Name: Kudzo Dunyo
Age: Mid 30’s
Place of Birth: Dagabamete
Place of Residence: Tema
My interview with him was profound, informational, interesting but cut short due to time. Asked as to how music has changed in Dagbamete his response was, it hasn’t really changed profoundly because they are ardent practitioners of their customs and traditions, as well as a way of life to them; thus, making it almost impossible to separate it from their daily activities. To him, musically, they sing and dance to specific songs for specific events. For example, the form of "agbadza" that was performed at the shrine to him was exclusive to the shrine; I must say I witnessed a similar form of that dance at Dzogadze when the local ensemble performed for us. Therefore, to this, I will leave it open to debate. More to the point, he claimed there were songs performed at the shrine that were also exclusive to the shrine. However, he failed to mention the names or titles of songs when asked. Furthermore, he stated that some of the songs sang at the shrine had potency and power which was dearly revered by shrine followers and neighboring villages and towns. These songs had been transferred from generation to generation As well, he expressed that specific songs were sang in times of crisis by worshippers of the shrine or members of Dagbamete, and these songs had the ability to change the circumstance they were confronted with. Regarding the role of women, he said that their roles haven’t changed overtime because traditionally they played support or secondary roles in their traditional life and culture. He alluded to the roles of women at the shrine, as well as the ability of men to marry several wives. On the topic of the use of drums, he said certain drums were used for precise purposes. An example is the, war dance, "atsiagbekor," which has certain drums for communicating and conjuring magical potency. However, he did not elaborate into details. My assessment is he he was familiar to some extent with the role of music in the village however he was not fully or highly educated about the specific or traditional names; more so, it could be a code of silence or community allegiance not to give up all the names of certain instruments, gods or traditions to outsiders. Our interview was cut short by the interruption of a phone call and his brother, Frank, requesting his services.
Interviewed by Ellis Agbenyega Summer 2009