Ghana has many types of traditional and modern music. The sound varies from ethnic group to ethnic group and region to region. Ghanaian music incorporates several distinct types of musical instruments such as the talking drum ensembles, goje fiddle and koloko lute, court music, including the Akan atumpan, the Ga kpanlogo styles, and log xylophones used in asonko music. The most well known genres to have come from Ghana are Afro-jazz which was created by Ghanaian artist Kofi Ghanaba.[42] and its earlist form of secular music is called Highlife.
Highlife originated in the late 1800 and early 1900s and spread throughout West Africa mainly Sierra Leone and Nigeria. In the 1990’s a new genre of music was created by the youth incorporating the influences of Highlife Afro-reggae, Dancehall and Hiphop. This hybrid was called Hiplife. Ghanaian artists such as R&B and Soul singer Rhian Benson and Highlife singer Kojo Antwi have had international success.
Axatse
Ghanaian drummers
Dance of Ghana
Ghanaian dance is as diverse as its music. Each ethnic group has their own traditional dances and there are different dances for different occasions. There are dances for funerals, celebrations, storytelling, praise and worship etc. Some of these dances include
Bamaya It is performed by the Northern people of Ghana. It narrates the legend of a time of great drought. An oracle told the people that the drought was brought about by the manner in which the men were severely repressing and demeaning the women. It further stated that the drought would be relieved only when the men lowered themselves to the role they were imposing on the women by putting on skirts and participating in this dance. When the men did this it began to rain. It is currently performed during harvest time in northwestern Ghana by both Dagbani men and women.
Adowa A dance of the Ashanti peoples of Ghana. This dance is especially noted for the grace and complexity of the dancers' movements. The drumming is also noted for the complexity of the interlocking rhythms and the two atumpan drums which are used as the lead or master drum. Originally funeral dance music, Adowa is now also performed at annual festivals and social gatherings.
Kpanlongo Is performed by the Ga people of Ghana. It is often referred to as "the dance of the youth," Kpanlongo started during the wake of Ghana’s Independence as a musical type for entertainment in Accra. Kpanlongo is presently performed at life-cycle events, festivals, and political rallies.
Klama Is the music and dance is associated with puberty rites of the Krobo people of Ghana. It emphasizes the graceful movement of hands and feet. With small rhythmic steps and heads turned demurely downward, the dancers embody quiet elegance. The different movements of the dance are designed to reveal the beauty of the dancers. Suitors watching from the sidelines will often approach a girl's family after the ceremony and make an offer for her hand in marriage.
Agbadza The traditional dance of the Eʋe (Ewe or Eve) people of Ghana. It is characterized by the graceful choreograph of a couple seasoned with the rhythmic movement of the arms, the waist and the feet in perfect synchrony.
Agbadza, is traditionally a war dance but is now used in social and recreational situations to celebrate peace. War dances are sometimes used as military training exercises, with signals from the lead drum ordering the warriors to move ahead, to the right, go down, etc. These dances also helped in preparing the warriors for battle and upon their return from fighting they would act out their deeds in battle through their movements in the dance.
Atsiagbekor is a contemporary version of the Ewe war dance Atamga (Great (ga) Oath (atama) in reference to the oaths taken by people before proceeding into battle. The movements of this present-day version are mostly in platoon formation and are not only used to display battle tactics, but also to energize and invigorate the soldiers. Today, Atsiagbekor is performed for entertainment at social gatherings and at cultural presentations.
Atsia dance is performed mostly by women, and its a series of stylistic movements dictated to dancers by the lead drummer. Each dance movement has its own prescribed rhythmic pattern, which is synchronized with the lead drum. 'Atsia' in the Ewe language means style or display.
Bɔbɔɔbɔ (pronounced Borborbor) the Ewe-speaking people in the central and northern parts of the Volta Region of Ghana cultivate the Bɔbɔɔbɔ dance. Bɔbɔɔbɔ (originally 'Akpese') might have originated in the Kpando area, and is said to have been created by the late Mr. Francis Kojo Nuadro. He is thought to have been an ex-police officer who returned to Kpando and organized a group in the middle to late 1940’s. The dance has its roots in the 'Highlife' popular music of Ghana and other West African countries. Bɔbɔɔbɔ gained national recognition in the 1950’s and 1960’s because of its use at political rallies and the novelty of its dance formations and movements. It is generally performed at funerals and other social occasions. This is a social dance with a great deal of room for free expression. In general, the men sing and dance in the center while the women dance in a ring around them. There are 'slow' and 'fast' versions of Bɔbɔɔbɔ; the fast Bɔbɔɔbɔ is believed to come from the Kpando area and the slow version from Hohoe. The slow one is called Akpese and the fast one is termed to be Bɔbɔɔbɔ. Lolobi-Kumasi is known for doing a particular fast version of the slow version.
Agahu is both the name of a dance and of one the many secular music associations (clubs) of the Ewe people of Ghana, Togo, and Dahomey. (Gadzok, Takada, and Atsiagbeko are other such clubs). Each club has its own distinctive drumming and dancing, as well as its own repertoire of songs. A popular social dance of West Africa, Agahu was created by the Egun speaking people from the town of Ketonu in what is now Benin. From there it spread to the Badagry area of Nigeria where migrant Ewe fisherman heard, adapted, and eventually took it to Ghana. In dancing the Agahu, two circles are formed; the men stay stationary with their arms out and then bend with a knee forward for the women to sit on. They progress around the circle until they arrive at their original partner.
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