Ghana Highlife is Ghana’s Contribution to World Music

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Emmanuel Tettey Mensah, also known as as E. T. Mensah (31 May 1919– 19 July 1996), was a Ghanaian artist who was pertained to be the “King of Highlife” songs. Emmanuel Tettey Mensah was a natural artist, whose skill was detected at college by ‘Educator’ Joe Lamptey.
Even so, by the 1960s, E.T. was playing part-time, stating that he had actually never ever anticipated to make a living from songs. In 1969 he took a brand-new Tempos line-up to England for a 3 month trip, culminating in a dance at the London Hilton Hotel.

The Ghanaian songs includes numerous unique kinds of musical instruments such as the chatting drum sets, the Ghanaian atenteben and koloko lute, court songs, consisting of the atumpan, and log xylophones made use of in asonko songs. Hiplife is the most popular Ghanaian songs, followed by the various other category of Ghanaian songs, Ghana highlife.

In 1979, in acknowledgment of his services to Ghanaian songs as educator, entertainer and administrator, Koo Nimo was elected Head of state of MUSIGA (the Musicians’ Union of Ghana ). In 1985 Koo Nimo was selected interim chairman of COSGA, the Copyright Society of Ghana , More just recently he has actually been made an honorary life participant of the International Organization for the Research of Popular Songs, along with such prominent names as Teacher J.H.K. Nketia and John Collins. In the next month he got the Konkoma Honor for his contribution to Ghanaian Highlife Songs.

As for Nigerian Songs, it consists of lots of kinds of individual and popular songs. Nigeria is referred to as “the heart of African songs” since of its part in the development of West African highlife and palm-wine songs. Highlife is a songs category that stem in Ghana and spread out to Sierra Leone, Nigeria and various other West African nations.

There were numerous brand-new jazz compositions with African-related titles: “Black Nile” (Wayne Much shorter), “Blue Nile” (Alice Coltrane), “Obirin African” (Art Blakey), “Zambia” (Lee Morgan), “Session in Ghana ” (Jackie McLean), “Marabi” (Cannonball Adderley), “Yoruba” (Hubert Regulation), and numerous even more. Both Weston and saxophonist Stanley Turrentine covered the Nigerian Bobby Benson’s piece “Niger Mambo”, which includes Afro-Caribbean and jazz aspects within a West African Highlife design. Some artists such as Pharaoh Sanders, Hubert Rule and Wayne Much shorter started making use of African instruments such as kalimbas, bells, beaded gourds and various other instruments not standard to jazz.

There was a resurgence of interest in jazz and other forms of African American cultural expression during the Black Arts Movement and Black nationalist period of the 1960s and 1970s. African themes became popular. There were many new jazz compositions with African-related titles: “Black Nile” (Wayne Shorter), “Blue Nile” (Alice Coltrane), “Obirin African” (Art Blakey), “Zambia” (Lee Morgan), “Appointment in Ghana ” (Jackie McLean), “Marabi” (Cannonball Adderley), “Yoruba” (Hubert Laws), and many more. Pianist Randy Weston’s music incorporated African elements, for example, the large-scale suite “Uhuru Africa” (with the participation of poet Langston Hughes) and “Highlife: Music From the New African Nations.” Both Weston and saxophonist Stanley Turrentine covered the Nigerian Bobby Benson’s piece “Niger Mambo”, which features Afro-Caribbean and jazz elements within a West African Highlife style. Some musicians such as Pharaoh Sanders, Hubert Laws and Wayne Shorter began using African instruments such as kalimbas, bells, beaded gourds and other instruments not traditional to jazz.

A Little Information on Ghana Folklore

 

Anansi folk tales originated in Ghana , West Africa. Moms and dads have withed the humorous tales to show their kids life courses for several, several generations. Today we could locate Anansi, his wife Aso and their youngsters, gladly tucked into the memories of individuals all around the African Diaspora. From Ghana , to the Caribbean, to the South Eastern US, you will certainly get a vast smile and enjoyable recollecting eyes upon the reference of the funny trickster named Anansi.

Stories of Anansi came to be such a popular and familiar part of Ashanti oral culture that the word Anansesem– “crawler tales”– came to embrace all sort of myths. One of minority researches that reviews the part of Anansi folktales among the Ashanti of Ghana is R.S. Rattray’s Akan-Ashanti Folk-Tales (1930). The tales in Rattray’s collection were tape-recorded directly from Ashanti oral narration sessions and published in both English and Twi. Peggy Appiah, that collected Anansi tales in Ghana and published several publications of his stories, wrote: “So populared is he that he has offered his label to the entire rich practice of tales on which a lot of Ghanaian youngsters are raised– anansesem– or spider tales.” Somewhere else they have other labels, for instance Ananse-Tori in Suriname, Nansi in Guyana, and Kuent’i Nanzi inCuraçao.

The adze is a vampiric being in Ewe tradition. The Ewe are situated in Togo and Ghana In bush, the adze takes the form of a firefly, though it will transform into human shape upon capture. When in human form, the adze has the power to have people.

While South Africa disputes the introduction of the Standard Knowledge Bill (Afro-Leo protection right now), Ghana is functioning to apply the standard understanding defense given by the Ghanaian Copyright Act.

Under the Copyright Act of 2005, an individual desiring to with tradition needs toapply to the federal government, through the National Folklore Board, for permission and pay a cost. (Area 64.) However, even though the regulation needs permission and payment, few tradition individuals in Ghana undergo the National Tradition Board.

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