Beyond Colonial Legacies: Cultural Identity, Adaptation, and Musical Hybridity in Ghana
Chair(s): John Wesley Dankwa (Wesleyan University,)
The influence of colonial legacies on Ghanaian music, particularly in church worship and choral traditions, remains a subject of debate. While British missionaries introduced hymnody and Western choral structures, Ghanaian musicians have actively reshaped these elements to reflect their cultural and spiritual identities. Rather than simply preserving colonial-era forms, Ghanaian worship and choral traditions represent a fusion of musical practices that foster inclusivity, community engagement, and artistic innovation. This panel explores how Ghanaian musicians have redefined their sacred and choral soundscapes through adaptation and hybridity. The first presentation, “Beyond Missionary Legacies: Examining the Musical Practices in Ghanaian Methodist Worship,” highlights how hymnody has merged with indigenous forms such as Ebibindwom, Singing Bands, and contemporary Praise and Worship styles, creating an evolving, accessible tradition. The second paper, “Cultural Identity and Future Directions in Ghanaian Choral Music,” examines how youth engagement, technological advancements, and global collaborations shape the balance between Western and indigenous influences in Ghanaian choral music. The final presentation, “Colonial Residue or Sheer Love for Music? G.F. Handel in Ghanaian Choral Art Music,” investigates the sustained performance of Handel’s oratorios in Ghana, questioning whether this reflects colonial remnants or Ghana’s broader ethos of musical inclusivity. Together, these studies challenge colonial narratives, illustrating how Ghanaian musicians actively shape their artistic legacies by blending inherited and indigenous traditions into a dynamic and evolving musical landscape.
Presentations in the Session
Beyond Missionary Legacies: Examining the Musical Practices in Ghanaian Methodist Worship
Susana Gyamfuaa Agyei
Wesleyan University
When British missionaries introduced Methodism to the Gold Coast in the early 19th century, hymnody became the central musical tradition of worship. Rooted in Wesleyan ideals, hymns were used as theological tools to instill Christian doctrine and foster communal spirituality. However, Ghanaian converts, shaped by rich indigenous musical traditions, found new ways to engage worship beyond the rigidity of European hymnody. This led to the integration of indigenous musical elements such as Ebibindwom, an Akan praise-singing tradition, and other vernacular forms that made worship more culturally resonant. Rather than being a mere preservation of missionary legacies, the evolution of Ghanaian Methodist musical practices reflects a dynamic process of adaptation and creative synthesis. Singing Bands incorporated choral arrangements that fused Western harmonies with Ghanaian tonal sensibilities, while the rise of Pentecostal and Charismatic movements introduced contemporary Praise and Worship styles, further diversifying the soundscape of Methodist worship. This paper argues that the blending of musical genres in Ghanaian Methodist worship is not simply a relic of colonial influence but an intentional embrace of diverse musical expressions for a shared spiritual and communal experience. By examining historical transitions and contemporary performances, this study highlights how Ghanaian Methodists have redefined worship music as a living tradition that transcends colonial heritage, emphasizing unity, accessibility, and spiritual depth. The study contributes to broader discussions on musical hybridity, postcolonial identity, and the role of indigenous agency in shaping religious soundscapes.
Cultural Identity and Future Directions in Ghanaian Choral Music: A Synthesis of Tradition and Innovation
Emmanuel Abeku Ansaeku
Wesleyan University
Cultural identity and the future trajectory of Ghanaian choral music intertwine, highlighting the role of youth engagement in navigating the coexistence of Western classical traditions and Indigenous musical heritage. This passion has led to numerous choirs in Ghana, including the Gramophone Chorus, Greater Accra Mass Choir, and Kumasi Evangel Choir, being conducted by Western conductors or performing alongside Western choirs, raising important questions about cultural exchange. How do these experiences shape the identity and artistic expression of young choristers? Furthermore, how does participation in such collaborations affect their understanding of Western and traditional music? This study aims to explore these dynamics by examining the repertoire choices of Ghanaian choirs and the representation of diverse musical influences. How can educational institutions foster a deeper appreciation for cultural heritage through choral music? As emerging trends emphasize the integration of contemporary genres and technology, this research will investigate the sustainability of youth interest in choral music. By examining these aspects, the study seeks to illuminate the future of Ghanaian choral music, balancing the importance of preserving cultural heritage with the need for innovation. Ultimately, this study will deepen our understanding of how artistic identity is shaped by music, encouraging a dialogue about the possibilities for resilience and inclusivity in a constantly evolving musical environment.
Colonial Residue or Sheer Love for Music? G.F. Handel in Ghanaian Choral Art Music
John Wesley Dankwa
Wesleyan University
The enduring presence of George Frideric Handel’s works in Ghanaian choral music offers a compelling case study on how musical traditions from different historical and cultural origins can coexist, fostering a sense of inclusivity. Year after year, Messiah and other Handelian oratorios are performed across Ghana alongside indigenous and contemporary Ghanaian choral compositions, creating a unique musical landscape where Western classical and African choral traditions thrive together. In an era marked by racial tensions and cultural divisions in many parts of the world, this phenomenon raises important questions: How has Ghanaian choral music embraced both colonial-era legacies and indigenous creativity without deep conflict? What does this coexistence reveal about Ghana’s approach to cultural integration through music? This presentation explores the ways in which Handel’s choral works have been embraced not as a vestige of colonial imposition but as a living tradition that coexists with local compositions in church worship and concert performances. Drawing on historical and ethnographic research, it examines how choral musicians, composers, and audiences in Ghana perceive the performance of Handel alongside works by Ghanaian composers such as Ephraim Amu, Kwabena Nketia, Newlove Annan, and James Armaah, highlighting the ways in which this coexistence promotes artistic inclusivity rather than cultural dominance. By analyzing the harmonious cohabitation of these traditions, this study offers insights into how Ghanaian choral music has fostered a model of cultural coexistence that transcends racial and historical divisions, presenting a unique framework for inclusive artistic expression in the global choral community.
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