Press Release ACCES 2019
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BDO Diamond Business Builder
Business plan Your business logo Awal Children Of The Future Children Of The Future P . O. Box co 2710 community 1, Tema,Ghana Mobile:+233243661222/0277247372 E-mail [email protected] [email protected] Facebook:f acebook.com/childrenofthefuture Twitter:@ACOTFGH LinkedIn: http://gh.linkedin.com/pub/awal-alhassan/39/5a2/37 BB Pin: 32FD8053 Website: www.awalschildrenofthefuture.com Contents Page 1. Summary............................................................................................... 3 2. Business overview................................................................................... 4 Introduction Current position Competitive advantage Growth plan 3. Business strategy.................................................................................... 5 Tactics Strategic issues Core values 4. Marketing.............................................................................................. 6 SWOT and critical success factors Market research Distribution channels Strategic alliances E-commerce and technology Tactical promotion plan Marketing budget Credibility and risk reduction 5. Team and management structure............................................................... 7 Skills, experience, training and retention Advisors Management systems 6. Financial budgets and forecasts.................................................................. 8 Profit and loss forecast Cash flow forecast Balance sheet forecast Capital expenditure budget Break-even analysis 1. Summary The Awal Children -
HIPLIFE MUSIC in GHANA: ITS EVOLUTION and WESTERNISATION Nana Osei Bonsu M.Ed. IT Student, College of Distance Education, Unive
Afro Asian Journal of Social Sciences Volume X, No. 10.4 Quarter IV 2019 ISSN: 2229 – 5313 HIPLIFE MUSIC IN GHANA: ITS EVOLUTION AND WESTERNISATION Nana Osei Bonsu M.Ed. IT Student, College of Distance Education, University of Cape Coast, Ghana Samuel Kofi Adjepong MPhil Candidate, Institute for Educational Planning and Administration, University of Cape Coast, Ghana ABSTRACT Music is an indispensable aspect of African culture; hence, music permeates in all aspect of African lives i.e. festivals, ceremonies, rituals, music and entertainments. In Ghana, highlife and hiplife music are the two most popular music genres. Hiplife which evolved in the twentieth century is a fusion of highlife and hip hop. This study discusses the evolution of hiplife music genre. It also establishes that although hiplife has western elements in its formation and evolution, those elements have been indigenised, decolonised and Africanised and thus could be said to be African music. Furthermore, this study posits that there has been progressive westernisation of Ghanaian hiplife music and musicians; this westernisation is evident in the stage names, music video concept, costume and music video location of hiplife musicians in Ghana. Key Words: Hiplife, Highlife, Ghana Music, Evolution, Indigenisation, westernisation, Introduction Music is an important element of human culture, and every culture that exists in human history has a form of music. Thus, music is inseparable from culture. Over the years, scholars have defined music in their own perspective. Levinson (1990:273) defines music as ‘sounds temporally organised by a person for the purpose of enriching or intensifying experience through active engagement (e.g. -
UNIVERSITY of CAPE COAST TRADITION in TRANSITION: the HABITS of LANGUAGE in GHANAIAN HIPLIFE LYRICS by SAMUEL KWESI NKANSAH Thes
© University of Cape Coast https://erl.ucc.edu.gh/jspui UNIVERSITY OF CAPE COAST TRADITION IN TRANSITION: THE HABITS OF LANGUAGE IN GHANAIAN HIPLIFE LYRICS BY SAMUEL KWESI NKANSAH Thesis submitted to the Department of English, Faculty of Arts, of College of Humanities and Legal Studies, University of Cape Coast, in partial fulfillment of the requirements for award of Doctor of Philosophy degree in Literature FEBRUARY 2019 i Digitized by Sam Jonah Library © University of Cape Coast https://erl.ucc.edu.gh/jspui DECLARATION Candidate’s Declaration I hereby declare that this thesis is the result of my own original research and that no part of it has been presented for another degree in this university or elsewhere. Candidate’s Signature: …………………… Date: ……………………… Candidate’s Name: Samuel Kwesi Nkansah Supervisors’ Declaration We hereby declare that the preparation and presentation of the thesis were supervised in accordance with the guidelines on supervision of thesis laid down by the University of Cape Coast. Principal Supervisor’s Signature: ………………… Date: ……………………… Name: Prof. Kwadwo Opoku-Agyemang Co- Supervisor’s Signature: ……………………… Date: ……………………… Name: Prof. Timothy Sola Babatunde ii Digitized by Sam Jonah Library © University of Cape Coast https://erl.ucc.edu.gh/jspui ABSTRACT The future of every nation is embedded in its youth. The older generation eats sour grape and sets the teeth of the youth on edge. A vibrant youth seeks a better future for itself since if one fails to comment on how one’s head is shaven, one ends up having a bad shave (The Author). This qualitative (textual) research is premised on the fact that research into Hiplife genre in recent years has not devoted attention to the source of its rhetorical vehemence, leading Adegbite (2006) to admonish scholars to broaden their scope of research to embrace all varieties of musical styles. -
The Dagbon Hiplife Zone in Northern Ghana Contemporary Idioms of Music Making in Tamale
International Journal of Music Science, Technology and Art (IJMSTA) 1 (2): 81-104, Music Academy “Studio Musica”, 2019 ISSN: 2612-2146 (Online) The Dagbon Hiplife Zone in Northern Ghana Contemporary Idioms of Music Making in Tamale Dominik Phyfferoen* Department of Cultural Anthropology University of Ghent, Belgium CARAM - Centre for Anthropological Research on Affect and Materiality * Corresponding author: [email protected] ARTICLE INFO ABSTRACT _________________________________________ Received: April 17, 2019 In this paper we discuss the results of a survey study we conducted in the cosmo- Accepted: August 21, 2019 politan city of Tamale on the local urban informal popular music industries we Published: September 1, 2019 called the Dagbon Hiplife Zone in Northern Ghana. By means of music eXamples, we show how traditional African idioms of music-making creatively blend with _________________________________________ cross-cultural and cross-musical components that stem from Africa, Afro-Ameri- can, Bollywoodish and Western inspired idioms of music making. The aim of the Keywords: survey study was to map the radius, location, and organiZation of the local infor- Hiplife Zone mal popular urban music industries in and around Tamale, including its artists, Northern Ghanaian Artists stakeholders and various distribution channels. We conducted a survey research The Intensity Factor on the consumption of music in this city in both the digital idioms and the tradi- The Sahelian Factor tional idioms of music making and a survey on transformational processes, con- Transformational processes in Afri- tinuity and change in the traditional and contemporary idioms of music making in can music-dance several Senior High Schools in and around Tamale. -
The Textuality of Contemporary Hiplife Lyrics
THE TEXTUALITY OF CONTEMPORARY HIPLIFE LYRICS by PETER ARTHUR A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Centre of West African Studies School of History and Cultures University of Birmingham Edgbaston Birmingham, B15 2TT University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This research looks at the textuality of hiplife - the Ghanaian version of hip hop - by investigating the hiplife discursive and non discursive practices. The thesis of this research is that hiplife provides the platform for self expression or a new culture for the Ghanaian youth. This ethnography of hiplife covers two main areas of investigation: hiplife as a syncretic and a protest culture. Chapter one presents the background and research design of the study while chapter two provides a broad scholarly exploration of hiplife, taking into account the history and culture of hiplife against the background of African hip hop literature. Chapter three explores the cultural production of hiplife while chapter four investigates the very core of hiplife rap, its oral rhythmic production. In chapter five, the hiplife culture, like all hip hop cultures, seeks to redefine the Ghanaian normative moral grounds. -
Hiplife Music: a Monograph
HIPLIFE MUSIC: A MONOGRAPH A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Emmanuel Anim-Koranteng August, 2018 HIPLIFE MUSIC: A MONOGRAPH EMMANUEL ANIM-KORANTENG THESIS Approved: Accepted: _____________________________ __________________________ Advisor School Director Mr. James Slowiak Mr. Neil Sapienza ___________________________ _________________________ Committee Member Dean of the College Dr. Christopher Hariasz Dr. Linda Subich ____________________________ _________________________ Committee Member Dean of the Graduate School Mr. Adel. A. Migid Dr. Chand Midha ______________________________________ Date ii ABSTRACT This thesis examined the hiplife genre in Ghana and explored the various genres that led to the discovery of hiplife. The purpose of this research was to offer an analysis of the hiplife movement in Ghana as a contributor to youth empowerment applying new forms of entertainment strategies, artist management, and technology enhancement that could broaden the awareness of hiplife and create economic opportunities for artists. This thesis also discussed the event management company, The Afro Giants (tAG), which was created to groom, manage, record musicians, and produce shows around the world. Information for this thesis was gathered from personal contact with industry insiders from most of the entertainment houses, entertainment magazines, and record labels in Ghana. iii ACKNOWLEDGEMENTS A special thanks to God for giving me life and my ancestors who passed the touch to me. I would like to express my special appreciation to my thesis committee members, Christopher Hariasz, Adel Migid and, especially, my thesis supervisor, James Slowiak, for his excellent guidance, care, patience, and for providing a good atmosphere for doing this research. -
Hiplife Music in Ghana: Postcolonial Performances of Modernity
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses November 2019 Hiplife Music in Ghana: Postcolonial Performances of Modernity Nii Kotei Nikoi University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Critical and Cultural Studies Commons, and the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Nikoi, Nii Kotei, "Hiplife Music in Ghana: Postcolonial Performances of Modernity" (2019). Doctoral Dissertations. 1804. https://doi.org/10.7275/14792936 https://scholarworks.umass.edu/dissertations_2/1804 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. HIPLIFE MUSIC IN GHANA: POSTCOLONIAL PERFORMANCES OF MODERNITY A Dissertation Presented By NII KOTEI NIKOI Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY September 2019 Department of Communication © Copyright by Nii Kotei Nikoi 2019 All Rights Reserved HIPLIFE MUSIC IN GHANA: POSTCOLONIAL PERFORMANCES OF MODERNITY A Dissertation Presented By NII KOTEI NIKOI Approved as to style and content by: ________________________________________________ Sut -
March 7, 2019: SXSW Music Festival Announces Full Artist List, Notable
SOUTH BY SOUTHWEST - A PREMIER YEAR FOR DISCOVERY SXSW Music Festival Announces Full Artist List, Notable Panels and Speakers Austin, Texas - March 7, 2019 - Every March, the global music community journeys to the South by Southwest® Music Festival (SXSW®) in Austin, Texas, for seven days and nights of music discovery, networking and the opportunity to share ideas. Within every attendee’s grasp lies the possibility to discover a new favorite artist, potential client, or prospective collaborator. SXSW is pleased to announce the full list of over 1,700 artists scheduled to perform, as well as numerous music industry professionals who will be participating in the SXSW Conference. The 33rd edition of the SXSW Music Festival takes place Monday, March 11 - Sunday, March 17, 2019. The SXSW Conference has hundreds of sessions and the Music programming runs the gamut of virtually every issue in today's music industry. Catch keynotes, featured talks, and panels with Michael Diamond & Adam Horovitz of the Beastie Boys, T Bone Burnett, Lauren Mayberry & Shirley Manson, David Byrne, Wyclef Jean, Amanda Palmer, Björn Ulvaeus of ABBA, Nile Rodgers, Laura Jane Grace, Nardwuar, Taylor Bennett, Lance Bass, YesJulz, Pat Corcoran, Nikki Lane and more. Participants include top-level industry executives from Soundcloud, Spotify, Gibson, Fender, AEG, Ticketmaster, Tencent Music, Merlin, SM Entertainment, AWAL, Glassnote, Patreon, Facebook, Instagram, and dozens of other labels, agencies, and companies who shape the global music business and culture. For more information on conference programming, please go here. SXSW is pleased to announce new additions to the music festival including Alphabeat, Billie Eilish, Bully, Car Seat Headrest, Cults, Da Baby, Dan The Automator, Dreezy, James Droll, Khalid, LIZZO, Lukas Nelson, Mary Lattimore, Nikki Lane, Phony Ppl, Ringo Deathstarr, SOAK, and Voz De Mando. -
Adedeji, Adewale.Pdf
Access to Electronic Thesis Author: Adewale Adedeji Thesis title: Yoruba Culture & its Influence on the Development of Modern Popular Music in Nigeria Qualification: PhD This electronic thesis is protected by the Copyright, Designs and Patents Act 1988. No reproduction is permitted without consent of the author. It is also protected by the Creative Commons Licence allowing Attributions-Non-commercial-No derivatives. If this electronic thesis has been edited by the author it will be indicated as such on the title page and in the text. The University of Sheffield Department of Music YORUBA CULTURE AND ITS INFLUENCE ON THE DEVELOPMENT OF MODERN POPULAR MUSIC IN NIGERIA Adewale Adedeji Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music December 2010 ABSTRACT YORÙBÁ CULTURE AND ITS INFLUENCE ON THE DEVELOPMENT OF MODERN POPULAR MUSIC IN NIGERIA This thesis focuses on the contributions of the Yorùbá culture to the development of modern Nigerian popular music. It traces the origin, conception and growth of popular music styles in Nigeria and highlights the underlying Yorùbá cultural cum linguistic influence that nurtured their growth within the urban space of Lagos city. It examines how contemporary Nigerian popular music practitioners appropriate the Yorùbá culture in negotiating their musical and national identities and counteract popular music homogenization through the creation of hybrid musical styles and cultures. The work adopts a multi-dimensional research approach that involves cultural, musicological, historical, anthropological and socio-linguistical tools. Adopting the participant- observer method with Lagos as the primary fieldwork site, additional data were sourced along with interviews of key informants through bibliographic and discographic methods. -
Canadian Curriculum Guide 2016
Once known as the “Gold Coast,” today Ghana is hailed as the golden country of West Africa. It is located in West Africa and uniquely positioned on the globe. The Greenwich Meridian at zero degrees longitude passes through the city of Tema, and the equator cuts just few degrees south of Ghana. Therefore, if you step on the intersection of the Longitude and the Latitude, and in whichever direction you move, Ghana is the first landmass you would step on. That is why it is often said that, Ghana is closer to the center of the earth than any other country. Truly one of Africa's great success stories, Ghana is reaping the benefits of a stable democracy, a strong economy and a rapidly exploding tourism industry fueled by forts and castles, beautiful landscapes, many teeming with exotic wildlife, national parks, unique art and music communities, and exciting experiences among many indigenous cultural groups. Ghana is also suffused with the most incredible energy. When you visit the Republic of Ghana, you might come face to face with caracals (wild cats) and cusimanses, bongos (deer) and bushbacks. Learn from and celebrate with such ethic groups as the Fante, the Ashanti, the Mole-Dagbon or the Ewe. Shop the markets of Kejetia in Kumasi or Makola in Accra. Take time to visit the Wechiau Hippo Sanctuary, the Tafi Atome Monkey Sancuary, or even stop by Paga and feed the crocodiles. Visit the Larabanga Mosque which dates to 1421, the Nzulezu village on stilts, the Colonial lighthouse of Jamestown, or the National Theatre in Accra. -
Summerstage, New York’S Largest Free Outdoor Performing Arts Festival
WELCOME TO ® City Parks Foundation is proud to present the 2019 season of SummerStage, New York’s largest free outdoor performing arts festival. SummerStage brings renowned artists and rising stars from around the world to local neighborhood parks, presenting distinctly New York genres -- salsa, jazz, and hip hop -- alongside indie, reggae, Afrobeat, soul, modern dance, and much more. We turn local parks into dynamic and accessible performance spaces. As a festival that strives to represent the rich cultural melange that makes our city great, we are excited to recognize a number of important milestones this year, including the 100th birthday of the Harlem Renaissance and of iconic choreographer Merce Cunningham; the 50th anniversary of the Stonewall riots and of the Harlem Cultural Festival known as Black Woodstock; the 40th anniversary of the world’s largest reggae label, Queens-based VP Records; and the 20th anniversary of the Latin GRAMMY Awards®. We hope you will join us for these commemorative performances. Moreover, as a women-run festival that strives for inclusive programming, we are helping to transform the future of the music industry by participating in the PRS Foundation’s international Keychange pledge and presenting a lineup that features a 50:50 gender balance. More information can be found at www.keychange.eu. Last, but certainly not least, we are thrilled to open our completely refurbished flagship venue in Central Park, thanks to the enormous generosity of the City of New York and many private individuals and foundations, all of whom recognize that New Yorkers deserve the very best. There truly is no better place to experience music than amongst the trees in this iconic spot. -
Popular Music in Ghana: Women and the Changing Perspectives on Gender and Sexuality
POPULAR MUSIC IN GHANA: WOMEN AND THE CHANGING PERSPECTIVES ON GENDER AND SEXUALITY A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts By Samuel Boateng May, 2016 Thesis written by Samuel Boateng B.F.A., University of Ghana, Legon, 2013 M.A., Kent State University, 2016 Approved by ________________________________________________________ Kazadi wa MuKuna, Ph.D., Advisor _________________________________________________________ Ralph Lorenz, Ph.D., Interim Director, School of Music _________________________________________________________ John Crawford-Spinelli, Ed. D., Dean, College of the Arts BOATENG, SAMUEL, M.A., May 2016 POPULAR MUSIC IN GHANA: WOMEN AND THE CHANGING PERSPECTIVES ON GENDER AND SEXUALITY (pp. 119) Director of Thesis: KAZADI wa MUKUNA The traditional concepts of gender and sexuality permeate several socio- cultural spheres in Ghana that include religion, education, and popular music. This study shows that female popular musicians in Ghana are challenging these culturally accepted perspectives of gender roles and sexuality in the country, and that they are also presenting a different narrative about women and womanhood that go contrary to those presented by their male counterparts. The study demonstrates that some selected female musicians accomplish this challenge through their song lyrics and music videos. Chapter one contains an introduction to the study and a general overview of the history of popular music in Ghana. Chapter two focuses on the implications of gender and sexuality in Ghana and concludes with a brief analysis of songs to show the images of women presented by male musicians. Chapter three deals with the social and musical roles of women, the gradual rise of women in the popular music scene of Ghana, and it concludes with discussions on some of the challenges faced by women musicians in the country.