By John Owoo
At large in Winneba

A four-day workshop that aims at advocating for the update of the Creative Sector Medium Term Development Plan in order to ensure it gets inline with the 2014-2017 Ghana Shared Growth and Development Agenda is currently underway in the Central regional town of Winneba.

Organized by the Institute for Music and Development, Ghana Culture Forum and Arterial Network Ghana Chapter, the workshop is also meant to create a conducive policy environment for the creative industries through facilitation and implementation of the Creative Sector Medium Term Strategy by 2015.

Supported by BUSAC Fund, DANIDA, International Development Cooperation, USAID and the European Union, the long-term goal is to pave the way for the development of infrastructure that would accelerate the role of the sector in terms of cultural expression and contributions to the economy.

“Our venture is to mainstream arts and culture in national development. Indeed, culture has been very much peripheral and it’s actually considered as an after thought when we contemplate issues relating to development”, said Akunu Dake, Vice Chairman of the Ghana Culture Forum.

“The creative industry is one of the fastest developing sectors in international trade and economics. This workshop is therefore also targeted at equipping practitioners of the industry to sharpen their skills while ensuring excellence in their undertakings”, added Dake, who is also the CEO of Heritage Development, a consultancy firm based in Accra.

Activities lined up for discussion include introduction to advocacy, effects of regulation on private sector, advocacy and enabling business environment, tools and techniques of effective advocacy, negotiation skills, dialogue and consultations among others.

Hon. Dzifa Abla Gomashie, the Deputy Minster of Tourism, Culture and Creative Sector, officially opened the workshop.

An exhibition of photographs by selected school kids that depict their impression of the city of Accra ended recently at the exhibition of hall of the Children’s Library in Accra.

Curated by acclaimed sculptor Kofi Setordji and coordinated by photographer Mawuli Tofah, the show, which formed part of Celebrating Accra Festival, comprised over one hundred pictures taken from various parts of the city.

Indeed, the photographs appear to be a kind of cumulative manuscript that may point to some kind of protest by the kids alongside hints of problems of a growing city that is about to lose track of its history and culture.

Nonetheless, the significance of these photos may be found after a close and detailed scrutiny, which without doubt reveals a city that is full of perseverance, innovation, imagination, regression and probably in a state of confusion.

Scenes of choked open drains, garbage, shacks, hawkers, pollutants, food vendors selling next to liquid waste trucks, discarded vehicle tyres, poverty, pollution, lawlessness and newly constructed buildings with shiny Chinese slide windows are memorable but point to a developing city without an architectural history.

Moderated by renowned architect Joe Osae Addo, a panel comprising, Nat Nuno Amarteifio (architectural historian and former Mayor of Accra), Senam Okudzeto (artist/writer and academic), Osei Agyeman (former president of the Ghana Institute of Architects), deliberated on the theme “Restoring the Past – Ensuring the Future”.

Discussions, which included members of the audience, centred on the need to raise conscious awareness of the ingenuity, creativity and culture of Accra, while touching on the apparent loss of its heritage buildings and undeniably its architectural history.

The chat, which was held at the Children’s Library, coincidentally one of the historical buildings under threat of losing its status as one of the icons of Accra, equally considered the issue of Indian, Chinese and other “alien” architecture that has flooded Accra in recent years.

Icons of a nation, they agreed do tell a story – however, Accra seems to be losing whatever symbols it possessed that tell the history of its glorious past – and sadly no action appears to be in place to help arrest this unfortunate situation.

Enforceable laws they concluded are therefore required to protect and save the heritage buildings in Accra as the authorities ensure that its rich history remains visible throughout its quest at development while serving as an inspiration for future generations.

Golden Tulip Hotel, Archi Africa, Amaechi & Njide Ndily Family, Ghana Commercial Bank Ltd, Coral Paints, Chase Petroleum, Airtel, Multi TV, Poly Tanks, Safe Bond Africa Ltd and Krane Construction supported the lecture.

Celebrating Accra Festival was sponsored by Agenda 21of Spain, Accra Metropolitan Assembly, Geothe-Institut, Cowbell, Club Beer and Citi FM.

Afriko Highlife Band, a Denmark based Ghanaian group last week delighted an enthusiastic audience during a magnetic concert at the Forbrænding Concert Hall in Albertslund, which is located at the outskirts of the Danish capital Copenhagen.

Performing as part of Vestegnens Festival, the group delighted the audience with wild percussion loops and a droning keyboard as well as a humming baseline that turned the former power-generating house into a music groove.

With a formidable stage presence alongside intermittent anecdotes, lead singer Samuel Takyi, performed with a blunt and engaging honesty as they enticed the dancing audience with a dynamic fusion Highlife and Afro Reggae with elements of traditional Ghanaian rhythms.

Alongside Danish guitarist Preben Carlsen and Stanley Adjei Quaye on keyboards as well as Alfred Tamakloe on maracash / bells, they severally and jointly revealed the power of improvisation and cross-cultural compositions while dishing out traditional and contemporary strains of highlife.

“It was a night of fun – Ghanaian highlife is a huge phenomenon in the world. We need to see more of such performances in various parts of Denmark”, said Nikolaj Hansen, a musician in Copenhagen.

“It was a concert full of energy – this is the first time we have presented a group of this kind – we will showcase them during the 2015 edition of Copenhagen World Music Festival”, added Jeppe Skyøld, a leader at the Forbrænding Concert Hall.

Formed several years ago in Copenhagen, the group has been holding aloft the flag of Ghana through musical concerts in and around Denmark and Scandinavia as a whole.

By John Owoo

At large in Albertslund, Denmark

Cold winds from the Northern part of the city of Aarhus “bombard” the “Headquarters” – a popular venue for live concert in Denmark’s second city as guests walk in by the minute.

An eerie silence engulfs the hall as the curtains gradually drop. On stage are members of African Footprint International (AFI), who are poised to delight a mainly Danish audience with a passion for African music. But a huge surprise emerges.

Paul Bilson, the UK based Ghanaian musician and easily one of Ghana’s finest trumpeters is on stage with fellow trumpeters Frank Guilford, Richmond Bilson (who is also his nephew) and AFI artistic director Kweku Addison on percussion among others.

An introduction from keyboardist Appiah Mclove gradually bring in Danish guitarist Otto Dahlgaard Mikkelsen, percussionist Kobina Prah and Burkinabe Kora player Baba Kone thereby turning the party-like atmosphere into a music groove.

With cues from the other trumpeters, the senior Bilson goes into a world of his own – and excitement suddenly becomes a contagious commodity – moving from artists to the audience, audience to the artists and eventually from musician to musician.

With interconnected rhythms and a particular dedication to time and space, Bilson adds to the excitement through a feeling of tension and contrast of complex patterns that tend to flow with deceptively simple trumpet lines.

Earlier, a launch of “World At Your Feet”, an album by Danish guitarist, Nikolaj Rosengreen Pedersen, who has performed on several occasions with AFI in Ghana and Denmark, was marked with an appealing performance alongside Mozambican, Burkinabe, Ghanaian, South African, Syrian and Kurdistani musicians.

A music and dance group based in Cape Coast, AFI is currently on a performance tour in Denmark with support from Keld Hosbond, Royal Music Academy (Aarhus), Klejtrup Musikefterskole and Addison’s Mighty Works Aps.

By John Owoo
At large in Aarhus, Denmark

African Footprint International, a Cape Coast based music and dance group last week held a one day workshop for over one hundred students of the Aarhus Efterskole in the Danish city of Aarhus.

Currently on a performance tour of Denmark and other Scandinavian countries, the group led by Samuel Kweku Addison introduced the students to the rudiments of various Ghanaian traditional rhythms, dances and songs.

With diverse rhythms from musicians of the African Footprint International, the exuberant students moved in circles and sang Ghanaian folk songs as they danced elements of Northern Ghanaian dances such as “Bamaya” and “Damba”.

Drummers from the school, which included both students and teachers, were equally taken through various Ghanaian drum rhythms as they freely explored their skills through improvisations.

“It is always interesting to meet other cultures – we like other cultures and improvisations. Indeed, it was a huge experience for the students as it stimulated the creativity in them”, said Mikkel Søltoft, a teacher at Aarhus Efterskole.

“I really like the dance movements, it was very interesting and we had a lot of fun. I will surely like to do it again whenever they are here”, added Jennyfer Valderrama Ramirez, a student.

“It was great for us to learn new rhythms and dances from Africa – we managed it despite the fact that they were faster than we are normally used to”, continued Johan Skjold Knudsen, also a student.

Based in Cape Coast, the tour of African Footprint International in Denmark is being supported by Keld Hosbond, Royal Music Academy (Aarhus), Klejtrup Musikefterskole, Addison’s Mighty Works Aps and www.artsghana.org.

By John Owoo

At large in Aarhus, Denmark

African Footprint International (AFI), a Cape Coast based group currently on tour in Denmark, last week vividly revealed the power of cross cultural collaboration during a concert with Total Hip Replacement, a youthful Danish group.

Performing at the Atlas Theatre, which is located in the second Danish city of Aarhus, the two groups enthralled the audience with a dramatic fusion of Danish and Ghanaian rhythms, beats and songs that turned the theatre into music groove.

With trombones, trumpets, keyboards, bass / lead guitars, western and assorted Ghanaian traditional drums, they managed to satisfy the varied tastes of the audience – fusion fanciers and music fundamentalists – as they jammed the hall with sounds that tend to tickle the most insensitive ear.

Full of smart lyrics, improvisations and refreshing solos, the musicians appeared to be having fun resulting in a knock-on effect on the audience who cheered in response.

“It was a remarkable performance by young and experienced musicians – this collaboration should definitely continue in order to help boost cultural partnership and exchange between Denmark and Ghana”, said Morten Andersen, a painter in Aarhus.

“The show was really cool – the energy coming out of the stage was truly amazing – these are artistes from different countries and cultures yet they tend to speak the same language”, continued Lisa Clarke, a teacher from London, United Kingdom.

Keld Hosbond, Royal Music Academy (Aarhus), Klejtrup Musikefterskole, Addison’s Mighty Works Aps and www.artsghana.org are supporting the 2014 tour of African Footprint in Denmark.

By John Owoo

At large in Aarhus, Denmark

Brilliant Ghanaian guitarist Akablay alongside Danish musicians last week rocked the Waka Waka Festival in the Danish capital Copenhagen with a dramatic blend of “Kundum Highlife” and Danish rhythms.

With Jesper Tychsen (Saxophone), Anders Boldsen (Keyboard), who created the official song for the festival, Christian Lemming (Drums) and Ghanaian bassist Kojo Amissah, the group showcased a vivid blend of fresh, unique and uplifting style, which threw the audience into a trance-like state – culminating in long cheers and applause.

“Kundum Highlife”, which is a fusion of diverse African rhythms, highlife and those of Kundum from the Western region, took the crowd by storm alongside poignant stagecraft and deft dance movements from Akablay that are quite inventive and natural.

Organized by Shelby Production, Waka Waka Festival is an annual event, which was initiated in 2011 to celebrate African culture in its diversity in Denmark. Including dance and fashion, it is held at the City Hall Square in Copenhagen and attracts between 1000 to 3000 guests.

In a related development, Akablay has created a highlife version of “Sunshine Reggae”, a popular composition by “Laid Back”, a Danish electric duo that stunned Denmark in the late 1970s and early 80s.

The duo is delighted by Akablay’s re-composition and a video clip is currently being worked on with saxophonist Jesper Tyschen, who shot scenes from Ghana early this year.

“Sunshine Reggae”, which became a chart-topper in Demark, was later included on the band’s second album, “Keep Smiling” in 1983, and went on to become a number-one single in Italy, West Germany and nineteen other countries around the world.

The guitarist is scheduled to perform at other festivals / theatres and moderate workshops before returning to his base in Accra in late September through Jam Yard Production.

By John Owoo

At large in Copenhagen, Denmark

Picture Credits – Waka Waka Festival

After a cool dinner, over one hundred students of a high school in Aarhus, the second Danish city, walk excitedly to the school theatre for a performance by African Footprint International, a Cape Coast based music and dance group.

They have every good reason to feel enthusiastic having participated in a highly charged and fun packed workshop the previous day with dancers and musicians from African Footprint International.

A loud applause greets the group as they move on stage with a variety of African percussive instruments alongside trumpets, guitars and bells. In the process, a dramatic blend of highlife, jazz and traditional Ghanaian music engulf the school auditorium.

A drum ensemble from the school joined the group on stage drawing more cheers from the audience who were mostly students and teachers, while majority of the students joined two Footprint dancers on stage with “bamaya” and “damba”.

Danish guitarist Otto Dahlgaard later moved on stage with wild tempos thereby turning the evening into a mini Danish Ghanaian festival, as both Ghanaian and Danish rhythms embellished the night, which formed part of activities marking a new academic year for the school.

The group is noted for a delicate adoption of the elements of Ghanaian tradition rhythms, which they noticeably blend with western beats to create a new synthesis that has captivated audiences in Europe, the United States and other parts of Africa.

With three albums to its credit, AFI was established in 2000 by Samuel Kweku Addison, who recognized and appreciated and harnessed the talents of the underprivileged and disabled.

Keld Hosbond, Royal Music Academy (Aarhus), Klejtrup Musikefterskole, Addison’s Mighty Works Aps and www.artsghana.org are supporting the 2014 tour of African Footprint in Denmark.

Easily one of the few artists who make indigenous people the center of her work, Australian artist Naomi Dodds effortlessly captures attention with sharp contrasts of light and dark, roughness and spontaneous craftsmanship.

Employing line and dot painting, which abound throughout her work, she incites a rigorous tension between innocence and sophistication through works that posses a complex appeal and drama.

“The “Maasai Journey” (one of her projects) collection was painted on recycled canvases. The layers of paint make them touchable like brail art. Indeed, my authentic style of line and dot paintings is unique to indigenous artists globally”, says Naomi, who has been engaged in various projects in Kenya and Thailand.

With recycled canvases that result in thick layers of paint, she makes a highly successful foray into exotica – through a lacy mix of human figures, stripes and blotches alongside patches and patterns from African fabrics and jewelry.

She embellishes the figures with assorted colourful traditional Kenyan jewelry, which could be cues to spirituality while acting as a kind of stylized signature as they hang conspicuously on the necks and heads of most of her figures.

“My works posses an aura of texture and depth – undeniably, the dots stick out of the lines enabling one to feel the jewelry as well as the capacious layers of paint with his/her fingers”, adds Naomi, who is also the director of a community association known as United One Project.

The naïve-like works by Naomi equally reveal a quality of child-like wonder especially in the primary colours and wide-eyed / teeth poking human figures. Nevertheless, there is a hint of magic belying the pieces rigorous philosophical underpinnings.

By John Owoo