The name "Ghana" translates from the Soninke language to "Warrior King." That name seems apt, considering local kingdoms fought off the British for about a hundred years. There were two kingdoms which had substantial power in the area when the Europeans arrived: the Kingdom of Dagbon, located in the Northern area of what is now Ghana, and the Kingdom of Ashanti, which covered much of the south and central parts of the region.
The kingdoms have roots in two different ethnic groups. The Kingdom of Dagbon was first founded in the 11th-century by the Dagomba peoples. Their history is divided into two kingdoms, with the first being known only through oral histories told through drum chant. The Second Kingdom of Dagbon started around 1700 when the capital was moved from Yendi Dabari to Yendi due to conflicts with another tribe, the Gonja. This kingdom lasted until 1888, when they agreed to become a neutral zone between British and German controlled areas, and then were decisively defeated by the Germans in a massacre known as the Battle of Abido.
The Kingdom of Ashanti was descended from an ethnic group called the Akan, settling along the coast between the 10th and 12th centuries. The kingdom itself coalesced in the 17th century when King Osei Kofi Tutu I consolidated a confederation of Ashanti city-states against a nation called Denkyira, defeating them in 1701. Following their victory, King Tutu began expansion through military strength and diplomacy. Apparently, the Ashanti peoples have attracted a great deal of study, particularly by British authors. I have to suspect some of this interest sprouts from the Ashanti giving the British army a run for their money for the better part of a century, but that's none of my business.
There were other, smaller kingdoms in the area, as well as a number of loosely organized tribes. Thus, like other African countries I've looked at so far, it makes less sense to say "Ghana culture" than it does "cultures." One cultural element which is fairly common are adinkra symbols, a collection of icons which are used on fabrics, pottery, walls, and architecture. These symbols make reference to a number of ideas, proverbs, and aphorisms which, when combined, create a wealth of communications. It seems adinkra cloths were traditionally worn by spiritual leaders during funerals and other religious services.
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Our composer for today is Dr. Ephraim Amu (1899-1995). He received his early musical training from Karl Theordore Ntem, getting organ lessons in exchange for farm work on Saturdays. In 1916, he left for college, travelling 150 miles on foot to get to Abetifi. Graduating in 1919 and taking up a teaching position at a middle school in 1920, Dr. Amu was immensely dedicated to giving his students the best possible education. One story tells of him buying a 5-octave organ in the city of Koforidua, about 18 miles from his school. While he was able to transport the organ by train most of the way back, he ended up having to carry the organ on his head for a whole night to get the organ back to the school.
Musically, his primary focus was writing for chorus, typically setting scriptural passages in the Twi and Ewe languages. He also strove to incorporate local styles, rhythms, and instruments in his music. This occasionally got him in a bit of hot water with some people, as one minister, Rev. Peter Hall, found it unacceptable to see Dr. Amu preach a sermon while in traditional African dress.
The work I am sharing is Alegbegbe, a setting of John 3:16.
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