Abusua Songs


	We perform many pieces. We use the word "piece" as an inclusive term that can include drumming, dancing, and singing. These are traditional songs and dances of Ghana, West Africa, and are performed with adherence to the customs and techniques that were taught to us. While our pieces are from different peoples of Ghana, there are some recurring themes of West African music that can be observed: Polyrhythm: This a term that refers to multiple layers of contrasting rhythm. The complex interweaving of these rhythms is a main part of what makes these songs so musically interesting. Call and Response: In most Ghanaian ensembles there is a "master drummer" who issues forth "calls", which are patterns that are recognizable to the dancers and the other drummers. When the drummers hear a specific call, they may have to change to a specific rhythm. In the same way, the dancers may have to alter the step of the dance. This dynamic of call and response makes performing these songs exciting for the performers, as well as entertaining for the audience. Learning through Oral Tradition: This music is not passed down via notation, as is Western classical music. Rather, it is passed on from generation to generation via spoken drum language and demonstration. This allows for some subtle changes to suit the desires of the current generation. Pieces we perform include: Gahu Gahu is a recreational dance of the Ewe people. It is performed with couples, and the music has a very upbeat and energetic flavor. Also called the "money dance," it has become customary for the dancers to show off their gold jewelry when performing. Atsi Agbekor Atsi Agbekor is a war dance of the Ewe people of southeast Ghana, Togo, and Benin. This dance was originally performed as part of the ritual which prepared warriors for battle. Nowadays, its performance serves as a means of recalling these past times. Gota Gota was originally a war god dance of the Dahomey people of Benin. In current times the Ewe people perform Gota as a recreational dance at community gatherings. Sometimes this piece is performed on hollowed out gourds suspended in water. This is a popular piece for children to sit and play. Kinka Kinka is a popular Anlo-Ewe secular dance-drumming of recent origin and is characterized by themes reflective of the youthful inclinations for a more liberal lifestyle common among the younger generation in contemporary societies. Short repetitive call and response phrases are the norms of this communal entertainment. Adowa A dance of the Ashanti peoples of Ghana. This dance is especially noted for the grace and complexity of the dancers' movements. The drumming is also noted for the complexity of the interlocking rhythms and the two atumpan drums which are used as the lead or master drum. Originally a funeral dance music, Adowa is now also performed at annual festivals and social gatherings. Bamaya Bamaya narrates the legend of a time of great drought in northern Ghana. An oracle told the people that the drought was brought about by the manner in which the men were severely repressing and demeaning the women. It further stated that the drought would be relieved only when the men lowered themselves to the role they were imposing on the women by putting on skirts and participating in this dance. When the men did this it began to rain. It is currently performed during harvest time in northwestern Ghana by both Dagbani men and women. Kundum A dance of the Nzema and Ahanta peoples of Ghana. This piece takes its name from their local harvest festival and, though a warrior character is evident in the music, it is essentially a thanksgiving celebration of the earth's regenerative forces. Nag'la A piece from Northern Ghana. Nag'la is usually performed during the harvest festival. It is being performed to tell the story of how young men and women come together and move toward marriage. Drumming pieces from this region often do not use a bell pattern, but instead organize the pulse through the interplay of rhythms between drum parts. Togo Atsia Togo Atsia is a social drum of the Ewe played for recreation and communication. Although utilizing traditional forms of music and dance, Togo Atsia is noted for the constantly changing drumming patterns as the supporting drums respond to each call from the master drum. Kpanlogo Kpanlogo is work music the Ga fishermen use when they are hauling nets full of fish up onto the beach. Now used as a recreational dance of the Ga people who reside in the area surrounding the capital city of Accra, it is a unique combination of traditional and highlife music. This newer style of music contains elements of Ga performance practice which have strong similarities to certain Latin American dance rhythms. Bawa In many African cultures, organized celebrations and thanks-offerings to God for a good harvest, a good fishing season, a good hunting season and many other blessings are essential dimensions of the civilization. Bawa is a part of celebration and thanksgiving for a good harvest among the Dagarti/Lobi people of Northern Ghana. Todzo (female Adzobo)

We perform many pieces. We use the word "piece" as an inclusive term that can include drumming, dancing, and singing. These are traditional songs and dances of Ghana, West Africa, and are performed with adherence to the customs and techniques that were taught to us.

While our pieces are from different peoples of Ghana, there are some recurring themes of West African music that can be observed:

Polyrhythm: This a term that refers to multiple layers of contrasting rhythm. The complex interweaving of these rhythms is a main part of what makes these songs so musically interesting.

Call and Response: In most Ghanaian ensembles there is a "master drummer" who issues forth "calls", which are patterns that are recognizable to the dancers and the other drummers. When the drummers hear a specific call, they may have to change to a specific rhythm. In the same way, the dancers may have to alter the step of the dance. This dynamic of call and response makes performing these songs exciting for the performers, as well as entertaining for the audience.

Learning through Oral Tradition: This music is not passed down via notation, as is Western classical music. Rather, it is passed on from generation to generation via spoken drum language and demonstration. This allows for some subtle changes to suit the desires of the current generation.

Pieces we perform include:

Gahu

Gahu is a recreational dance of the Ewe people. It is performed with couples, and the music has a very upbeat and energetic flavor. Also called the "money dance," it has become customary for the dancers to show off their gold jewelry when performing.

Atsi Agbekor

Atsi Agbekor is a war dance of the Ewe people of southeast Ghana, Togo, and Benin. This dance was originally performed as part of the ritual which prepared warriors for battle. Nowadays, its performance serves as a means of recalling these past times.

Gota

Gota was originally a war god dance of the Dahomey people of Benin. In current times the Ewe people perform Gota as a recreational dance at community gatherings. Sometimes this piece is performed on hollowed out gourds suspended in water. This is a popular piece for children to sit and play.

Kinka

Kinka is a popular Anlo-Ewe secular dance-drumming of recent origin and is characterized by themes reflective of the youthful inclinations for a more liberal lifestyle common among the younger generation in contemporary societies. Short repetitive call and response phrases are the norms of this communal entertainment.

Adowa

A dance of the Ashanti peoples of Ghana. This dance is especially noted for the grace and complexity of the dancers' movements. The drumming is also noted for the complexity of the interlocking rhythms and the two atumpan drums which are used as the lead or master drum. Originally a funeral dance music, Adowa is now also performed at annual festivals and social gatherings.

Bamaya

Bamaya narrates the legend of a time of great drought in northern Ghana. An oracle told the people that the drought was brought about by the manner in which the men were severely repressing and demeaning the women. It further stated that the drought would be relieved only when the men lowered themselves to the role they were imposing on the women by putting on skirts and participating in this dance. When the men did this it began to rain. It is currently performed during harvest time in northwestern Ghana by both Dagbani men and women.

Kundum

A dance of the Nzema and Ahanta peoples of Ghana. This piece takes its name from their local harvest festival and, though a warrior character is evident in the music, it is essentially a thanksgiving celebration of the earth's regenerative forces.

Nag'la

A piece from Northern Ghana. Nag'la is usually performed during the harvest festival. It is being performed to tell the story of how young men and women come together and move toward marriage. Drumming pieces from this region often do not use a bell pattern, but instead organize the pulse through the interplay of rhythms between drum parts.

Togo Atsia

Togo Atsia is a social drum of the Ewe played for recreation and communication. Although utilizing traditional forms of music and dance, Togo Atsia is noted for the constantly changing drumming patterns as the supporting drums respond to each call from the master drum.

Kpanlogo

Kpanlogo is work music the Ga fishermen use when they are hauling nets full of fish up onto the beach. Now used as a recreational dance of the Ga people who reside in the area surrounding the capital city of Accra, it is a unique combination of traditional and highlife music. This newer style of music contains elements of Ga performance practice which have strong similarities to certain Latin American dance rhythms.

Bawa

In many African cultures, organized celebrations and thanks-offerings to God for a good harvest, a good fishing season, a good hunting season and many other blessings are essential dimensions of the civilization. Bawa is a part of celebration and thanksgiving for a good harvest among the Dagarti/Lobi people of Northern Ghana.

Todzo (female Adzobo)