Difference between revisions of "Musical forms of political and social expression"
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“It is only really after the Second World War with the rise of the mass CPP (Convention Peoples Party) independence movement and Nkrumah’s Pan-Africanism, compounded by Afro-centric ideas coming in from the black Americas, that Ghanaian popular artists began indigenizing their performances in a self-conscious ideological way”. | “It is only really after the Second World War with the rise of the mass CPP (Convention Peoples Party) independence movement and Nkrumah’s Pan-Africanism, compounded by Afro-centric ideas coming in from the black Americas, that Ghanaian popular artists began indigenizing their performances in a self-conscious ideological way”. | ||
| − | + | Performing groups joined Nkrumah’s struggle for independence from the mid-1940s, the Axim Trio were staging pro –independence plays such as “Nkrumah Will Never Die”; Bob Ansah was performing “We Shall Overcome” and “The Creation of Ghana”. | |
One of the most popular Highlife bands of this period was the ''Tempos''. | One of the most popular Highlife bands of this period was the ''Tempos''. | ||
Revision as of 12:22, 25 September 2007
Following WWII, ideas of liberation and African independence arose, generating musical forms of political and social expression.
Professor John Collins notes that:
“It is only really after the Second World War with the rise of the mass CPP (Convention Peoples Party) independence movement and Nkrumah’s Pan-Africanism, compounded by Afro-centric ideas coming in from the black Americas, that Ghanaian popular artists began indigenizing their performances in a self-conscious ideological way”.
Performing groups joined Nkrumah’s struggle for independence from the mid-1940s, the Axim Trio were staging pro –independence plays such as “Nkrumah Will Never Die”; Bob Ansah was performing “We Shall Overcome” and “The Creation of Ghana”.
One of the most popular Highlife bands of this period was the Tempos.
