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© University of Cape Coast https://erl.ucc.edu.gh/jspui UNIVERSITY OF CAPE COAST INNOVATIONS IN BƆBƆƆBƆ OF THE EƲE OF GHANA EYRAM ERIC KWASI FIAGBEDZI 2019 i Digitized by Sam Jonah Library © University of Cape Coast https://erl.ucc.edu.gh/jspui ©Eyram Eric Kwasi Fiagbedzi University of Cape Coast ii Digitized by Sam Jonah Library © University of Cape Coast https://erl.ucc.edu.gh/jspui UNIVERSITY OF CAPE COAST INNOVATIONS IN BƆBƆƆBƆ OF THE EƲE OF GHANA BY EYRAM ERIC KWASI FIAGBEDZI Thesis submitted to the Department of Music and Dance of the Faculty of Arts, College of Humanities and Legal Studies, University of Cape Coast, in partial fulfilment of the requirements for the award of Doctor of Philosophy Degree in Ethnomusicology JULY 2019 iii Digitized by Sam Jonah Library © University of Cape Coast https://erl.ucc.edu.gh/jspui DECLARATION Candidate’s Declaration I hear by 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…………………… Name: Eyram Eric Kwasi Fiagbedzi 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. Florian Carl Co- Supervisor’s Signature………………………………Date………………... Name: Prof. John Edmund Collins ii Digitized by Sam Jonah Library © University of Cape Coast https://erl.ucc.edu.gh/jspui ABSTRACT In the 1950s, Bɔbɔɔbɔ, a pan-ethnic dance-music genre emerged in Ghana and performed predominantly among the northern Eʋe in Ghana. Its development has been characterized by socio-political and religious nuances that influenced its stylistic essence. Over the years, cultural transformations and individuals acting as agents of change continue to influence the performance tradition of Bɔbɔɔbɔ thereby making it one of the most popular indigenous dance-music genres in the country. This study examines innovations in Bɔbɔɔbɔ performances since its emergence by focusing on ensembles drawn from across the Volta and Greater Accra regions of Ghana, as well as three famous exponents of the tradition. It offers insight into the practices as characterised in the general transformation that reflects the performance tradition today. The study also examines the socio-cultural and religious significance of themes and drum text of Bɔbɔɔbɔ thus providing a context to explore key factors that continue to enhance and or threaten its sustenance. It adopts qualitative mode of enquiry that embraces ethnographic fieldwork to examine the socio- historical, political, religious and cultural dimensions of Bɔbɔɔbɔ performances. It also explores the use of Bɔbɔɔbɔ song texts as a medium and repository for cultural knowledge and history of the people. The research is framed within the theoritical lenses of social “reconstructionism”, interpretative innovation and the “five-domain framework” for music sustainability. It concludes that within the current socio-cultural environment, the dance-music tradition continues to experience innovations as performance dynamics are reframed to suit contemporary essence. The study contributes to literature in ethnomusicology within the context of innovation and sustainability of Bɔbɔɔbɔ performance. iii Digitized by Sam Jonah Library © University of Cape Coast https://erl.ucc.edu.gh/jspui ACKNOWLEDGEMENTS I wish to express my gratitude to my teachers and supervisors for the individual and significant contributions each has made in shaping my intellectual development: to the late Prof. Willie O. Anku, the late Dr. Nissio Fiagbedzi, and Mrs. Bertha Adom, who were amongst the first people to arouse and sustain my interest in music research. My gratitude extends to Dr. Eric Debrah Otchere for encouraging me when things got tough along the way. I should like particularly to thank Prof. Florian Carl for his general supervision as principal Supervisor, for his editorial comments and advice, and the general encouragements he gave me which helped me in completing this study. To Professor John Collins: I am particularly grateful for your criticism and valuable suggestions and encouragement as my second supervisor. My study at the University of Cape Coast would not have been successful without the financial support I received working as Local Project Coordinator for the DAAD SDG Graduate School Performing Sustainability: Cultures and Developments in West Africa. I owe special thanks to Prof. Raimund Vogels, Dr. Michael Fuhr, Steering Committee members and fellow coordinators: Nepomuk, Meike, and Chris, and the entire student cohort of SDG Graduate School for their support. To my friends Adowa Arhine, Kwashie Kuwor, Derrick Degboe, Senyo Adzei and Eric Sunu Doe, thank you for being there for me. To my family members and in-laws: your show of love was excellent! I also wish to thank Gideon for assisting with the music transcriptions and Osman for formatting the work. To the members of the ensembles and all the people interviewed, I owe you sincere thanks. iv Digitized by Sam Jonah Library © University of Cape Coast https://erl.ucc.edu.gh/jspui DEDICATION To my dear wife, Irene, and children, Melike, Selikem and Setutsi v Digitized by Sam Jonah Library © University of Cape Coast https://erl.ucc.edu.gh/jspui TABLE OF CONTENTS Page DECLARATION ii ABSTRACT iii ACKNOWLEDGEMENTS iv DEDICATION v TABLE OF CONTENTS vi LIST OF FIGURES x LIST OF ACRONYMS xii CHAPTER ONE:INTRODUCTION Background to the Study 1 Problem Statement 6 Objectives of the Study 9 Research Questions 9 Significance of the Study 10 Literature Review 10 The Concept of Innovation 15 Theoretical Framework 16 The Interpretative Innovation Theory 17 The Theoretical Model of Social Reconstructionism 19 The Stage of Social Deconstruction 22 Methodology 25 Interviews 27 Audio and Visual Materials 28 Digital Archives 29 Data Processing and Analysis 29 vi Digitized by Sam Jonah Library © University of Cape Coast https://erl.ucc.edu.gh/jspui Scope of Study 30 Organisation of the Study 38 CHAPTER TWO: POLITICAL AND SOCIO-CULTURAL HISTORY OF THE EƲE OF GHANA Introduction 40 Origins and Migrations 40 Natural Resources and Economic Activities 47 Religious Practices 50 Language 54 Eʋe Music 55 Expressions for Eʋe music and dance performances 56 Classification of Eʋe music 58 Instrumental Resources 60 Chapter Summary 67 CHAPTER THREE: HISTORICAL EXPLORATION OF THE ORIGIN AND DEVELOPMENT OF BƆBƆƆBƆ IN GHANA Introduction 69 Precursors of Bɔbɔɔbɔ 69 Konkoma Marching Bands 70 Tuidzi Dance Music 75 Akpese Dance Music 78 Origin of Bɔbɔɔbɔ 83 Bɔbɔɔbɔ in the Church/Christianisation of Bɔbɔɔbɔ 97 Bɔbɔɔbɔ brass bands 106 Chapter Summary 108 vii Digitized by Sam Jonah Library © University of Cape Coast https://erl.ucc.edu.gh/jspui CHAPTER FOUR: PERFORMANCE PRACTICE OF BƆBƆƆBƆ ENSEMBLES Introduction 111 Organisation and functions of Bɔbɔɔbɔ ensembles 112 Rehearsal and Performance Spaces Organisation 122 Performance 122 Instrumentation 124 Dances incorporated into present day Bɔbɔɔbɔ performances 128 Presentation of Songs 130 Costume 132 Use of alcohol or liquor 135 Bɔbɔɔbɔ competitions 137 Some famous exponents of Bɔbɔɔbɔ music 140 Chapter Summary 158 CHAPTER FIVE: THE SOCIO-CULTURAL SIGNIFICANCE OF BƆBƆƆBƆ MUSIC TEXTS Introduction 161 Music Texts 161 Analysis of selected Bɔbɔɔbɔ songs texts 162 Drum texts 211 Chapter Summary 217 CHAPTER SIX: THE SUSTAINABILITY OF BƆBƆƆBƆ Introduction 219 Systems of Learning Music 219 Drumming, Singing and Dancing 224 viii Digitized by Sam Jonah Library © University of Cape Coast https://erl.ucc.edu.gh/jspui Musicians and Communities 227 Regulations and Infrastructure 232 Contexts and Constructs 233 Media and Music Industry 239 Chapter Summary 243 CHAPTER SEVEN: SUMMARY, CONCLUSIONS AND RECOMMENDATIONS Introduction 246 Summary 246 Findings 248 Conclusions 253 Recommendation 256 Suggestions for Further Research 256 BIBLIOGRAPHY 258 APPENDICES 276 APPENDIX A: LIST OF PEOPLE INTERVIEWED AND GROUPS 277 APPENDIX C: IMAGES OF BƆBƆƆBƆ PERFORMANCE STYLES 282 APPENDIX D: MUSICAL TRANSCRIPTION OF SELECTED BƆBƆƆBƆ SONGS 289 APPENDIX E:RHYTHMS OF SELECTED BƆBƆƆBƆ INSTRUMENTS 305 APPENDIX F:TEXTUAL TRANSCRIPTION OF SELECTED BƆBƆƆBƆ SONGS 307 APPENDIX G: ƲUGBE: AGBELIDZEDZE 312 ix Digitized by Sam Jonah Library © University of Cape Coast https://erl.ucc.edu.gh/jspui LIST OF FIGURES Figure Page 1 Social Reconstrctionism Model 20 2 Map showing the historical migration of the Eʋe 41 3 Gankogui 63 4 Toke 63 5 Akoge 64 6 Adodo 64 7 Axatse (Enmeshed Rattle) 65 8 Akaye (Container Rattle) 65 9 Kitikpo 66 10 Performance set-up of Nuatro’s band 90 11 Nuatro’s Bɔbɔɔbɔ group with Nuatro (from bottom left) holding a stick and a hat 90 12 Poster of OMSU 2000-year group advertising their Bɔbɔɔbɔ event 117 13 A four-set Bɔbɔɔbɔ drum 126 14 Members of Nutifafa Bɔbɔɔbɔ group playing the seven-set drums during a funeral thanksgiving at Dzolo-Kpuita in the Volta region 126 15 Dondo or hourglass drum 127 16 Nutifafa Borborbor Group from Kpando in performance 130 17 Bɔbɔɔbɔ dancers in Eʋe traditional costume flaunting white handkerchiefs 133 18 Dancers of Edzordzinam Fafali Borborbor Group wearing a pair of socks during a performance at a wedding reception 133 x Digitized by Sam Jonah Library © University of Cape Coast https://erl.ucc.edu.gh/jspui 19 Dancers and percussionists of Fafali Edzordzinam Borborbor Group in different costumes during a wedding reception 134 20 Image of Bɔbɔɔbɔ bitters 137 21 Poster of Bɔbɔɔbɔ competition 139 22 CD cover bearing the image of Efo Senyo 149 23 CD cover bearing the image of Israel Maweta 151 24 CD cover bearing the image of Wofa Atta 155 25 A poster of Gbi Festival with Bɔbɔɔbɔ listed as part of the festival activities 239 26 Samples of fliers advertising special programs for Bɔbɔɔbɔ as side attraction 239 xi Digitized by Sam Jonah Library © University of Cape Coast https://erl.ucc.edu.gh/jspui LIST OF ACRONYMS ARS Apostles Revelation Society CNC Center for National Culture CPP Convention Peoples Party CYB Christian Youth Builders CYO Christian Youth Organisation E.P.
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  • The Politics and Activism of Urban Governance in Ghana: Analyzing the Processes of Market Redevelopment in Kumasi and Cape Coast

    The Politics and Activism of Urban Governance in Ghana: Analyzing the Processes of Market Redevelopment in Kumasi and Cape Coast

    The Politics and Activism of Urban Governance in Ghana: Analyzing the Processes of Market Redevelopment in Kumasi and Cape Coast Dissertation zur Erlangung des akademischen Grades Doktor philosophiae (Dr. phil.) im Fach Geographie eingereicht an der Mathematisch-Naturwissenschaftlichen Fakultat der Humboldt-Universitat zu Berlin von M.Sc. Lewis Abedi Asante Prasidentin der Humboldt-Universitat zu Berlin Prof. Dr.-Ing Dr. Sabine Kunst Dekan der Mathematisch-Naturwissenschaftlichen Fakultat Prof. Dr. Elmar Kulke Gutachter/innen: Prof. Dr. Jonas Østergaard Nielsen Prof. Claire Mercer Prof. Dr. Elmar Kulke Tag der mundlichen Prufung: 04 February, 2020 Printed and published with the support of the German Academic Exchange Services ii Abstract Urban regeneration in Ghana has, over the years, been implemented amidst one form of citizen resistance or the other. Scholarly and policy literature have generally argued that citizen resistance against urban regeneration is shaped by lack of participation, non-payment of compensation and the failure of the state to provide alternative sites for relocation. However, drawing on a qualitative analysis and case study of the redevelopment of market infrastructure in Kumasi and Cape Coast, this cumulative dissertation reveals that if we are to understand citizen resistance against urban regeneration in Ghana, we should pay more attention to the politics and activism rooted in the urban governance processes. Findings revealed that market redevelopment projects in Ghana are implemented through the process of scoping, planning, financing, relocation and allocation. This process is shaped by an interplay of internal state practices of clientelism and neoliberalism and activism of non-state actors, as well as external practices of globalization and development funding by international and bilateral agencies.