By John Owoo
(National Theatre, Accra)

Cool winds from the low nighttime temperature lash the magnificent edifice of the National Theatre in Accra as I move past several patrons while acknowledging greetings from artists, arts administrators and academics.

My mission – a very simple one – to see “Diema”, a contemporary Ghanaian music and dance performance composed and choreographed by Prof. Paschal Younge and Dr. Zelma Badu-Younge (Ohio University, USA). It eventually turns out to be one of the inspiring productions in recent years.

Comprising members of the National Symphony Orchestra, National Dance Company, Noyam African Dance Institute, Bi-Tonic Singers, Azaguno, Chinese dancer Chengxin Wei and Osu Presby SHS Choir, the production is without doubt a creative brainstorm with indelible images and fast moving scenes that kept viewers glued to their seats.

With influences from several Chinese, Korean as well as indigenous classical / folk dance forms derived from Chinese opera, martial arts and temple dances, one could clearly notice the commitment of the dancers as they move in near flawless formations.

Directed by Nii Tete Yartey and conducted by Isaac Annoh, “Diema” is indeed a thrilling, magnificent and spectacular performance that is packed with rhythm, songs, dance and drumming that appear to raise the roof of the theatre as loud cheers and applause greet every scene.

With soft, nimble and swift movements alongside flailing arms, wrists, hands and heads, the dancers sometimes move in unison while interspersing delicate moves with solos and duets that move in harmony with tunes from the orchestra.

Undeniably, the use of traditional dances form several cultures by the choreographer dazzled the crowd who applauded while showcasing their appreciation for a highly contemporary production that has its heart firmly implanted in ancient traditions.

Employing Japanese Taiko drumming, Korean Samulnori alongside inflections from Mande pieces (Guinea and Senegal) and Adzogbo, Gadzo, Adowa, Tora (Ghana), the orchestra together with the dancers engaged the audience in a dialogue as they made explorations into the idiosyncratic world of music and dance.

With shakers and other light instruments made available, the enthusiastic members of the audience joined the fun as they play the instruments at the least opportunity -sometimes interfering with refreshing sounds from the orchestra.

Ohio University, Azaguno, National Investment Bank, Family Life Hotel, Glory Oil, Trafix Restaurant, Print Innovation, Yetron, Cowbell and Sky Falls sponsored the production, which is dubbed “Ghana Meets the World”.

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By John Owoo
(Accra International Conference Centre)

The Pan African Youth Orchestra last week overwhelmed dozens of mayors who have gathered in Accra for a summit with re-compositions of traditional music into orchestral versions.

Performing at the Accra International Conference Centre as part of opening ceremonies for the mayors’ meeting, the group surprised the visitors with a dramatic combination of varied traditional instruments out of which produced complex rhythms.

Armed with re-compositions by the late Ghanaian musicologist / composer, Nana Danso Abiam, who was inspired by nationalistic movements that arose during the 1960s, the group charmed the audience with neo traditional tunes that clearly revealed the power and capabilities of African instruments.

Conducted by Kweku Kwakye (aka Kweku Breaker), rhythms from a vast array of traditional instruments including giant fontonfrom drums, xylophones, atentenben flutes, talking drums and a variety of shakers / bells sent the audience on a musical journey that was definitely on the contemporary tip but with its heart and soul firmly embedded in Africa.

Delivering new forms to traditional Ghanaian music, the group appeared to be recreating tradition within tradition while showcasing conventional music in an orchestral disposition that recalled the authenticity of indigenous African music and compositions.

Without doubt, compositions by Abiam, which were performed in an irresistible rendition, are similar to open landscapes that have been continuously rocked by expansive / specific climaxes of sound.

Hailed for his use of contrasting sounds alongside compositions with tremendous emotional power, depth and sensitivity, the legacy of Abiam will forever revitalize the music scene in Ghana as these talented young artists continue to showcase his work.

Undeniably, it was an unscheduled concert in the memory of a legend, who raised the bar for high quality compositions in Ghana and managed to place the country on the orchestral music map of the world.

Other groups and artists who performed during the three-day summit include Amandeba Brew, flute magician Dela Botri and Noyam African Dance Group among others.

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The Institute for Music and Development in collaboration with Arterial Network Ghana last week engaged members of the Ghana Association of Writers at it’s secretariat in Accra as part of a sensitization project on the challenges relating to the implementation of the Creative Sector Medium-Term Strategic Plan (CSMTDP) for 2010 – 2012.

Supported by BUSAC Fund, DANIDA, International Development Cooperation, USAID and the European Union, the sensitization project among others is aimed at creating awareness and an appropriate environment for the creative industries through facilitation and implementation of the CSMTDP in 2015.

GAW members, who were drawn from various parts of the country for a discussion on the legal framework relating to reproductive rights of writers in Ghana, were also introduced to several issues including the facilitation of the establishment of appropriate and effective collection society, a national commission on films and access to finance and the export market for Ghanaian creative products.

Led by Korkor Amarteifio, director of the Institute for Music and Development, the team equally touched on the promotion of the use of more local content on relevant electronic networks as well as the establishment of a culture / business desk in all Ghanaian missions overseas.

Others include the effective enforcement of and supervision of laws and regulations pertaining to intellectual property rights, support the use of multimedia technology in the Creative Industry and the facilitation of access to finance and promotion of the establishment of desks for culture in Ghanaian missions abroad.

CSMTDP, which also aims at developing and strengthening Ghana’s Creative economy in ways that would enable the country to actively engage in the world trade in creative goods and services, equally include regular policy dialogue and advocacy with actors, promotion of research into the industry and provision of data to inform evidence-based policy making.

The rest are building a creative industry centre in Accra to serve as a creative space / enclave for small and medium scale enterprises in the creative industry, review and ratify all international conventions on culture and creative industry while facilitating the establishment of a council for the creative industry.

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By John Owoo
National Theatre – Accra

The stage lights at the National Theatre in Accra gradually fade as two dancers move in at a snail’s pace. Their nimble bodies appear to “float” effortlessly as they hit the middle of the stage.

Lights gradually rise as two other dancers in the opposite direction equally “transport” themselves in the same fashion as live music filter in from two musicians – Brahima Sanogo (La Cote d’Ivoire) and Jean-Baptiste Boussougou (France), who are tactically perched at one end of the stage.

Put together by the French choreographer Joseph Aka, the piece, titled “No Rules”, which is the first collaboration between Ghana, France and La Cote d’Ivoire, is based on “In the Chest of a Woman”, a play by the late Ghanaian dramatist Efo Kodjo Mawugbe.

Wild rhythms and calm melodies from cymbals, double bass and calabash / box drums move in unison with four dancers – two Ghanaians and Ivorians. They do not impose themselves or dominate the stage – indeed, where perception, impression and reflection coincide; they simply fade away from the stage.

Aka, in exploring the issue of power and submission among other things, employs subtle, swift and sublime movements of heads, necks, hands, limbs and torso. Undeniably, the language of “No Rules” is easily spoken and clearly streamlined – and is presented by fine dancers, who have mastered the act by years of training and performance.

As the piece unfolds, dancers Jude A. Kurankyi, Derrick Nii Ayitey Otoo (Ghana), Désirée Koffi and Anicet Zehoua (La Cote d’Ivoire) showcase a series of refreshing solos and duets while surprising the audience with strong and consistent movements.

“No Rules” was sponsored by Societe General Ghana, Total, Fidelity Bank and produced by Institut Français (Ghana), Embassy of France in Accra, National Theatre and Noyam African Dance Institute among others

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By John Owoo
James Town – Accra

Adam Larson Quartet, a New York (USA) based jazz group, last Sunday rocked James Town, a suburb of Accra with vigorous tunes that simply drew cheers from a largely local crowd alongside catcalls and whistles.

Performing with amazing energy, saxophonist / leader Adam Larson, bassist Martin Nevin, drummer Jason Burger and pianist Steven Feifke exhibited a magnetic stage presence as compositions by Larson and others flowed with relative ease.

With superlative artistry, the group sustained the attention of the audience while demonstrating their individual skills through refreshing solos that gradually fused into a greater whole under the direction of Larson.

Performing primarily original music as well as select arrangements from composers around the world, the band finds influence from musicians as varied as John Coltrane, Bach, The Beatles, Maurice Ravel, and Snoop Dogg among others – all of whom contribute to the Quartet’s unique sound.

Earlier, Nungua based Kusun Ensemble together with Adesa Taloi delighted the audience with traditional /contemporary music and dance. Clad in colourful costumes, the dancers moved in circles as arms and bodies turned in various directions with controlled intensity.

Led by composer, arranger and multi instrumentalist, Nii Tettey Tetteh, the group surprised the audience with slow and measured drum lines with guitar accompaniments while enticing the audience with lyrics in the Ga language.

In an equally engaging performance, High School Band, a youthful group led by David Grahl treated the crowd, which included officials from the US Embassy in Accra to jazzy melodies.

With voices that cleaved through the night air like birds in flight, the two vocalists managed to endear themselves to the hearts of members of the audience as guitars, keyboards, drums and traditional percussive instruments lurked in the background.

Sponsored by the US Embassy in Accra and put together by the Institute for Music and Development, the performance formed part of “American Music Abroad”, a programme that ensures that American music is introduced in various parts of the world.

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International music star and humanitarian activist Rocky Dawuni straddles the musical boundaries between Africa, the Caribbean and the U.S. to create an appealing “Afro-Roots” sound that unites generations and cultures. Filled with uplifting and irresistible songs, Rocky’s sixth album, and first on Cumbancha, blends inspirations from his diverse experiences while expanding on his identity as an artist, a proud son of Africa and as a true world citizen.

Cumbancha will release Branches of the Same Tree worldwide on March 31st, 2015. Inspired by the soulful beats of Afrobeat legend Fela Kuti, the positive messages and deep grooves of Bob Marley and the infectious, sing- along anthems of Michael Franti, K’naan and Matisyahu, Rocky Dawuni’s songs blend elements of reggae, Afrobeat and global pop into an enticing new sound.

The songs on Branches of the Same Tree also reflect influences of New Orleans funk, Brazilian samba, even the lilting sounds of Hawaiian ukulele, seamlessly integrated into a unique and approachable style. The album features appearances by an all-star lineup of guest musicians, including veterans from Michael Franti and Spearhead, Steel Pulse, Ben Harper and The Innocent Criminals and Ziggy Marley. Already a superstar in West Africa with a devoted international fan base, Branches of the Same Tree promises to bring Rocky’s music to even wider audiences around the world.

Born in Ghana and based in Los Angeles, Rocky is a galvanizing performer whose infectious grooves and dance-inducing anthems have consistently excited fans. Blessed with easy-going charisma, Rocky has performed and collaborated with Stevie Wonder, Peter Gabriel, Bono, Jason Mraz, Janelle Monae and John Legend, among many others. Named one of Africa’s Top 10 global stars by CNN, he’s showcased his talent around the world at major festivals and prestigious venues such as The Kennedy Center in Washington, D.C. and The Hollywood Bowl in Los Angeles.

Rocky’s eloquence, cultural diplomacy and successful melding of music and activism have led him to become a passionate spokesperson for various global causes. He has joined forces with Product (RED), UNICEF, the Carter Center and the UN Foundation. In 2012, Rocky was appointed the Tourism and Cultural Ambassador of Ghana and World Ambassador for the Musicians Union of Ghana. The same year, he was named a United Nations Foundation Ambassador for the Global Alliance for Clean Cookstoves, alongside actress Julia Roberts and chef José Andrés.

According to Rocky, “Branches of the Same Tree was inspired by the songs and melodies I have heard over the years during my travels. It contains snippets of my personal observations of various cultures and global musical developments.” The album’s title reflects Rocky’s belief that recognition of our shared humanity is the key to peaceful coexistence among all peoples of the world. “When we recognize we are all branches of the same tree we begin to see our common roots,” argues Rocky, “this is the cornerstone of true Oneness.”

The album’s first single, “African Thriller” was released on July 24, 2014, followed by the launch of a music video on November 4 . Recorded in Ghana and Los Angeles, the song features legendary trumpeter Osei Tutu (Hedzole, Edikanfo, Ebo Taylor), CC Frank on drums (Fela Kuti) and Dean Gant (Anita Baker, Outkast) on keyboards. Jeremy Sole, a DJ, producer and host on the taste-defining Los Angeles radio station KCRW, remixed the single and album versions of “African Thriller.” The video has been featured on hundreds of global outlets including Entertainment Weekly, MTV, Channel O and VH1 and continues to gain momentum worldwide.

The album’s opening track, “Shine a Light,” is a catchy, radio-friendly anthem that incorporates a syncopated New Orleans-style rhythm, Brazilian percussion, a reggae underpinning and a sing-along chorus. As with many of Rocky’s songs, the message is inspirational and upbeat: “Light up the darkness / With a positive spirit / Oh let the sun shining in with a wave of a joyful sound / Whether high or low
I will not be afraid / To lift my head up reach and touch the sky / Hey, I believe we can / Shine a light so bright / For the world to see.”

Branches of the Same Tree also demonstrates Rocky’s more introspective talents with the ballads “Butterfly” and “Island Girl.” The former is a Bob Marley composition that was never formally recorded by the reggae legend. Rocky adapted this version from a rough Marley demo, giving it a lilting tropical feel supported by long time Ben Harper collaborator Tom Freund on ukulele and Jack Johnson drummer Adam Topol. The simple yet enchanting closing track “Island Girl” also features Tom Freund on ukulele.

The Bob Marley influence is also apparent on Rocky’s cover of the iconic Marley and Peter Tosh composition “Get Up, Stand Up.” Rocky gives his version an Afrobeat touch and sings the lyrics in the Pidgin English vernacular of Ghana. Rocky’s commitment to political activism and cultural pride is further demonstrated on the powerful song “Black Star,” which features a guest appearance by Samini, a rising star in Ghana. “Black Star” celebrates Africa, calling for a new vision from the modern generation of Africans.

It reaches for unity and strength among Africans as well as anyone around the world who shares the belief that the roots of mankind can be found on the continent.” Rocky sings out, “Remember who you are/ Remember where you are from/ Then you gonna know which way the wind will blow / Educate your mind, dedicate your heart/ That is the only way this victory will grow / Black Star arise show the people what you know.”

Rocky’s love of Africa and its people can also be felt on the song “Nairobi”, which was inspired by a trip he took to Kibera in Nairobi, Kenya during a very tense time in the country. It was right before their national elections, and tribal and political differences threatened the nation’s stability and security. Rocky wrote it as a love song for a city, country and people.

Other highlights on Branches of the Same Tree include “The Sign,” an Afro-Roots track that stresses the awareness of spirituality in our everyday lives, learning to trust one’s inner voice and accepting that a higher power guides the course of our lives. “Children of Abraham” is about recognizing shared destiny and choosing the path to peace over any path to war. “It was motivated by my trip to Israel and Palestine,” notes Rocky, “that moved me deeply and led me to think hopefully about the possibilities of peace and coexistence. My interaction with the people, and visits to mosques, churches and synagogues inspired the track.”

While Rocky explores a variety of new sounds and musical direction on his new album, he does not abandon his reggae roots, contributing two straight up African reggae tracks that will surely please his longtime fans. According to Rocky, “Rock Your Soul” is “a very personal song of love and relationships. It’s about how we can transcend life’s challenges if love leads our intentions.”

Meanwhile, “We Never Stop” is “a track to put everyone on notice that roots rockers are back! We love to play music and the feeling of positivity and togetherness that it brings.” Reflecting his maturity as an artist, Branches of the Same Tree highlights Dawuni’s ability to communicate a universal, uplifting message that crosses borders and reaches out to the hearts of millions.

Photo Credits
Glen Wilson
Michael Underwood
Mark Bennington
www.rockydawuni.com

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By Alfred Tamakloe
In Copenhagen – Denmark

With her saxophone firmly stuck under her arm, Danish saxophone player and composer Katrine Suwalski arrived in Ghana in 1994 looking for new inspiration in her musical life.

Twenty years on, Suwalski returns to Ghana with her fabulous Danish/Ghanaian Jazz quartet – “Another World”. Originally named “Ghanaian Inspiration”, she formed the band after her trip to the West African country.

“I was introduced to the rich tradition of Ghanaian polyrhythms by Odomankoma Kyerema Pra, leader of Twedeampon Traditionals, a traditional music and dance group based in the Ghanaian coastal town of Cape Coast”, says Suwalski.

“This meeting has strongly influenced my musical life and my playing. Over the years, Okyerema Pra has worked with us several times in Denmark and other countries. Now I really look forward to play our music in Ghana for the first time”, she continues.

From March 29 to April 9, Suwalski and “Another World”, featuring Denmark-based Ghanaian percussionist, Ayi Solomon of “Classic Vibes” fame, will serve Ghanaians with her brand of jazz, which is heavily influenced by Ghanaian polyrhythms.

These include performances and workshops in Cape Coast, Akosombo and Accra, which will also feature Ghanaian Afro jazz singer and songwriter, Tina Mensah (Elivava, the African Gold) and Okyerema Pra with Twerammpon Traditionals.

“I’m very happy to be travelling to Ghana this time around with my long time friend and musical colleague, Ayi Solomon, with whom I’ve been playing for the last twenty years. I’m looking forward to share the culture with my musicians as well as re-unite with my old and new Ghanaian friends and share my music with the Ghanaian audience”.

Critic Torben Holleufer of the Danish magazine, Jazz Special, describes Suwalski’s music as “sensitivity, presence, vigour … the flood of tones and the polyrhythmic elements rush forth from every single gesture alongside an addition of naked Nordic tones and a sense for a good tune”.

In another review, Peter Krog of Djembe Magazine wrote, “This is a case of a colourful, open, and comprehensive musical universe…. In every way, an elevating and promising piece of music that speaks to the heart.”

Katrine Suwalski is a musician and a composer of considerable scope and imagination. She has created her own distinctive fusion of Jazz with West African Influences. It’s an exuberant music with a personal touch that is unusual, extroverted and atmospheric, played by some of the best musicians from the Danish Jazz and World Music scene.

The band features Katrine Suwalski’s own compositions. In her musical writing she is inspired by great composers such as Camerounian sax player Manu Dibango and South African keyboardist Abdullah Ibrahim.

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By John Owoo
At large in Nima (Accra)

Last week, the world woke up to yet another tragedy on the Mediterranean Sea, as nearly three hundred would be migrants including children died in rough seas in a bid to reach the Italian Island of Lampedusa.

The repercussions from such massive loss of life on the high seas reverberate through several countries with calls for countries in the European Union to address problems in countries with high numbers of boat people and help curb the activities of traffickers on the high seas.

In Nima, a sprawling suburb of Accra, over thirty deaths have been recorded in the Sahara Desert and the Mediterranean Sea over the past several years as the youth embark on hazardous trips for a “better life in Europe”.

Alarmed by the subtle rise in deaths of close friends and tales from survivors, Musah Swallah, a young issues driven artist and Nima resident, created a series of artworks on glass, canvass and wood to warm fellow residents and Ghanaians at large of the dangers that await them on such trips as well as the uncertainty of life on arrival in Europe as a refugee.

Emotive works by Swallah employ the use of dramatic colours that help unfold the horrors of hazardous adventures by young men through the Sahara desert and “mountainous” waves of the Mediterranean Sea.

Metaphors, symbols and exhausted human figures on overcrowded / unstable trucks as well as human skeletons that lie randomly in the desert provide the viewer with an imaginative insight into escapades that are uncertain, terrifying and ambiguous.

Through a vast expanse of desert and the open sea, he creates images with faces that exhibit pain, aggression, despair and indifference. Indeed, the possibilities and consequences of this perilous journey hover over the viewer creating in the process unmistakable tension and apprehension.

Although clearly referencing a problem in his neighborhood, Swallah’s work equally concern the whole of Ghana while reflecting universal concerns on a growing phenomenon that has resulted in thousands of deaths and over crowded reception centres on Lampedusa.

His paintings equally raise the issue of what awaits asylum seekers and refugees in Europe. These include long and indefinite stay in temporary shelters that are noted for its unsanitary and prison-like conditions, routine mistreatment of refugees and dehumanizing actions like spraying of chemicals on naked inmates in cold temperatures.

Swallah’s work recalls that of German photographer Tobias Zielony, who has been selected for the German Pavilion at the 2015 edition of the Venice Biennial. Indeed, his critical approach to social documentarism including vivid images of activism by Ghanaian and other refugees in Germany has made him one of the most discussed artists throughout the world.

His paintings also raise issues of xenophobia and displacement as his paintings confront us with psychological and physical experiences of people who undertake a journey of life that has more often turned out to be one of death.

Titled “Migrations”, the paintings by Swallah, which also create anxiety as the viewer is trapped among gloomy images is scheduled to be displayed in a number of schools and institutions in Nima.

Photographs by Tobias Zielony
Paintings by Musah Swallah

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By John Owoo
At large in Takoradi

A captivating art book by the Germany based Ghanaian painter Bröther Owusu-Ankomah was last week launched at the Atlantic Hotel in the oil city of Takoradi.

Titled “Microcron Begins” the 304-page book, which is replete with over one hundred images and essays from academics / artists, make a social, spiritual and philosophical foray into the work of Owusu-Ankomah.

Papers by Oluwatoyin Vincent Adepoju (an expert in Comparative Criticism), Gerard Houghton (Art Critic / Videographer), Hans-Werner Kalkmann (Author / Curator), Moyo Okediji (Professor of Art / Art History), Rikki Wemega-Kwawu (Artist / Writer) and Owusu-Ankomah are without doubt packed with valuable, stimulating and challenging information.

An ambitious / thought provoking book, “Microcron Begins” raises immense arguments, issues and tough questions – and is loaded with enormous quantities of material – nevertheless, one can make a coherent comprehension of the subject, which is wide and extensive.

Indeed, this beautifully illustrated book takes the reader through the intricacies of “Microcron” – such as a symbolic language that visualize the inexplicable, a mystic quest through a multi expressive form of performative criticism and the new human in Owusu-Ankomah’s work.

“Microcron Begins” is a magical jamboree of visual images, ideas and philosophy that culminate in technological, spiritual and metaphysical reinforcements. Undeniably, Owusu-Ankoamh undertakes a mute journey through space and time while making a bold and continuous presence.

Simultaneously spiritual and scientific, Owusu-Ankomah’s works comprise magnificent circles that glow with controlled intensity, nude muscular figures and symbols that radiate an ambiance of energetic calm. Indeed, they are replete with a symbolic language that simply enthralls the viewer with its multifaceted messages.

Resolutely pictorial, he does not excavate his canvas to lodge in sculptures or splash it with sand and other materials – he simply paints – and the emerging result is surreal, consistent, geometric and expressionistic.

The book was published in Germany by Kunstverein Bad Salzdetfurth eV with support from Landschaftsverband Hildesheim eV, Kulturbeirat der Stadt Bad Salzdefurth, Landkreis Hildersheim, Quensen Druck + Verlag GmbH & Co KG and Hamo-Wille – Visuelle Kommunikation – all in Germany.

Georgina Bus-Kwofie, a retired educationist, launched “Microcron Begins”. Present at the ceremony was Papa Owusu-Ankomah (younger brother of the artist), a former Attorney General / Minister for Justice and current Member of Parliament for Sekondi.

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Focus on the International Criminal Court, which has jurisdiction to prosecute individuals for genocide, crimes against humanity and war crimes, was during the holidays momentarily transferred onto a stage at the Goethe-Institut in Accra.

In a rather informative / educative dance drama, several issues relating to its establishment, composition, operation, people who have appeared before it as well as people who have been indicted were imperceptibly relayed to the audience, who appeared glued to their seats.

Directed by German choreographer Monika Gintersdorfer and visual artist Knut Klaßen, the piece, which is also titled “International Criminal Court”, did not take a position but ensured the free flow of diverse opinions, comments, critiques and even judgments out of the stage.

Gintersdorfer, who has expressed a restrained resistance to empty pomp and superficial entertainment in this piece – employed the use of commando style and other movements by a multi racial cast – as scenes from the court were virtually “paraded” before the audience in theatrical / poetic technique.

Alongside virtuoso monologues / dialogues that contain a sparkling mixture of humor / intelligence, the piece although intended as an investigation into the activities of the International Criminal Court, eventually reached out as a politico/legal piece that exposed the hidden richness of works by Gintersdorder, who is noted for other formidable productions.

Taking into account other trials (including trial by ordeals), “The International Criminal Court” explored the authenticity of the real court in the Dutch city of The Hague and its aims through an effective alternation of speech and dance. Undeniably, the production equally ended up as an incisive piece on the tension between idealism and practice.

An effervescent and dynamic choreographer, Gintersdorfer is spurred on by a different purpose. As one of Germany’s most physical, border-crossing directors, her motivation is not to document alone – in the sense of repeating the original event – but rather to provoke and pose questions.

And she did succeed in posing several questions – why are mostly African leaders on trial, is the court an appropriate forum, will it lead to justice for all, will it help curb the incidence of genocide or war crimes among others – questions that time and history will one day help us answer.

Theater Bremen, Kulturstiftung des Bundes and Goethe-Institut in Ghana sponsored the performance.

By John Owoo
(Accra)

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