By John Owoo

(In Accra – Ghana)

An exhibition of crafts, fashion and other products by trainees at the Kawukudi Community Youth Cultural Centre (CYCC) is currently underway at the Sankofa Arts and Craft Shop, which is located at the National Commission on Culture in Accra.

The exhibition forms part of the 30^th anniversary celebrations of the CYCC, which was initiated among others to provide vocational training in skills development, performing arts and sports and its related activities for the youth.

Products on display include paintings, men / ladies clothing fashioned out of African prints, beads, conference / shopping bags, African print purses, leather / beaded slippers, raffia bags / fans, shopping baskets, shea butter packaged in calabash, T shirts designed with African prints and honey.

Founded in 1989, the CYCC programme aims at responding and satisfying the out-of-school recreational needs of the youth, identify and realize the latent talents of young people, enhance the creative and cultural abilities of the youth and channel their energies into positive use.

Others are to promote the positive values of patriotism, cooperation and internationalism among the youth, prepare the youth as an important manpower resource for development and set the basis for the evolution of Youth Cultural Movement in the country.

Activities include performing arts, fine art and cottage craft, physical culture, literary / environmental programmes. Participants are trained in traditional / contemporary dances, music, drama, puppetry, weaving, embroidery, painting, sculpture, pottery, sewing, batik, sports and writing skills. 

A cardinal aspect of CYCC programmes is the involvement of the Community in the affairs and programmes of the Centre. This opens up a cordial relationship with the political and administrative, chiefs, parents and guardians as well as the schools, religious institutions, social clubs and residents in general.

Other events lined up for the anniversary include a webinar conference dubbed “CYCC @ 30: Towards a Sustainable Creative Arts Economy and Youth Empowerment”, “Recorded Theatre for Development Skills on Topical Issues”, “Covid 19 Protocols”, “Teenage Pregnancy” and “Drug / Substance Abuse”.

Barbara Oteng Gyasi, Minister of Tourism, Arts and Culture will on Wednesday July 22, formally open the exhibition.

By John Owoo

(In Accra – Ghana)

Flute magician Dela Botri together with some members of Hewale Sounds intertwined jazz with traditional and contemporary Ghanaian rhythms thereby creating an absorbing experience of distinct quality at the Goethe-Institut in Accra.

In a virtual performance owing to Covid – 19 restrictions, the group showcased an unmistakable traditional African hypnotic groove as they vividly portrayed the power, capabilities and competencies of instruments fashioned out of wood and animal skin.

Performing compositions by Botri during the three-week partial lockdown in Accra and Kumasi, the musicians demonstrated their individual skills as they fused into a greater whole with sounds that are not only refreshing but equally therapeutic.

Employing an atenteben flute, xylophone, guitar, bass, calabash drum and other percussive instruments, Botri, who is noted for his dedication to traditional music, exhibited amazing skill on the atenteten as absolutely sublime sounds flowed from the stage.

Undeniably, Botri’s fingers moved along the flute with nimble dexterity as a myriad of rhythms flowed through the empty hall. In the process, enchanting compositions from the group appeared to possess the power to nourish the souls of listeners in these uncertain times. 

With Edzi Konu (drums), Emmanuel Ohene (bells / rattles), Evans Eduful (guitar), David Odoom (percussion / calabash drum), Maxwell Dagarti (xylophone), Beda Ehrensperger (bass) and Botri on atenteben, the band exhibited their brand of Afro jazz, which has been enriched by the verve of young musicians.

Clad in a colourful costume, the virtuosic flutist revealed an extraordinary fusion where jazz and traditional / contemporary Ghanaian rhythms co-habited in harmony thus ending up in a progressive and compelling manner.

An apostle of traditional / contemporary Ghanaian music, Botri has held workshops in a number of universities and performed to varied audiences in the Middle East, Europe, USA and several countries in Africa.

In 2011, he joined Liberian star Miatah Fanbulleh to perform at the 2011 Novel Peace Prize Awards in the Norwegian capital, Oslo and performed with the late acclaimed Malian balafon player Keletigui Diabate in Bamako (Mali) and Accra (Ghana).

Lockdown-Jazzkompositionen stellen Goethe-Institut in den Schatten

Von John Owoo

(In Accra – Ghana)

Der Flöten-Magier Dela Botri und einige Mitglieder von Hewale Sounds verflochten Jazz mit traditionellen und zeitgenössischen ghanaischen Rhythmen und sorgten so für ein fesselndes Erlebnis von besonderer Qualität am Goethe-Institut in Accra.

In einer (aufgrund von Covid – 19 Restriktionen nur virtuell erfahrbaren) Aufführung zeigte die Gruppe einen unverkennbaren traditionell-afrikanischen hypnotischen Groove, indem sie mit Instrumenten aus Holz und Tierhaut deren Kraft, Fähigkeiten und Kompetenzen anschaulich darstellte.

Bei der Aufführung von Kompositionen, die Botri während der dreiwöchigen teilweisen Abriegelung in Accra und Kumasi geschaffen hatte, demonstrierten die Musiker ihr individuelles Können mit Klängen, die nicht nur erfrischend, sondern ebenso therapeutisch sind und zu einem größeren Ganzen verschmolzen.

Botri, der für seine Hingabe an die traditionelle Musik bekannt ist, setzte eine Atentebenflöte, ebenso wie Xylophon, Gitarre, Bass, sowie eine Kalebasstrommel und andere perkussive Instrumente ein und zeigte seine Virtuosität an der Atentebenflöte, um erhabene Klänge von der Bühne erklingen zu lassen.

Botris Finger bewegten sich mit unbestreitbarer Fingerfertigkeit auf der Flöte, während eine Myriade von Rhythmen durch den leeren Saal floss. Die zauberhaften Kompositionen der Gruppe schienen die Kraft zu besitzen, den Seelen der Zuhörer in diesen unsicheren Zeiten Kraft zu geben.

Mit Edzi Konu (Schlagzeug), Emmanuel Ohene (Glocken/Rasseln), Evans Eduful (Gitarre), David Odoom (Perkussion/Kalebasstrommel), Maxwell Dagarti (Xylophon), Beda Ehrensperger (Bass) und Botri am Atenteben zeigte die Band den ihr eigenen Afro-Jazz, der durch den Elan der jungen Musiker noch zusätzlich bereichert wurde.

Der Flötenvirtuose, der in einem farbenfrohen Kostüm auf der Bühne stand, trug eine außergewöhnliche Verbindung von Jazz und traditionellen wie zeitgenössischen ghanaischen Rhythmen vor, die in eindrucksvoller Weise miteinander harmonierten und Neues schufen. 

In seiner Eigenschaft als Botschafter für traditionelle und zeitgenössische ghanaische Musik hat Botri bereits an zahlreichen Universitäten workshops gegeben und ist vor internationalem Publikum im Nahen Osten, Europa, USA und verschiedenen afrikanischen Ländern aufgetreten.

2011 spielte er gemeinsam mit dem liberischen Star Miatah Fanbulleh bei der Verleihung des Friedensnobelpreises in der norwegischen Hauptstadt Oslo. Er spielte auch mit dem inzwischen verstorbenen berühmten malischen Balafonspieler Keletigui Diabate in Bamako (Mali) und Accra.​

Translated by Heike Friesel

By John Owoo

(In Accra – Ghana)

US based Ghanaian artist Tijay Mohammed recently participated in a Black Lives Matter project that ended with a gigantic mural, which stretched across three city blocks in Manhattan – New York (USA).

Conceived by the Manhattan Borough and Black Lives Matter of Greater New York, the 600 feet mural was designed by artists Sophia Dawson, Patrice Payne and Tijay Mohammed, who is currently participating in the Materials For The Arts Artist-in-Residence programme in New York.

Mohammed employed the use of Ghanaian Adinkra symbols and Kente cloth motifs on the word BLACK while Dawson incorporated images of mothers she has met over the years on the word LIVES alongside those of Payne, who identified what her ancestors have experienced in her design of the word MATTER.

Applied directly to the street, the mural harmoniously blended with the surroundings while powerfully delivering a message that seeks to bring justice, healing and freedom to black people in America, Europe and elsewhere thereby promoting a sense of identity, belonging and openness.

Commenting on the mural, Justin Garrett Moore, Executive Director of the Public Design Commission said the mural at New York’s Civic Center is strong and beautiful and carries a very important message to mankind while praising the collaboration by activists, artists and designers in the creation of the mural.

Department of Transport (DOT) Chief Operations Officer Margaret Forgione added that the DOT is honored to play a role in utilizing public space for artistic expression by communicating such a powerful message at an iconic location in the Civic Center. She expressed profound thanks to architects and artists among others for bringing these Black Lives Matter murals to the streets.

Mohammed has exhibited his works locally and internationally including features at the Longwood Art Gallery, Katonah Museum of Art, Hudson River Museum, Materials for the Arts (all in New York), Art League (Huston – USA), Green Drake Art Gallery (Pennsylvania – USA) and the National Museum in the Ghanaian capital Accra.

He has equally organized workshops and community-based projects with numerous organizations including Studio Museum Harlem, Wallach Art Gallery, Brooklyn Museum, Sugar Hill Children’s Museum of Art & Storytelling (all in New York), University of Ghana and Pinto Road Community Centre (Trinidad / Tobago).

In addition, he has received numerous accolades and residencies from The Laundromat Project, Children’s Museum of Manhattan, Hudson River Museum (all in New York), Ravel d’Art (Cote d’Ivoire), Harmattan Workshop (Nigeria), Global Crit Clinic and Asiko Artist Residency (Ghana).

Since March 2020, Mohammed has been an Artist-in-Residence at Materials for the Arts while participating in virtual public programming and art making that engages the ongoing protest movement, including being tapped to help design the Black Lives Matter mural.

Organizers of the mural project include Manhattan Borough President Gale A. Brewer, Department of Transportation, WXY Studio, TATS CRU, Department of Cultural Affairs-Percent for Art, Black Lives Matter of Greater New York and Thrive Collective among others.  

Supporters of the mural include Architecture Research Office, BBB, BJH Associate, Caples Jefferson, COOKFOX, Elizabeth Kennedy Landscape Architect, Fred Clarke, Fogarty Finger, FRONT Inc, FXCollaborative, G TECTS, Ken Smith Workshop, LERA Engineering, LTL, MdeAS Architects, ODA, Paula Scher and Rafael Pelli.

Others are Richard Gonzalez Architects, Rodney Leon Architects, Rogers Partners, Sara Lopergolo, SCAPE Studio, SHoP Architects, Silman Associates, Snøhetta, Susan T. Rodriguez Architecture Design, Victor Body-Lawson Associates and WXY Architecture + Urban Design with special thanks to Jose Torres.

Pictures – Joe Russo

By John Owoo

(In Accra – Ghana)

The Constant Boty Group on Wednesday delivered an eclectic jumble of rhythms and sounds that easily reflected it’s brilliance during a virtual performance at the Goethe-Institut in Accra.

Led by guitar magician Constant Boty alongside Nii Keyz (keyboard), Eugene Lomo (bass) and Nana Ofori (drums), the quartet presented an exuberant mix of tunes that were inspired by African folk tunes, jazz and world music.

With compositions from a debut album titled “Guru Guru” and an upcoming one titled “Shine On”, which will be dedicated to the late UN Secretary General Kofi Annan, the group churned out a dramatic blend of originals, standards and scintillating improvisations.

With tunes such as “Venus In Gemini”, “Mali”, “Coup De Foudre”, “My People” and “Guru Guru” – all composed by Boty – and “My Favorite Things”, a composition by Richard Rodgers, which was popularized by the saxophone legend John Coltrane, the musicians delivered well crafted, catchy and infectious tunes.

A respected guitarist, Boty turned the stage into a tsunami of energy as the group’s manipulation of texture and rhythmic cycles revealed their capabilities – in the process, surprising bass-lines and heavy hammered keyboard chords filled the air of the auditorium.

Boty is a member of the Jazz Education Network and is an enthusiastic and experienced music educator. He taught guitar and West African music at the German Swiss International School in Accra and conducts music workshops in jazz, world music and West African folkloric music in Europe, United States and other parts of Africa.

“Shine On”, which is scheduled to be released in 2021, featured a bevy of musicians from around the globe including bass clarinetist Oran Etkin, pianist Benito Gonzalez, master bassist Lonnie Plaxico, vocalist Heather Maxwell, saxophonist Kris Allen, drummers Daniel Freedman, Francisco Mela, Daniel Prim and Luiz Santos.

The performance was sponsored by Goethe-Institut Ghana.

By John Owoo

(In Accra – Ghana)

Portraits with dark purple skins, pink lower lips and shaded eyes set against monochromatic backgrounds by Kwesi Botchway are currently on show at Gallery 1957, which is located in the luxurious Kempinski Hotel in Accra.

Employing deep melanin skin tones alongside sensuous sparks, his paintings vividly portray a dramatic new way of communicating colour consciousness while linking black with beauty, royalty, wealth, luxury and strength.

Undeniably, just as we were getting used to his portraits of elderly members of the society, Botchway has come out with a message that is powerful in colours and hues while homing in on the noticeable features of his community in Accra and beyond.  

With a dramatic combination of 19^th Century French Impressionism and contemporary African social realism, the young painter subtly complains about the aesthetic norms generated by non-black and black populations alike while imposing the real identity of black people.

These portraits together with their peppy eyes provide an insight into the lives of its subjects – told and untold stories, experiences and non-experiences, struggles and non-struggles as well as individual / collective hopes and aspirations.

His portraits appear to cry out for real or symbolic spaces of expression and specific attributes of social appearances alongside subtle undertones on political, philosophical and socio-cultural issues. Indeed, he refused decorative and distracting details thereby vividly sending out his messages.

With blue, red, pink, blue and cream backgrounds, Botchway creates a range of lifestyles, characters and perceptions while capturing the spirit, essence and heritage of his subjects. In the process, he provides viewers the opportunity to peep into their lives, troubles, challenges and difficulties. 

Currently an artist in residence at Gallery 1957, he focuses on portraiture painting which he effectively combines with practicality and impressionism thereby forming a new visual language. His works have been exhibited in South Africa, Denmark and Ghana.

The exhibition is being curated by Katherine Finerty, an Assistant Curator and Communications / Development Manager at The Showroom, London – United Kingdom. Titled “Dark Purple is Everything Black”, it ends on Tuesday June 9, 2020.

By John Owoo

(In Accra – Ghana)

Goethe-Institut Ghana last week offered a cybernetic platform to GHjazz Collective in a bid to satisfy the demand by musicians and audiences for live-music in the midst of restrictions aimed at containing Covid 19.

Performing at the premises of the Institut in Accra without an appreciative / cheering audience, the group showcased a vivid fusion of traditional Ghanaian elements with jazz that was characterized by refined improvisations and pitch-bending harmonies alongside infectious rhythms.

With Bernard Ayisa (saxophone), Victor Dey (keyboard), Frank Kissi (drums) and Bright Osei (bass), the quartet performed with intense passion revealing in the process a superlative artistry, an alluring stage presence and compositions that are stamped by emotional power and sensitivity.

Alongside a rich repertoire comprising “Friends With Benefits”, “Highlife Suite”, “Mr. P.K. Ambrose” (Victor Dey), “Spur of the Moment” (Bruce Winston) and “Human Intent (Max Von Broch), the group exhibited high professionalism through compositions characterized by climaxes of wide-ranging sounds.

The performance, which will be shared on the website of Goethe-Institut Ghana as well as other Instituts and their social media outlets, also forms part of a move by the Institut in Ghana to assist artists migrate to the digital world as part of strategies to survive Covid 19 and its attendant restrictions.

Indeed, the coronavirus pandemic has resulted in the cancellation and postponement of arts events while social distancing and quarantines have made live music shows all but impossible at this time when music is truly needed to help curb anxiety, stress and depression.

Notwithstanding the limitations, a number of musicians including many who have released albums and were preparing to embark on performance tours have also performed on social media platforms while interacting with their fans.

In spite of reservations about the longevity of the live stream boom, experts predict a rosy picture of concerts in the digital space in the future. Whatever the situation, a loyal audience will be critical for sustainable online performances.

By John Owoo

(In Accra – Ghana)

Goethe-Institut Ghana is living up to one of its core mandates by continuing to support artists in the country despite restrictions on movement and gatherings as part of measures aimed at halting the spreading of Covid 19.

Undeniably, by March 2020 most cultural institutions had been indefinitely closed with exhibitions, concerts and other performances cancelled or postponed thereby leaving diverse artistes in limbo resulting in all kinds of difficulties owing to loss of earnings.

Consequently, the Institut commissioned a number of poets, musicians, choreographers, dancers, writers and visual artists to record short video of themselves indicating how they utilized their creative abilities during the period of partial lockdown.

They include Ibrahim Mahama (internationally acclaimed artist), Dr. Martin Egblewogbe (author / physicist), Dr. Nii Lante Okunka Blankson (musician / physician), Dr. Bernard Akoi-Jackson (visual artist / academic) and Naa Obeye Ammah (filmmaker).

Others are Va-Bene Elikem Kofi Fiatsi (visual artist), Benumah (poet / academic), Sena Atsugah (dancer / choreographer / academic), Dela Botri (contemporary musician) and Gamel Apalayine (author / script writer / theatre director).

Videos submitted include a brief on use of historical spaces and those that emerged after independence, a song that pays glowing tribute to Ghanaian healthcare and other workers battling Covid 19, stimulating poetry, highly reflexive choreography, dramatic musical compositions with traditional Ghanaian instruments and a film collage of cultural events.

Unquestionably, a lockdown is a serious threat for the livelihood of anyone involved in the creative and artistic sector. Indeed, the Goethe-Institut is aware of how deeply the restrictions have impacted on the cultural scene – especially professions which largely rely on audiences being physically present.

Although the Institut has had to temporarily close its doors, it is firmly standing in solidarity with the Ghanaian cultural scene and sincerely hopes to create new and exciting projects with artists as soon as the spread of the virus is contained and restrictions lifted.

Artists seeking to move their works into the digital space, can do so on the kulturama.digital platform, which was recently launched by the Goethe-Institut. It is a live-streaming platform, which makes it easy to share one’s artistic creations live with the world. An additional feature is a crowd-funding link to monetize the event.

While acknowledging the fact that this will not solve all the problems, it can play a role in getting the amazingly rich and vibrant Ghanaian cultural scene through this crisis while assuring stakeholders that the Goethe-Institut is still here and will be here in future.

By John Owoo

(In Accra – Ghana)

Ghanaian artist Nii Amasah Abifao has over the past few years being performing in various parts of Accra with diverse messages that comment on life, death, pain, sanitation, health and peace.

In recent times, the push for performance art has naturally extended to artists whose distinctiveness is somehow excluded from the traditions championed by the art world and art history. Indeed, it’s always been important to drive and generate conversations that are not within the mainstream.

Although funerals in Ghana are solemn, respectful and dignified, they are also characterized by church services and complicated rituals. Undeniably, wild parties and processions amidst the chanting of dirges and frenetic drumming also portray these memorials.  

In a performance titled “Remember Death”, the artist who was clad in red-stripped batakari, jeans shorts, Zoom Lion branded wellington boots and a powdered face, commandeered a tricycle that has been remodeled into a hearse, which served as an integral part of his performance.

With a retinue of mourners and musicians – one of them clad in a red flowing gown, the hearse passed through the popular Accra neighbourhood of Osu onward to the cemetery, which is easily one of the oldest in the city of Accra.

With a Bible in hand, Abifao together with the procession continued on the streets as bewildered onlookers watched in awe. Severally and jointly, they reminded pedestrians and motorists of the mortality of humans and the stress, pain, agony and financial challenges that come with the loss of relatives or friends.

On arrival at the cemetery, the artist carried the coffin on his head and proceeded to the grave while exhibiting intense emotion and apprehension. On the contrary, the mourners follow silently in tow as they reach the final moments of bidding farewell to the “deceased”.  

After burial, a rather distract Abifao reads a Bible on one of the tombstones and is comforted by a priest with tears flowing without ceasing as the pain and agony of losing a loved one become increasing apparent.

Pictures: Nii Tackie Yarboi

By John Owoo

(In Abidjan – La Côte d’Ivoire)

Women of Colour, an all female band from Ghana recently enchanted fans in the Ivorian capital Abidjan with a unique sound that encompassed a cool blend of Highlife, Afro Beat, rock and traditional music.

Performing at the 2020 edition of Market for Performing Arts Abidjan (MASA), the group surprised a cheering audience with varied and concise rhythms alongside stylistic compositions soaked in stocky blasts of melody.

Led by vocalist / composer Della Hayes, the ladies treated the crowd to high paced tunes, pulsating rhythms and a magnetic stage presence while soothing vocals reverberated through the Salle Anoumabo theatre, which is located within the National Theatre complex.

Like a painter filling the outlines of his paintings with translucent colour, the group dished out an extra-ordinary fusion of assorted rhythms and beats as horns-women showcased the power, dexterity, flexibility and capabilities of female artists.

Lyrics by Hayes, which tackled subjects such as sex education, drug abuse, peace and humility, were rather refreshing but made little impact on the largely French speaking audience, who nonetheless appeared to be having a real good time. 

Indeed, her songs appeared to spread consummate pleasure among members of the audience as the instrumentalists sent out amusing rhythms and beats while colorful bamboo sticks banged the stage in rhythmic fashion.

Since its launch, Women of Colour Band has rapidly gained popularity in Ghana and beyond by performing with a number of acclaimed Ghanaian music stars including Kojo Antwi, Becca, Shirifi and the Ivorian icon Meiway among others.

It has also made bold appearances at a tribute concert for Mc Tontoh of Osibisa fame, Music of Ghanaian Origin Festival and others. Hayes has also performed in the Cuban capital Havana with Hava Juano la Cubano at La Zorra y el Cuervo and at the Café Concert Gato Tuerto.

MASA is a cultural platform for promoting African Performing arts with the objectives of supporting creativity and quality productions while facilitating the movement of artists and their works within the African continent.

By John Owoo

(In Accra – Ghana)

A display of paintings that explore the African environment and traditional Ghanaian imagery by Wiz Kudowor and Sami Bentil will on Tuesday March 31 close at the prestigious Ghana Club in Accra.

An Osaka Triennial award winner, Kudowor’s abstracted works – which draw inspiration from cubist and futuristic styles – allude to lush body contours, huge eyes, symbols, lines, masked faces and shapes that terminate in scenes of lyrical beauty, sensuous forms and glowing evanescent colour.

His symbols, which are inspired by diverse African cultures, reflect both modern and ancient African environment / identity. Indeed, he equally explores elements of Ghanaian traditions by employing a visual language inspired by African symbolic imagery and mythology, some of which date back to the Middle Ages.

Through a contemplative exploration of issues brewing around him – Kudowor turns the canvass into intrinsic dreams, ideas, thoughts, questions and expectations that culminate in a myriad of messages, which recall the vulnerability, capacity, sexuality and power of past and current societies. 

Paintings by Bentil commemorate the grandiose splendor, spirituality and the didactic functions of Ghanaian symbolism and imagery owing to a dedicated quest to preserve African cultural distinctiveness and uniqueness.

Employing pointillism, which he has mastered over the years, his rural settings and traditional models such as huts, pots, horn players and clothing are enriched with modern touches while pointing to a distinctive mix of reminiscence, social interpretation and spirituality.

With millions of dots in fluctuating sizes alongside a good grasp of traditional Akan culture, Bentil effectively blends colours with subtle yet intensely textured hues that attract and sustain the interest of viewers while transmitting messages on his culture.

Located on the fringes of the Marine Drive Project in Accra – Ghana Club, which was originally known as Gold Coast Club – was established in 1947 as a counterpoint to the then European Club, which was for expatriates.