By John Owoo

(In Accra – Ghana)

“Heroes of Africa”, a historical film that explored the activities of Tetteh Quarshie, the legendary father of Ghanaian cocoa, was last week screened to a special audience at the Goethe-Institut in Accra.

The film, which won the first prize in the Ghanaian Films Category of Black Star International Film Festival 2020, revisited the story of Quarshie, who is said to have stolen cocoa seeds from the Island of Fernando Po in the second half of the 19^th century.

A former Spanish colony located off the coast of Equatorial Guinea, Fernando Po was noted for slavery, oppression and huge cocoa, coffee and timber plantations, which generated large sums of money through exports.  

Although aggressively historical as regards to its subject – the illegal importation of cocoa to Ghana – the approach is rather a modern way of storytelling with willfully stingy explication alongside an assumption that viewers have some knowledge of the Quarshie saga.

Staring Van Vicker, Ian Flemming and Agya Koo, the film is a myriad of history, bravery, slavery, tradition and culture – the tone was set when an elder of a village predicted a glorious future for a new-born baby, who grew up to be the famous Quarshie.

“Heroes of Africa” took viewers on a journey to Fernando Po, where Quarshie grabs a job at one of the plantations and witnesses at first hand the horrors of daily life on the plantations including summary executions of slaves who stole or attempted to steal cocoa pods or beans.

With historical facts intricately fused with fleshy fiction, director Fiifi Gharbin created a story that spanned periods between 1850 and 1879, when Quarshie returned to Ghana with the cocoa beans, which today constitutes one of the major export crops of the Ghanaian economy.

Despite challenges with costumes, locations, cultural and religious, the film disseminated an important historical narrative through motion pictures supported by technical and theatrical innovations in recent years.

Goethe-Institut Ghana supported the prize and screening.

Pix – Black Star International Film Festival

Read More »

By John Owoo

(In Accra – Ghana)

Lipstick Band, an all-female group last Tuesday proved the capabilities of Ghanaian female instrumentalists during a captivating concert at the Goethe-Institut in Accra.

In a recorded performance, the band showcased music that is richly woven between the various instrumentalists while harmonies appeared grinding together with glorious friction and calmness.

With a direction towards jazz, the band delivered a poignant opener with “Lipstick”, an infectious tune composed by Sita Korley, which has widely been regarded as its signature tune.

In a rather slow-moving and all-enveloping show, the group showcased diverse arrangements which featured epic sequences thereby evoking sensitive, moving and emotional feelings.   

Undeniably, the performance was totally engaging with its delicate harmonies and rhythmic charm that will inevitably find their way into the grooves of their forthcoming album – and fans will be eager to hear it on record as well in a live environment.

With Sita Korley (Keyboard), Vida Ofoli (percussion), Winfred Thompson (bass), Abena Pomaah (guitar) and Abigail Aniapam (drums), Liptsick Band is without doubt the promising all-female band to emerge in Ghana over the past several decades.

Although music lovers are missing the live gig experience in a very big way, pre-recorded concerts such as this, which is being spearheaded by the Goethe-Institut, will enable fans enjoy live music from the comfort of their homes and elsewhere.

Lipstick Band, which won an award for women in creative arts industry in 2012 has participated in local and international festivals – these include “Nuit Atipiques de Koudougou” (Burkina Faso), “Stars de I’Intergration Culturelle Africaine” (Benin) and the 50th independence anniversary celebration of Ivory Coast (Abidjan).

Goethe-Institut Ghana supported the concert.

Read More »

By John Owoo

(In Accra – Ghana)

Legendary Ghanaian musician Gyedu Blay-Ambolley recently turned the stage at the Goethe-Institut in Accra into a musical groove during a virtual performance that forms part of a series dubbed Covid 19 concerts.

Noted for his gratifyingly and lucid singing, his fingers moved with amazing ease and precision on the saxophone as an unruffled mixture of highlife, Afro jazz and other musical genres generously flowed from the stage.

Accompanied by hilarious lyrics, Blay-Ambolley alongside Young Enim (keyboard), Kwesi Arko (bass guitar), Shikome (congas), Kuuku Ansong (trumpet) and Colonel Faat (saxophone), severally and mutually delivered a magical performance that spiraled into the cool night air.  

With tunes such us “Ose Yie”, “Amponsah”, “Blue Moon”, “Black Man Dey Suffer”, “Awar Kakra”, “Maplay”, “Adwoa Emissah” (Blay-Ambolley), “Enyidaso” (Kwasi Arko Donkor) and “Round Midnight” (Thelonius Monk), the performance was not only original but largely stimulating and intellectually satisfying.

Through a cool combination of voices, piano, guitars, drums, percussive instruments, two saxophones and an ageless deep voice from Blay-Ambolley, the performers delivered a memorable concert while exhibiting all the elements of musical communication.

He has toured throughout West Africa, Europe, Canada and the United States and has performed on the same stage with some of the world’s most celebrated artistes including Miriam Makeba and the Afro Beat King, Fela Anikulapo-Kuti.

Others are George Howard, Angela Bofill, Norman Connors (USA), Manu Debango (Cameroon), Chikuzan Takahashi (Japan), Ricardo Estrada (Cuba), Mayuto Correa (Brazil) and later toured Ghana with Oscar Brashear and Michael Session from the United States.

Owing to the originality of his music, Blay-Ambolley’s performances have left audiences raving and shouting for more as was the case at the world-famous Apollo Theater – New York, USA in 1992.

The celebrated musician has also received several prestigious awards including a Congressional Certificate of Special Recognition by Congresswoman Juanita Millinder McDonald, a lifetime achievement award and was inducted into the music hall of fame by Charles R. Drew University of Medicine and Science in California – all in the USA.

On his return to Ghana from the United States in 1997, he was honored with a standing ovation from former President, Jerry John Rawlings at the Ghana Music Awards.

Goethe-Institut Ghana supported the concert.

Read More »

By John Owoo

(In Accra – Ghana)

Most Def Foundation, a group dedicated to the deaf was on Wednesday launched at the Antique Lemonade Art Space in Accra. 

Founded by Franka-Maria Andoh, author and CEO of Josie’s Cuppa Cappuccino in Accra, Most Def Foundation is aimed at using education as a tool to ensure a change in the lives of the hearing-impaired. 

In a brief speech, Andoh stated that yearly summer camps and short courses that will be organized are geared towards exposing deaf students to a range of skills while building on their faith, confidence and self-esteem.

“This laudable idea has been on my heart for sometime now, indeed I was sparked into action earlier in the year after listening to a talk by Shaka Senghor, an American ex-convict, whose writings have touched the hearts of many people around the globe”, she added.

“He was invited by Oprah Winfrey to speak to her audience and one of the things he said that struck me was how society wastes people.  This gentleman, by re-inventing himself is now a bestselling author and a fellow in one of the top universities in the United States”, she continued. 

She revealed that she was deeply moved by how different his life could have gone and it made her think seriously about hearing-impaired children in Ghana and how many of them would and could fall by the side if we don’t intervene and hold their hands towards a better future.

The Foundation’s hospitality project, which will be based at the Gracias Lodge in Cape Coast, is set to provide on-site training as well as future income generating and employment skills for the children. 

It equally aims at partnering corporations and organizations to push for the inclusion of the deaf community in the work force and the arts sector in Ghana.

Most Def Foundation has executive and programmes committees, whose main objective is to roll out the its summer school sessions for deaf students as well as short courses for those who have completed some form of formal education.

The Principal of Cape Deaf and Blind School in Cape Coast, Abraham Yemoson and his assistant Regina Essilfie, who were guests of honour, lamented on the lack of opportunities for further education for deaf students and pledged the support of their institution.

Rosalin Abigail Kyere Nartey, president of the executive committee pledged that Most Def Foundation will make a difference in the lives of the deaf community in Ghana. 

Pictures – Marie Ipaud

Read More »

By Kouame Koulibaly

(In Ho – Ghana)

Elections to political office often raise tensions in many places across the globe and music has become one of the tools for cooling those tensions in some places.

In Ghana, it is not uncommon for musicians of all shades to travel across the country playing concerts that preach against electoral violence. Singles as well as complete albums of peace songs have been put out over the years all in a bid to help promote peaceful and credible elections.

Musicians in the Volta Region of Ghana are known for joining forces to support worthy causes and they have hit the road again with a series of concerts dubbed Volta for Peace. Organized by Tosh Media and Trans4orm Network Ghana, the concerts are being held in principal towns in the region to raise awareness of the need for all to contribute towards a violence-free general election on December 7.

“We make our living creating music to make people happy.  There is obviously no work for us in times of conflict.  COVID-19 has already dealt us a damaging blow and we all have to ensure there’s no other hindrance to our welfare by way of unnecessary conflict,” said Tony D, CEO of Tosh Media and Chairman of the Volta Region branch of the Musicians Union of Ghana (MUSIGA).

“We know we musicians have a big role to play to play in raising awareness about violent-free elections. We are urging that campaigns be based on relevant issues and politicians must refrain from insulting each other language,” Tony D pointed out at the Volta for Peace concert held at the Woezor Hotel in Ho, the regional capital a fortnight ago.

The musicians, this time joined by some comedians from the region, held another peace event at the White Dove Hotel at Dzodze on October 31. Performers at the show included Tony D, Rap Ziggy, Sister Beauty, Everyday, Saunter S2, Anasco, Mozato, Chilling Mama and China Man. They all presented songs and comedy acts that called for a peaceful Election 2020.

There were also peace messages from representatives of political parties, security services, chiefs and queen mothers, youth group and other relevant interest groups at the concert. Mama Awoamefi,  Queen mother of Afife, spoke on behalf of Queen mothers in the Ketu North Traditional area.  She advised the youth to learn to identify good politicians from bad ones.

 “The good politicians the ones who seek your welfare and progress at all times. The bad ones give you a few cedis and hard drugs and ask you to commit violent acts while their children stay protected in the comfort of their homes. Please expose those bad ones,” she noted. 

Togbe Akutu II of Dzodze Afeyieme, also spoke on behalf of chiefs in the traditional area. He called on the media to be circumspect in their reportage in order to maintain the peace Ghana is enjoying and pledged the support of the chiefs in the area to the Volta for Peace initiative.

Vincent Azumah, founder and Chairman of the Board of Trans4orm, also said recent violent events in the Volta Region required the establishment of response mechanisms to help prevent any escalation of violence.  “We are using music as a universal language and a response mechanism to communicate peaceful coexistence,” he stated.

“There are many-good-hearted musicians in the Volta Region willing to do things for the common good. The Volta For Peace Project is a manifestation that we are each other’s keeper and we’ll continue to seek progress for our people at all times,” said Tony D.

After Dzodze, the Volta for Peace train will make stops at Akatsi, Sogakope, Hohoe and Kpando before voting day on December 7.

Read More »

By John Owoo

(In Accra – Ghana)

The 2020 edition of PaGya Literary Festival, which ended last week at the Goethe-Institut in Accra, has undoubtedly sparked interest and appetite in writing and publishing in local Ghanaian languages.

Indeed, the opening discussion between Prof. Kofi Anyidoho (University of Ghana) and Prof. Danabang Kuwabong (University of Puerto Rico), which centered on “Preservation of Ghanaian Languages through Literature”, also touched on the upgrading of Ghana’s linguistic heritage.

Both academics, who have several books in both English and local languages to their credit, examined the relevance of literature in indigenous languages such as Ga, Ewe, Twi, Dagaare and Dagbani as a way of promoting Ghanaian languages, literature and national development.

They were of the view that literature, when adopted in all levels of education in the areas of prose, drama and poetry, can play a critical role in informing and orienting the population on actions to take that will result in human development. 

Undeniably, African literary studies have for decades been rooted in a distinction between Europhone literatures and Afrophone literatures. Each of these two genres was associated with a detailed set of qualities resulting in European language traditions being described as global, written and modern, while those of Africa were often labeled as local, oral and traditional.

They acknowledged the challenges inherent in writing in local languages but added that these are not unsurmountable while stating that enhancement of the teaching of local languages in schools is not only about enriching these languages but also augmenting knowledge about our culture, traditions and history. 

German poet, translator and essayist Jan Wagner, who read from his poems participated in a virtual discussion on “Translating Poetry” with Ghanaian poet Nii Ayikwei Parkes, which heralded a poetry fiesta that encompassed several members of Ehalakasa poetry collective.  

They dilated on how rhyme, which constitutes one of the features of poetry, is particularly challenging in translation. Both poets equally touched on the issue of rhythm which is often achieved with the use of rhyme as well as other stylistic devices such as assonance, consonance and onomatopoeia, which are difficult to reproduce in another language.

Equally insightful was a discussion between the internationally acclaimed Ghanaian artist Ibrahim Mahama and musician / activist Wanlov the Kubolor on the subject “Art on the Edge”. Moderated by the Dutch / Ghanaian creative mastermind Ama van Danzig, the two artists expatiated on issues relating to the expansion of art parameters in Ghana while zoning in on new and alternative voices and the issue of colonial ghosts.

Another talk involved two former Ambassadors – D.K Osei and Kabral Blay-Amihere who disused the topic “Traversing the Globe – A Diplomatic Conversation”, they engaged themselves with a lively discussion on a wide range of issues relating to the diplomatic front.

Various activities that took place during the three-day event include presentations, book readings / signings, workshops, publisher interactions, panel discussions and book launches and others that were largely held through video link ups and live-streaming.  

With dozens of authors, poets, editors and publishers on site alongside members of the general public participating virtually and physically, this year’s festival was a huge success, despite minor challenges with internet and technical equipment.

Goethe-Institut Ghana sponsored PaGya Literary Festival 2020.

Read More »

By Kouame Koulibaly

(In Accra – Ghana)

Percussionist Richmond Otu Laryea straddles two worlds of music: contemporary popular sounds with the Bessa Band and folk/traditional fare with his own Efee Noko Cultural Group.

He Has been part of  keyboardist Bessa Simon’s Bessa Band since its formation in 2011.On stage with the group, he grooves steadily along with the rhythm and takes his solos at the appropriate times whether the music on hand is Highlife, Jazz, Afrobeat, Reggae or Afro-rock.  

When he gets behind his kit with his 15-member Efee Noko group of  drummers, singers and dancers,  it becomes a joyous journey into a sphere of Kpanlogo, Adowa, Bambaya, Kete, Borborbor, Gahu, Kpatsa, Takai and other styles of Ghanaian traditional rhythms.

“It’s not difficult shifting between the two strands of music so long as you love what you do and keep working hard at it. My senses are always are alert to sounds and I’m serious with whatever music I’m involved with at anytime,” says Richmond who also plays the xylophone and an array of other percussion instruments.

His senses have been alert to the sound of drums since childhood as his father, Asafoiatse Nii Laryea  Akuaku from Nungua in Accra, is a drum maker. There were all sizes of drums available at home all the time and he took to them early in life.

It was Richmond’s father who originally started the Efee Noko Cultural Group in 1981. It was a well-loved folk band that played gigs across the country. It won competitions and represented Ghana once at at a traditional music festival. After a series of performances at the Aklowa African Village in London, the group disbanded after several of the members got offers to Australia, Germany and other European destinations.

“That happened about 30 years ago. When I had the idea to form my own traditional band, I asked my father if I could use the Efee Noko name again. He agreed.  We are based at Nungua and doing quite well. The traditional bands are important to help keep up our own rhythms and dances,” Richmond stated.

The first traditional-oriented band Richmond played with was Indigenafrika, an offshoot of the late Nana Danso Abiam’s Pan-Africa Orchestra and based then at the National Theatre. He has since played with acts such as Kusun Ensemble, Gifty Ose i and Ben Brako. Though a regular part of the Bessa Band, he sits in sometimes with other contemporary popular music bands which need his services.

Richmond says his musical activities keep him extremely busy but he is happy to be contributing his bit to the promotion of different types of music in this country. Another contribution he is keen to make, together with the rest in Efee Noko, is to donate proceeds from their gigs in the lead-up to Christmas, to orphanages and other needy segments of society. 

Read More »

By John Owoo

(In Accra – Ghana)

A number of institutions, organizations and artistic groups recently benefited from a humanitarian corona emergency aid, which was put together by the German state of North-Rhine-Westphalia.

Tete Adehyemma Dance Theatre, a traditional / contemporary group based in Accra, was one of the beneficiaries owing to its continuous work with deprived kids in the city. Cactus Theatre, a partner of the group in Münster, Germany facilitated the donation to the group.  

Items purchased and distributed to members of the group and their families include veronica buckets, disposable / washable face masks, sanitizers, disinfectants, soap, tissue papers, cooking oil, rice and canned tomatoes among others.

Indeed, North Rhine-Westphalia has tripled the humanitarian Corona emergency aid for Ghana. In addition to the 150,000 euros already approved in June 2020, the state government is now providing a further 300,000 Euros, which will be used for urgently needed food, water, hygiene and general health care.

 “North Rhine-Westphalia is on the side of Ghana. With the emergency aid, we are helping to improve the daily lives of our Ghanaian partners and friends in this emergency situation. International solidarity and cohesion will continue to fight the virus”, said Dr. Stephan Holthoff-Pförtner Minister of European Affairs.

The second tranche of the emergency aid will support 32 projects in Ghana, which will be implemented by sponsors from North Rhine-Westphalia. The Düsseldorf-based Association Behofa Help Africa, for example, is organizing the provision of free school meals for 300 children from three villages, which had been cut off by the pandemic.

Another example is the Circle of Friends of Ghana from St. Dionysius Nordwalde, which takes care of the water supply for two schools and a community center. Other projects support the construction of wells and provision of “veronica buckets” to facilitate hand washing.

Led by Benjamin Sam with Frank Sam as the artistic director, the group evolved out of a pilot project, which the Government of Ghana initiated in 1990 to address socio-cultural needs of the youth and children in deprived communities.

Currently six of its members are pursuing tertiary, secondary and vocational education – a situation that was made possible through a collaboration with Cactus Theatre.

Read More »

By John Owoo

(In Accra – Ghana)

Malian artist Abdoulaye Konate does not cease to surprise art lovers with his multi layered assemblages that are characterized by stirring compositions while vibrating with rich and deep colours.

In his first solo exhibition in Ghana, the weaver turned Gallery 1957 in Accra into a groove of colours by employing the famous kente cloth and other fabrics, which he delicately cuts and sews into giant pieces.

Radiating history, spirituality and politics, symbolism and essence, works by Konate equally evoke bouts of emotion from viewers while sparking intrinsic / extrinsic impressions – all through the power of insignia. 

With a complex blend of woven and dyed fabrics from Mali and Ghana, Konate produced large-scale abstract and figurative compositions that recall the skills of West African weavers and textile traditions. Undeniably, he meticulously created a scenario where fabrics equally venerate and communicate.  

Strips of materials in blues, greens, reds, golds and others overlap accurately and symbolically as he interweaves diverse material cultures and societies across the African continent. Employing geometric and abstract shapes, the artist similarly generates a space of energy, peace and tranquility.

Curated by Dr. Silvia Forni, a senior curator at the Royal Ontario Museum (Canada), large scale works on show also incorporate motifs from the Sahel, royal figures, subtle comments on globalization and references to the state of affairs in his native Mali.   

In 1996, Konate was awarded the Grand Prize at the Dakar African Contemporary Art Biennial. His works have been shown on all continents in many festivals, biennials and exhibitions, including the well-known traveling exhibition, “Africa Remix” (2004-2007).

Most prestigious institutions have welcomed his works, including the Smithsonian Institution in Washington D.C. (USA), Museum of Modern Art, Arab World Institute and Fondation Blachère – all in France. 

He was the director of exhibitions at the National Museum of Mali from 1985 to 1997, Director of the “Palais de la Culture de Bamako” and “Rencontres Photographiques de Bamako” from 1998 to 2002. Since 2003, he has directed the “Conservatoire des Arts et Métiers Multimédia”in Bamako, Mali.

An Associate Professor of Anthropology at the University of Toronto, Dr. Forni is in charge of the African Collection at the Royal Ontario Museum of Art and Culture and responsible for the permanent and rotating display of African artworks in the Shreyas and Mina Ajmera Gallery of Africa in Canada.

The exhibition ends on Monday November 30, 2020.

Read More »

By John Owoo

(In Accra – Ghana)

Nigerian academic, playwright, poet and essayist Prof. Wole Soyinka recently explained to an audience at the Goethe-Institut the complex issues that resulted in the writing of his second book “Season of Anomy”.

In a conversation with the Ghanaian anthologist Ivor Agyeman Duah on the topic “A Season of Anomy – Covid 19 and the Creative Muse”, Prof Soyinka said the book follows a period of serious ideological direction where some African intellectuals accepted textbooks from the West while ignoring the principles of social reconstruction.

The Nobel Prize for Literature laureate for 1986 noted that these books were accepted by African intellectuals “hook, line and sinker” without any attempt at relating them to the material realities of their own societies although they were supposed to be based on material actualities.

“I tried to extract from traditional social mores, ideas that could be propelled into the transformation of societies in a contemporary context”, said Soyinka – whose 1974 book “Season of Anomy” – employed the myth of Orpheus and Eurydice to examine the horrifying Nigerian civil war, which claimed the lives of two million people between 1967 and 1970.

“It was a very difficult period – on one hand, one contested the ideological rigidity by fighting his / her own colleagues while on the other the monolithic mentality, which will eventually lead to monstrosities like the actions of Ethiopia’s Derg, whose notion of revolution was enormously morbid”, he stated.

Touching on dictators, Soyinka said it is highly ridiculous for people who say they want society to progress kill their enemies and become true revolutionaries only when they slaughter humans and reduce them to statistics – a situation he described as absurd.

On his relationship with the arts, the activist stated that it was part of the struggle having lived as a kid in the midst of rich and colourful traditions and quietly noting the looting of African art and artifacts, which he claimed was part of the ploy to degrade African societies while bolstering the colonial / imperial unequal relationship.

“With the rise of religious fundamentalism, our culture and traditions were denigrated by our own people who were unstoppable iconoclasts – they destroyed shrines, attacked traditional processions and engaged in violent conversions”, added the octogenarian.

He described the late Afro Beat King Fela Anikulapo Kuti as an outsider and was actually fascinated watching his transformation into a Pan Africanist while recalling a performance he had with Kuti in the United Kingdom decades ago.              

Soyinka has been a strong critic of dictatorial and tyrannical regimes in Africa. Indeed, most of his writing has been concerned with oppressive rulers and actually paid a high price for his activism. During the regime of the late Gen Sani Abacha (1993 – 98), Soyinka escaped from Nigeria on a motorcycle and was later sentenced to death in absentia.

He was a Professor of Comparative Literature (1975 to 1999) at the Obafemi Awolowo University (Nigeria), Cornell University as Goldwin Smith Professor for African Studies and Theatre Arts (1988 – 1991) and Emory University (all in the USA), where in 1996 he was appointed Robert W. Woodruff Professor of the Arts.

Soyinka has also been a Professor of Creative Writing at the University of Nevada Las Vegas, a scholar-in-residence at New York University’s Institute of African American Affairs and Loyola Marymount University (all in the USA). He has also taught at the universities of Oxford (UK), Harvard and Yale and was also a Distinguished Scholar in Residence at Duke University (all in the USA).

In December 2017, he was awarded the Europe Theatre Prize in the “Special Prize” category, which is awarded to someone who has “contributed to the realization of cultural events that promote understanding and the exchange of knowledge.

The programme was organized by the Council for Foreign Relations Ghana, Goethe Institut, Writers Project of Ghana, e-Ananse and Vidya Bookshop.

Read More »