmony 292
Part IV: Melody 317
Part V:  Lyrics 342
Part VI: Performance  421

Chapter 8
Conclusion  485

Bibliography 504
 
Appendix I
Koo Nimo’s recordings (a partial listing) 522
Appendix II
Films or television programs in which Koo Nimo
appears (a partial listing) 526

CONTENTS

List of Figures v
Acknowledgements vi

Chapter 1
Introduction: Statement of Research Problem 1
A Brief History of Ghanaian Popular Music: From Colonial Brass Bands to
Post-Independent Highlife Bands 2
Ghanaian Popular Music: Late 20th Century and Early 21st Century 16

Chapter 2
Conceptualizing the Study: Sex, Sexuality, and Gender 22
Socio-Cultural Implications of Gender in Ghana 23
Song Text in Ghanaian Popular Music 27
Signs, Icons, and Symbols 30
Images of Women Presented by Male Popular Musicians 32

Chapter 3
Women’s Roles and Status in Ghanaian Popular Music:
Cultural, Historical, and Contemporary Perspectives 45
Feminism, Sexuality and Women’s Bodies 53

Chapter 4
Analysis of Selected Songs and Music Videos 64
Songs About: Motherhood, Social Expectations of Women, and Women’s Roles 65
Songs About: Romantic Relationships and Women Empowerment (or Authority) 75
Songs About: Sexuality and Women’s Bodies 84

Chapter 5
Conclusion and other Remarks 106

Appendix and References
Appendix 108
Bibliography 109
Online Sources (Discography; Videos; Other Relevant Websites) 115

CONTENTS

Acknowledgements 1

Chapter 1
Introduction 1

Chapter 2
The Introduction of Euro-American Music to Ghana 12
The Coming of Europeans to West Africa 12
Development of European Activities in Ghana Trading 17
Mission Work and Commercial Enterprise 19
The Basel Mission 22
Establishment of Basel Mission Schools 28
The Methodist Mission 32
The Educational Development of the Methodist Church 39
The Bremen Mission 41
The Bremen Mission’s Educational Activities 43
The Roman Catholic Missions 45
Roman Catholic Missions’ Educational Developments 46
The Anglican Mission 47
Anglican Schools 48
Other Missionary Societies and Their Activities 49
The Castle Schools (1529-1821) 52
Government Schools (Colonial Schools) 54

Chapter 3
Traditional Music and Culture Change in Ghana 60

Chapter 4
The New Musical Traditions 97
Western Music (The Imported Music) 98
The “New Music” (The New Musical Idioms of Ghanaian Creation) [136]

Chapter 5
Instrumental Resources and the Music of the New Groups 164

Chapter 6
Summary and Conclusion 200

Appendix A
Composers of Art Music (Some Biographical Sketches) 210
Appendix B
Ghanaian Art Music (Some Examples) 248
Appendix C
List of References 250

CONTENTS

Part One
The Ghanaian Concert Party and Highlife Music

Chapter 1
Introduction to the Concert Party 1-18
Chapter 2
The Concert Performance 19-58
Chapter 3
Life On The Road 59-90
Chapter 4
The Jaguar Jokers Background Story 91-109
Chapter 5
The Jaguar Jokerst Band Organisation 109-125
Chapter 6
Reflections on the Concert Party Genre by
some Members of the Jaguar Jokers 126-137
Chapter 7
The Jaguar Jokers and the Concert Party
Profession since the Mid-Seventies 135-150
Chapter 8
An Appendix of Concert Party Plays and Magical
Shows between 1923-1992 151-171
Chapter 9
Major Exploratory Themes from Participatory Experience
in the Ghanaian Popular Entertainment Field 172-188

Part Two
African Popular Entertainment at the Cross-Roads

Chapter 10
Traditional Continuities: Drama 190-206
Chapter 11
Traditional Continuities: Music 207-228
Chapter 12
Musical Change and Colonial Contact 229-249
Chapter 13
European Progress and Progressive Indigenisation 250-272
Chapter 14
The Modern and Traditional:
Conflicting or Compatible 273-288
Chapter 15
Heroes of the Cultural Cross Roads 289-310
Chapter 16
The Black Americas and Africa: Pre-War 311-331
Chapter 17
The Black Americas and Africa:
The Second World War and after  32-350
Chapter 18
Black Transatlantic Feedback 351-370
Chapter 19
City Life 371-398
Chapter 20
Class: Social Distance and Status Ranking 399-415
Chapter 21
Class: The Articulation or Masking of Class Consciousness 416-437
Chapter 22
The Age Gap 438-458
Chapter 23
Women on Stage 459-485
Chapter 24
Performance and Struggle 486-522

Coda 523-528
Footnotes (for Chapters 10 to 24) 529-577
Bibliography 78-607

CONTENTS

Acknowledgement i
Preface iv-v
Abstract vi-vii
Table of Contents viii-xvi

Chapter One
Fieldwork and the Role of the Native Son
Fieldwork 1-4
The Akan and the Bono 4-27
Highlife Research 27-31
Insiders and Outsiders 31-41
Notes 42-50

Chapter Two
Religious Background of Ghanaian Society
Islam and the Akan 55-67
Christianity and the Akan 67-72
Notes 73-76

Chapter Three
Highlife’s History: A Broad Perspective
Introduction 77-80
Highlife, A Syncretic Form 81-85
Types of Highlife Bands 85-88
The Formation of the Band 88-92
Dominant Themes in the Highlife Songs 92-100
Highlife Function 100-106
Highlife Comic Opera: The Concert Party 106-113
Notes 114-117

Chapter Four
Forms of Verbal Lore in Highlife Songs
Comparison of Highlife and Folktale Texts 118-129
Comparison of Two Types of Performance 129-134
Other Traditional Narratives in Highlife Performance 134-141
Proverbs and Proverbial Sayings in Highlife Songs 141-150
Notes 151-154

Chapter Five
Libation in Highlife Songs
Libation in Highlife Songs 155-160
Historical Meaning of the Libation 160-169
Libation in Highlife Songs 169-176
Devices for Introducing Libation 176-181
Similarities of Highlife and traditional Libations 181-183
Differences in Highlife and Traditional Libations 183-184
Libation as Religious Poetry 184-186
Notes 187-188

Chapter Six
The Concept of God in Highlife Songs
The Concept of God in the African World 189-192
The Concept of God in Akan Society 192-212
Notes 213-214

Chapter Seven
The Concept of Witchcraft in Highlife Songs
The Akan Matrilineal Extended Family 217-220
The Elders 220-223
The Chiefs 223-225
Akan Witchcraft Belief in Highlife 225-233
Witches as Impediment to Child Bearing 233-237
Witches as Destroyers of Man’s Destiny 237-245
Notes 246-248

Chapter Eight
Conclusion 249-261
Notes 262-263

Bibliography 264-285
Vita 286

APPENDICES INDEX

Appendix A
Tales in Highlife Songs
1. Biribi Betumi Yen 288
     Something Can Overcome Us 292
2. Menya Nkwa A Efiri Wo 296
     Life is from You 299
3. Aku Sika [Part One] 303
     Golden Aku [Personal game] 305
4. Aku Sika [Part Two] 308
     Golden Aku [Personal Name] 311
5. Hini Me 315
     Open the Door for Me 318
6. Seantie Nye 322
     Disobedience to Not Good 325
7. Ebi Te Yie 328
     Some Sit Well 330
8. Asem Mpe Onipa 333
     Trouble Never Likes Men 335
9. Otan Hunu Are Kwa 338
     Mere Hatred 342
10. Otwe Mporo 346
     The Antelope Should Not 349
11. Esre So Oprammire 353
     The Savannah Oprammire [Snake] 355

Appendix B
Personal Experience Narratives
1. Yaw Berko 359
     Yaw Berko [Personal Name] 361
2. Obi Abayewa 364
     Smeone’s Young Woman 366
3. Afia Dufie 369
     Afia Dufie [Personal Name] 372
4. Nsa Yi Mempe 375
     Wine, I Don’t Like It 377
5. Me Nneema Anko Ehyen Mu 380
     My Things Could Not Go Onto the Ship 382
6. Onipa Num 384
     Man’s Brother/Sister 386

Appendix C
Death as Imagery in the Highlife Song
1. Julie 389
     Julie [Personal Name] 391
2. Maame Adjoa 394
     Mother Adjoa [Personal Name] 397
3. Akwankwaa 400
     Youngster 403
4. Onipa Awiee 407
     The End of Man 409
5. Se Wawu Anaa 411
     Is He Dead? 413
6. Dokoto Kokooko 416
     Doctor Knock, Knock! 418
7. Agya Bi Wua 420
     When a Father Dies 422
8. Wontwe Me Nyaa 424
     Draw Me Slowly 426
9. Obi Nkyen Ye Tena Na 428
     It is Difficult to Stay with Someone 430
10. Nenko Nefle 432
     His Family 434
11. Owuo Aye Mebi 436
     Death Has Done Something to Me 438

Appendix D
Family, Elders and Witchcraft
1. Oni Bie 441
     No Helper 443
2. Mensuro 445
     I Am Not Afriad 447
3. Ofie Wansena 450
     The House Fly 452
4. Adwaree Fooee 454
     The Bathroom Became Wet 456
5. Obi Nka N’asem 458
     One Can’t Tell His Trouble 460
6. Mmoboraa 462
     Poor Fellow 464
7. Abusua Nye Asafo 466
     The Family is not Asafo (Band) 468
8. Aka M’ani 470
     I Am Perplexed 472
9. Enowaa 474
     Mother 476
10. Ena Eye A Mane Me 478
     Mother Send Me Something at Times 480
11. Menko Efie Ho 482
     I Will Not Go to the House 484
12. Wonni Panin A Due 486
     Pitiful If You Do Not Have an Elder 487
13. Awie Me Ye 488
     I Am Finished 489

Appendix 9
Childbirth, Children and Orphans
1. Awoo Ye 492
     Childbirth Is Good 494
2. Obi Anwo Wo A 497
      If You Are Not the Child of Someone 499
3. Yaa Boahemaa 502
     Yaa Boahemaa [Personal Name] 504
4. Manka Se Enye Woba Ne Me 506
     Don’t Say that Because I am Not Your Child 508
5. San Behwe Wo Mma 510
     Come Back to See Your Children 512
6. Yedabea Mu 514
     Our Sleeping Place 516
7. Ankonam Mmoboro Agyanka 519
     Lonely Miserable Orphan 521
8. Obonto 523
     Obonto [Species of fish] 524
9. Oboafo Ye Na 526
     A Helper is Scarce 528

Appendix F
Belief In God and Biblical Ideas
1. Nyame Wo Pe Nye Ho 531
     God Thy Will Be Done 532
2. Onyame Ye Kese 535
     God is Great 536
3. Ma Ye Komm 538
     I Am Quiet 540
4. Yesu Asenua 542
     The Cross of Jesus 544
5. Meye Matutu Ha 546
     I Am Almost Moving From Here 549
6. Me Gye Di Nti 552
     Because of My Faith 554

Appendix G
Highlife Songs on Money, Wealth and Poverty
1. Sika Ye Ohohoo 556
     Money is a Stranger 558
2. Sika Yi Wonya Bi A Amane 561
     This Money, If You Get Some It Is Trouble 563
3. Sika Nti 565
     Because of Money 568
4. Adee Ye Pe Na 571
     Things Are Difficult to Get 573
5. Onipa Beye Den Ni? 575
     What Should Man Do? 577
6. Nye Menko 580
     Not I Alone 582
7. Ebe Ye Yie 584
     It Would Be Alright 586
8. Enti Na Aye Den 588
     And So What? 590
9. Adwoa Mansu 593
     Adwoa Don’ t Cry 594
10. Ma Brabo 595
      My Life in This World 599

Appendix H
Destiny and Hatred
 1. Hyebre 602
      Destiny 605
2. Nkrabea 608
     Destiny 610
3. Motan me 612
     You Hate Me 614
4. Otan Hunu Ye Ya 616
     Mere Hatred Is Painful 618
5. Ma Ne Ntan Woe 620
     Let Him Hate You 623

Appendix I
Man and Woman
1. Aware Te Se Ahwehwe 629
     Marriage is Like a Mirror 631
2. Asem Sebe 633
     Words in Proverb 635
3. Odo Bra 637
     Love Come [My lover come] 640
4. Mede Me Do Ma No A 643
     When I Give My Love to Her 645
5. Me Dofo Pa 648
     My True Lover [My good lover) 650
6. Eye A Na Me Mu 0o 652
     I Feel It Deep 655
7. Odo Ye Wu 659
     Everlasting Lover 661
8. Me Dofo (Twi Soul) 663
     My Lover 664
9. Akua Nimo 666
     Akua Nimo [Personal Name] 669
10. Manya Hu Me Dofo 672
     Once I Have Found My Lover 674
11. Owo Anidie 677
      She Has Respect 679
12. Sewaa Akoto 681
      Sewaa Akoto [Personal Name] 683
13. M’ani Mmere Obi 685
      I Don’t Envy Anyone 687
14. Yaa Donko 689
      Yaa Donko [Personal Name] 691

Appendix J
Musical Transcriptions
1. Biribi Betumi Yen 693
2. Yaw Berko 700

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CONTENTS

AFRICA

The North and West
Introduction: Peter Gabriel 1
Libya 3
Tunisia 5
Algeria 6
Morocco 13
Mauritania 16
Senegal 17
Mali 20
Guinea 26
Guinea-Bissau 29
Cape Verde 29
Sierra Leone 31
Côte d’Ivoire 32
Ghana 34
Togo and Benin 36
Nigeria 37

Central Africa, The South and East
Introduction: Manu Dibango 42
Cameroon 44
Zaire 49
Congo 56
Gabon 56
Angola 57
Zambia 58
Mozambique 59
Zimbabwe 60
South Africa 65
Madagascar 70
Mauritius and Reunion 71
Tanzania and Zanzibar 72
Kenya 74
Uganda 76
Burundi 76
Ethiopia 77
Sudan 79

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