GAHU
Gahu is a vibrant, dynamic form of West African music and dance rooted in Badagry/Yoruba, Nigeria. Over time, it has become increasingly popular among the Ewe-speaking people in Ghana, where it is celebrated for its lively and energetic rhythms and colorful and expressive dance movements. One of the most distinctive features of Gahu is the use of a large drum known as the Boba, which adds a powerful and resonant bass to the music. In addition, Gahu incorporates various languages into its songs, reflecting the diverse cultural influences that have shaped this rich and fascinating art form. Finally, one of the most fascinating aspects of Gahu is its incorporation of European influence, which has helped to give this unique musical style its distinctive character and identity.
Gahu's history can be traced back to the 1960s when the program notes of concerts performed at the University of Ghana, Legon, were discovered. The earliest written records of Gahu's origins can be found in these notes. At first, many believed that Gahu was a modified version of a Yoruba dance that originated from Badagry. However, this theory has since been disproven. Nonetheless, it was a reasonable assumption based on three key factors.
1. The conventional garb worn during Gahu performances was the traditional attire of the Yoruba-Nigerian culture.
2. The words in Gahu songs featured several Yoruba words that were difficult to decipher.
3. Formerly, Gahu was believed to have originated in the Nigerian town of Badagry. Still, recent research has revealed that it was created by the Egun-speaking people from Kotonu in the Republic of Benin rather than by the Nigerian Yorubas, as was previously assumed.
Gahu, a lively social dance believed to bring about positive energy, unity, and happiness, originates in the West African nation of Benin. From there, it eventually went to Nigeria's Badagry/Yoruba area, where migrant Ewe fishermen adopted it. These fishermen were instrumental in spreading the dance throughout the region, and eventually, it became a widespread cultural practice in Ghana. During its early stages of development, the Ewe fishermen played a crucial role in sharing Gahu with others, ensuring that this vibrant dance form flourished and evolved.
KPANLOGO
Kpanlogo is a lively and vibrant recreational dance and music style that came into being in the late 1950s as Ghana celebrated its independence seven years later. The youth predominantly crafted this cultural expression as a means of entertainment. Yet, it also draws upon and integrates musical themes and motifs from older Ga pieces, including Gome, Kolomashie, Oge, and Highlife. The dynamic nature of Kpanlogo reflects Ghana's rich heritage and traditions while also serving as a celebration of the country's newfound independence.
According to Nii Taki, an elderly musician from the Bukom suburb of Accra, the original name of Kpanlogo was Gbajo, which means ‘storytelling’ in Ga. This reflects the cultural tradition where the creation of music and dance accompanied storytelling. In these gatherings, a tale would be shared, inspiring the group to compose a song and then dance to the music. These narratives often drew from the stories of Kpanlogo, Alogodza, and Imama, who were the daughters of a local chief. Even today, their names echo through many songs and dance movements associated with Kpanlogo.
Instruments
Ngongo: (nn-go-nn-go)
This is the Ga name for the two-tone Gangokui iron bell. This instrument is one of three essential "timekeeper" instruments within the musical composition. It maintains a consistent pattern that persists throughout the piece, serving as a foundational element.
Ashakashaka: (a-shah-ka-shah-ka)
This is a Ga name for the gourd rattle. It is also a timekeeping instrument essential for maintaining the overall foundational rhythm.
Ododompo: (oh-doh-dom-po):
Also known as castanets, they comprise a round metal or wooden ball attached to a loop designed to be worn on the finger and a metal or wooden ring intended to be worn on the thumb. When the ball and the ring are skillfully brought together in a clapping motion, they produce a distinct clicking sound, imparting a unique and vibrant percussive element to the music.
Tamalin 1 and 2 (tah-mah-lin):
This instrument is a square-frame drum designed to be held in the hands. It can be played individually or as a pair. In the case of two drums, they are tuned so that one produces a higher pitch while the other makes a lower pitch, creating a complementary and harmonious sound.
Kpanlogo mi (3 or 4 drums):
The lead Kpanlogo drum, also known as "Kpanlogo mi," is typically tuned to the highest pitch, with the other two or three Kpanlogo drums being tuned to successively lower pitches. This tuning arrangement creates a harmonic and melodic quality when all the drums are played together.
Form of Kpanlogo:
Kpanlogo is a dynamic and ever-evolving style of music and dance characterized by a constant flux of new lead variations. The music typically begins at a slow tempo and progressively accelerates to a faster speed, creating an engaging and energetic atmosphere.
In a performance setting, groups meticulously craft arrangements of movements and synchronize them with lead drumming. In a traditional context, the lead drummer keenly observes the dancers and adapts by improvising intricate variations to complement their movements. These subtle adaptations are echoed and enhanced by supporting drums, creating a rich and responsive musical experience.
Kpanlogo movements and songs are also meant to gossip and talk about one another in the group or get attention from a group member or an audience by moving one's body. Today, Kpanlogo is divided into four sections.
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Oge: This rhythm section has a slow-tempo groove, with a lot of vocal singing but no dancing. It is usually used to set up the stage and help get the audience ready.
2. Kpanlogo: This is a vibrant and central section of the entire piece, serving as the focal point for drumming, dancing, and singing. It features two distinct parts: the initial group dance, characterized by synchronized movements and energetic rhythms, followed by the possibility of a solo performance if the group chooses to perform it. This section showcases the collective energy of the performers while allowing for individual expression if desired.
3. Gossip: In this section, the performers engage in a unique form of expression. Singers, drummers, and dancers indirectly talk and gossip using spoken words about a group member or someone else. After the spoken word, all three or four Kpanlogo drums play the spoken words as a rhythm. This creates a captivating back-and-forth exchange of different gossip spoken words until the lead drum changes into Highlife or a call to end the piece.
4. Highlife: This section is instrumentals with dialogue or call-and-response between the three or four drums led by the lead drum. The Hilife part is a recent addition to the set.
The musical arrangement can be tailored to the group's preferences, allowing for flexibility in performance. It's important to note that not all four sections are played during every performance.