Countries of the World/COUNTRYS.BIN/dp/0143/01433.txt

Text File | 1991-06-25 | 24KB | 402 lines

$Unique_ID{COW01433}
$Pretitle{353}
$Title{Ghana
Chapter 7B.   Music, Dance and Song}
$Subtitle{}
$Author{}
$Affiliation{HQ, Department of the Army}
$Subject{music
traditional
part
dance
instruments
known
art
generally
popular
certain}
$Date{1970}
$Log{}
Country:     Ghana
Book:        Area Handbook for Ghana
Affiliation: HQ, Department of the Army
Date:        1970

Chapter 7B.   Music, Dance and Song

     As in other black African countries, music, dance, and song are an
integral part of everyday life. They are resorted to spontaneously in the
course of household duties, at various types of work, and at informal social
gatherings. They are also an inseparable element of the organized events
connected with traditional ceremonies, rites, and festivals.

     Until the 1930s almost all music, dancing, and singing was of the
traditional type, characterized by ethnic variation. Since then two other
music, forms have become part of the nation's general music culture: popular
music exemplified by the so-called highlife music, which developed largely
from Western dance band music; and concert music and music used in the church
and in such places as schools, which is also Western or based on Western music
theory and techniques.

Traditional Music and Dance

     Much of the country's folk music, dance, and song is performed as a group
activity, both on recreational as well as formal occasions. Many of the ethnic
communities, for instance, have folk dance clubs and musical organizations,
formed on a voluntary participation basis, that meet regularly for the
personal entertainment of the members of a group. Storytelling groups of this
nature are also found, particularly among the Fante and Ga peoples, which meet
for the same purpose, utilizing associated dancing, singing, and music.

     Most formal events, such as the ceremony connected with the naming of a
child, puberty rites, funerals, and festivals, incorporate music, singing, and
dancing. These performances usually follow set patterns established by
tradition and may vary considerably between different ethnic communities. In
one part of a ceremony music may be played alone, with the different
instruments being sounded intermittently for effect, and somewhat later the
orchestra may play for a dance. In another part a singer may perform a solo,
or a chorus may sing without musical accompaniment; at other times the dance
will stop, and music not intended for dancing will be inserted.

     There is considerable stress on singing, which offers perhaps the best
opportunity for general group participation. A variety of songs and song
styles is found. Some songs are utilized for social comment and criticism.
Others may deal with matters of local interest or a particular topic. They are
generally standardized, but accomplished singers may add new lines or make
changes in existing ones. There is great interest in the words of a song, and
often drumming will stop at certain points so that the words can be heard more
clearly.

     Dances vary considerably in different parts of the country. Among the
Akan a much greater use of arm, hand, and foot movement is found than in the
dances of the Ewe of the southwestern part of the country or the peoples in
the northern part. In general, the dances of the north are more vigorous and
athletic than those of the south. Close collaboration occurs between the
dancer and the musicians; in some cases the musicians themselves may dance. In
some solo dances at organized events a spectator may also briefly join in.

     There is a large amount of counterplay between leaders and performers in
folk music. Contrasting parts are frequently found involving the lead drummer
and other drummers in an ensemble. Different sets of rhythms may be played,
sometimes in a call-and-response pattern, at other times simultaneously. This
also occurs in the playing of wind instruments, and in the case of stringed
instruments there is alternation between instrumental and vocal parts. In
singing, solo and choral response are common. This type of interplay allows
the lead player or singer great leeway for improvising and for determining
rhythm patterns, verse order, and the length of the particular musical or
vocal number.

     In contrast to the eight-note scale of the West, two scales-one of five
notes, the other of seven notes-characterize most Ghanaian music. The Akan in
the south and the Builsa and Konkomba in the north use a seven-note scale.
Other groups in the north, including the Dagomba and Frafra, employ a
five-note scale; a similar scale is also used by the Adangbe in the southeast.

     The performance of folk music in the larger towns has been greatly
affected by the spread of popular music. During the 1960s attempts were made
to stimulate a renewed interest in folk music among townspeople, but
indications were that public support was generally poor. Presumably folk music
still retained a considerable hold in rural areas as of 1970, and it remained
an important part of the traditional festivals. The Institute of African
Studies of the University of Ghana has carried out a systematic program to
collect folk music and has conducted field studies on dance forms.

Musical Instruments

     A considerable variety of traditional musical instruments exist, the most
common ones being drums, horns, flutes, gongs, and rattles. Several kinds of
stringed instruments also are found, but these are used more in the northern
part of the country, as are xylophones. Most instruments are not played at
will for personal pleasure but as part of informal or formal social events. An
exception are the stringed instruments, which may be played at home for
enjoyment. Certain instruments are reserved for use only by the musicians of a
chief. Some restrictions are also traditionally placed on the playing of
different instruments according to sex. For instance, women are usually not
drummers and, in certain cases where they do drum, they play only specific
types.

     The most important instrument is the drum, which is used both for
accompaniment and as a solo instrument or in a drum ensemble. The art of
drumming is highly regarded and is taught in the public schools.

     Of special interest are the so-called talking instruments. These consist
both of drums and horns. The principal talking drum is the atumpan, which is
hollowed out from a particular kind of tree. The open end is covered with
parchment, and the drum is played with a sharply angled stick. Atumpan drums
are used only in pairs-one known as the male, the other as the female drum,
based upon tuning. Speech texts are reproduced through imitation of the sound
of words by using drumming accent and punctuation. This is facilitated by the
tonal nature of the Akan languages and the fact that in them a group of
phrases may be expressed by a single word. Proverbs, a group's history, and
other subjects may be drummed. The drummer, however, cannot deviate from the
known text if he is to be understood.

Popular Music and Song

     In the early 1900s development of a popular music intended essentially
for ballroom-type dancing, in contrast to traditional music and dancing,
began in the major towns along the coast. This music, which was inspired by
Western popular dance band music, came to be known as highlife. By the 1960s
highlife music was found in all parts of the country and was also played in
other parts of West Africa. It still retained wide popularity as of 1970, but
other styles, such as "soul" music, which were basically direct imports from
the West, were also being widely played.

     Popular music is played by instrumental bands, using principally Western
instruments, and also by vocal bands, which are accompanied chiefly by guitars
and percussion instruments. In the larger cities bands play in nightclubs,
ballrooms, and cafes and at such events as weddings. In the larger towns in
essentially rural areas they also are found in nightclubs and at dances, and
in villages they play at local b