Mark Wilberforce (BBC Information) seems at how “Ghana’s wealthy musical scene has robust Jamaican hyperlinks.” [Many thanks to Peter Jordens for bringing this item to our attention.]
Afrobeats will be the dominant sound correct now in Ghana, as in lots of different African international locations, however the sounds of Jamaica can nonetheless be heard blaring by means of the audio system of Ghana’s roadside and seaside bars virtually day-after-day. Thursdays are reggae evening in two huge golf equipment within the capital, Accra – turning up the warmth in an already scorching local weather.
Jamaican musicians such because the late greats Bob Marley and Peter Tosh and the group Tradition have lengthy been credited with planting the seeds of reggae music on African soil 50 years in the past – and Ghana exhibits the roots have grown deep, and gone on to supply homegrown expertise.
This love of reggae has additionally had a cultural bearing on the language: it’s not laborious today to listen to Ghanaians speaking just a little Jamaican Patois, which is totally different from Pidgin English, a lingua franca spoken by roughly a fifth of Ghana’s inhabitants. Take Livingston Satekla, one the most important reggae-dancehall artists to return out of Africa, higher generally known as Stonebwoy. The spelling of his stage identify is a nod to Jamaican Patois. The phrase “Who’s that boy singing?” in Ghanaian Pidgin is: “Who be dat boy weh he de sing for deh?” In Jamaican Patois it’s: “Ah who dat bwoy weh im ah sing fi deh?”
In a latest interview Stonebwoy and I mentioned the rising use of Patois in Ghana, frowned upon by some Ghanaians. “What’s flawed with studying to speak in Patois, which comes as half and parcel of reggae-dancehall as a core device of communication? In the event you love reggae-dancehall you must study Patois,” the 34-year-old musician advised me.
Born within the ghettos of Ashaiman outdoors Accra, Stonebwoy would repeatedly hearken to Jamaican dancehall dons like Capelton, Anthony-B and Beenie Man as a teen – desirous to sound identical to his Patois-speaking heroes. He would later go on to host a number of the exact same folks at his annual BHIM Live performance, arguably some of the profitable dancehall showcases in Africa.
It takes place in December as a part of Ghana’s Past The Return marketing campaign – a undertaking designed to encourage folks from the diaspora to go to the nation. It attracts huge crowds – me included – and final 12 months featured Jamaica’s Busy Sign, who had lots of his fellow countrymen and ladies singing alongside to his hits. Some within the viewers may very well be seen with dreadlocks – worn by Rastafarians.
Reggae has been instrumental in spreading the rasta message. It too has been a cheerleader for Africa – singing about the great thing about the continent, boasting of its pure assets whereas calling for folks within the diaspora to return to the motherland. This has gone a protracted option to solidify the bond between reggae and Africa, particularly throughout and after colonial rule.
It is sensible that Ghana, among the many first African international locations to achieve independence (from the UK in 1957), gravitates to the sounds of wrestle and strife related to reggae. It has had loads of wrestle and strife, having skilled six navy coups between the Nineteen Sixties and Nineteen Eighties.
One of many first huge reggae artists in Ghana was Kojo Antwi, often known as Mr Music Man. Antwi began his profession within the Seventies working with reggae band Classique Handles which later modified its identify to Classique Vibes. Their debut 1979 album Greater: Endure Hell on Earth addresses the financial struggles of the ghetto and the way an absence of job alternatives can result in hunger.
By the mid-Nineteen Eighties Antwi would turn out to be higher recognized for love songs with lyrics in his native language Twi – sung over the much less political lovers’ rock reggae sound, which went on to encourage different huge Ghanaian artists.
Whereas Mr Music Man was serenading his homeland, a younger northern Ghanaian, Rocky Dawuni, of royal heritage, was starting to make waves on the worldwide reggae scene with the 1998 hit In Ghana. His rising reputation noticed a few of his tracks that includes on numerous US TV dramas and three Grammy nominations to his identify.
If reggae is the dad or mum, dancehall is unquestionably its mischievous youngster – with skilful lyricism and the unmistakable tones of Patois.
One of many first profitable descendants of this in Ghana is Samini, well-known for his energetic reside performances, singing in Pidgin, Patois and Twi. Sometimes called Africa’s King of Dancehall Music, he has acquired accolades from overseas and home organisations, together with a Mobo again in 2006 for Finest African Act and an MTV Africa Music award in 2009 for Finest Dwell Performer. Not being content material along with his solo accomplishments, Samini helped launched the profession of high Ghanaian artist Mugeez in addition to taking part in an enormous function in kick-starting the profession of Stonebwoy.
There’s additionally one other contender with a authentic declare to Ghana’s dancehall throne: Shatta Wale. As a pupil in Accra, he carried out utilizing the names Doggy and Bandana, producing one hit in 2004 after which disappearing into relative obscurity.
It took a visit to Jamaica to deliver his resurrection. He returned as Shatta Wale – now with a faithful fan-base and catalogue of hits together with an epic collaboration in 2019 with Beyoncé on Already. The 38-year-old’s golden contact has additionally prolonged to enterprise and he owns a profitable line of taxis generally known as Shaxi.
Presently, Shatta Wale and Stonebwoy are two of Africa’s largest reggae-dancehall stars and memorably participated within the Asaase Sound Conflict on the peak of Covid in 2020.
The onstage competitors, a musical custom that originated in Jamaica, was live-streamed globally and hosted by Grammy award-winning producer and BBC broadcaster Seani B.
As every artist tried to outdo the opposite, their followers shouted out their appreciation, with the phrase “dat tune deh mad” (Jamaican Patois for “that music is superior”) ringing by means of the venue.
Each units of supporters believed their man had gained on the evening. Nevertheless, the true winner was GH dancehall – a real youngster of Jamaica.
For authentic article, extra images and movies, see https://www.bbc.com/information/world-africa-64745445
[Photo above, Stonebwoy: “The spelling of Stonebwoy’s name is a nod to Jamaican Patois.”]