Difference between revisions of "Highlife & Ghanaian nationalism"
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'''Ghanaian popular music''' is involved in many ironies, in which American and Cuban culture (via Pan-Africanism and African American popular culture) -- inheriting from diverse African traditions -- plays a formative role in the constitution of Ghanaian nationalism, in its attempt to unify diverse ethnicities...themselves gathered in a post-colonial situation (i.e. Ghana = ex British Gold Coast & British Togoland). Tracing these ironies helps illuminate the complexity of the Ghanaian post-colonial situation. | '''Ghanaian popular music''' is involved in many ironies, in which American and Cuban culture (via Pan-Africanism and African American popular culture) -- inheriting from diverse African traditions -- plays a formative role in the constitution of Ghanaian nationalism, in its attempt to unify diverse ethnicities...themselves gathered in a post-colonial situation (i.e. Ghana = ex British Gold Coast & British Togoland). Tracing these ironies helps illuminate the complexity of the Ghanaian post-colonial situation. | ||
| − | '''The big picture''': Political structures resulting from reassembly of shards of colonial period are cemented by mass-media popular music (e.g. Highlife) and political ideas (e.g. Pan-Africanism) which are themselves significantly influenced by cultural-political currents coming directly from the West, | + | '''The big picture''': Political structures resulting from reassembly of shards of colonial period are cemented by mass-media popular music (e.g. Highlife) and political ideas (e.g. Pan-Africanism) which are themselves significantly influenced by cultural-political currents coming directly from the West, even if these currents can indirectly be traced back to Africa. Such a picture is very complex indeed! |
[[Sketch of Highlife]] | [[Sketch of Highlife]] | ||
Revision as of 12:17, 25 September 2007
Highlife Music & the complex relation between Western music, nationalism, and identity in Ghana following WWII.
Ghanaian popular music is involved in many ironies, in which American and Cuban culture (via Pan-Africanism and African American popular culture) -- inheriting from diverse African traditions -- plays a formative role in the constitution of Ghanaian nationalism, in its attempt to unify diverse ethnicities...themselves gathered in a post-colonial situation (i.e. Ghana = ex British Gold Coast & British Togoland). Tracing these ironies helps illuminate the complexity of the Ghanaian post-colonial situation.
The big picture: Political structures resulting from reassembly of shards of colonial period are cemented by mass-media popular music (e.g. Highlife) and political ideas (e.g. Pan-Africanism) which are themselves significantly influenced by cultural-political currents coming directly from the West, even if these currents can indirectly be traced back to Africa. Such a picture is very complex indeed!
Musical forms of political and social expression
(with thanks to Eilis Pourbaix & John Collins for their research)
