A soundtrack for development in Ghana

From independence to the present day, Ghana’s musicians seem to have it covered, says UK volunteer Jasper Jolly

Like any immersion in a new country, the culture and subcultures of Ghana can be overwhelming for a new entrant. On the music scene this is particularly true: highlife, hiplife, azonto, rap in Twi, English and other many others. And all this sound echoes the country we are living in for these three months. Hearing Sarkodie’s “Dumsor” shortly after experiencing it – the “off/on” power cuts that regularly plunge us (and businesses, factories) into fanless darkness – made an impression. Here are five songs I’ve found to soundtrack our work in Ghana’s development – the good and the bad.

Nana Ampadu – “Ebi Tie Yie”

Let me tell you something, says the title of this 1967 Highlife song, before laying out a simple story about a leopard bullying a duyker (an antelope, apparently). So far, so homely, but listeners in 10-year-postcolonial Ghana found an Orwellian parable of social justice behind the simple story – to the point that its title is still associated with justice today. Its simplicity allegedly saved Ampadu from any serious repercussions from the suspicious military officials who overthrew Nkrumah’s first independent government. Today its infectious energy stands as testament to Ghana’s status among Africa’s more socially just nations.

Sarkodie – “Dumsor”

But there are still big challenges. Sarkodie – probably the biggest star in the country’s musical firmament – is becoming one of Ghana’s proudest exports. In ‘New Guy’ he takes on America in English, but it was in Twi (thank you, Alhassan, for translations) that he made his name. Dumsor is emblematic of the challenges of improving infrastructure with a limited budget and a population hungry for electricity-heavy development. Sarkodie hits deep in the gut straight away with the title’s opening refrain.

Sarkodie – “Inflation”

He’s at it again in “Inflation”, hitting out at rising costs from petrol to pineapple juice with a rolling thunder rhythm that’s thrillingly ominous. But again this is a problem that’s close to the bone here – every coin in our pockets was minted in 2007 when the currency was devalued by 10,000 times. Sarkodie has been accused of being party political because of his music, which he denies stridently (even in the actual songs). Either way, “Leadership is what we need”.

Rockstone – “Ya Bounce Wo Visa”

Rockstone is credited in some quarters with introducing the Hiplife Twi rapping which made Sarkodie possible. He’s also a potent symbol of globalised culture – bringing American influence to bear on Ghanaian music via London. With any cultural mixing there are bound to be sticking points – although we have had remarkably few.

Criss Waddle feat. Medikal – “PƐ Kakra”

Last and, musically, probably least comes Criss Waddle’s “PƐ Kakra”. Despite its low-rent obsession with standard status symbols (picture above is a case in point), this has become a very much unofficial theme tune for cohort 4 in Savelugu. We UK volunteers were drawn by the chorus which we could at least understand: “Triple cedis, | Cedis, cedis, cedis – pƐ kakra” – get more. We could link that to what we’re trying to do with our communities’ incomes, but let’s leave it at that.