Ghanaian traditional drumming is deeply rooted in the cultural fabric of the nation. It is more than just an art form; it represents a force for change and resilience. The traditional practices of the drumming rituals in Ghana are deeply rooted in the people’s belief systems. With diverse ethnic groups, each with its unique drumming traditions, these rhythms have been passed down through generations, embodying stories, rituals, and social connections.
Prominent ethnic groups like the Ashanti, Ewe, Dagomba, and Fanti each possess distinct rhythms, dances, chants, and drum traditions. The drums are bearers of cultural identity and communal spirit. In recent years, traditional drumming has catalyzed economic empowerment at the grassroots level.
Social workers investigating have also found that traditional drumming in tribes can positively impact the community’s welfare by boosting economic resilience, attracting tourism, and creating educational opportunities. Traditional drumming in Ghana has emerged as an unexpected ally in the fight against poverty, weaving together economic empowerment, community development, and cultural preservation.
Map of Ghana showing the regions where different ethnic groups practice drumming.
Empowering Communities Through Drumming
Numerous community-based initiatives have emerged, utilizing the art of drumming to generate income and combat poverty. In the South Dayi district town of Peki, drum “cavers” hand make the drums to be sold in sets for 5,000 Ghanain credits ($415). Particularly in Southern Ghana, drum makers can sell sets of drums to art centers, which sell in markets that showcase the makers’ craftsmanship, along with handicraft sellers showcasing other goods like woven Kente cloth, wooden sculpture, beadworks, etc.
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One prominent example is the Chale Wote Street Art Festival, supported by the Ghanaian Ministry of Tourism. The revenue generated from drum sales goes back to the community and the carvers business.
Kakatsitsi, Live @ The Eden Project - 'Sweet'
Tourism and Cultural Exchanges
Ghana’s traditional drumming has become a magnet for cultural tourism. The country’s vibrant music and dance festivals attract domestic and international visitors eager to experience traditional drumming. The economic impact of tourism on local communities cannot be overstated, as it creates employment opportunities, stimulates local businesses, and encourages the preservation of traditional cultural practices.
Such drums are sold to art centers that cater to tourists and typically take greater latitude in drum design. In addition to tourism, cultural exchange programs have further elevated the status of traditional drumming in the global arena. For instance, Ed Sheeran collaborated with Ghanaian artist Fuse in 2018 and made headlines for singing as part of the collaboration in Twi (spoken in southern and central Ghana).
Collaborations between Ghanaian drumming groups and international artists or institutions provide exposure, fostering a deeper appreciation for the art form. This exposure contributes to poverty alleviation by creating performance opportunities. It also bolsters the global recognition of Ghanaian drumming traditions, which can positively reinforce awareness, diversity, and tourism.
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Educational Initiatives
Beyond economic avenues, traditional drumming has found its way into education as a tool for empowerment. In the southern part of Ghana, where the tonal language of Twi is spoken, “talking drums” mimic the speech patterns, and these drum patterns are used in some schools to signal the beginning or end of classes or the start of recess. These rhythms are additionally used in ceremonies and weddings and to recite poetry.
Many organizations and schools in Ghana are incorporating traditional drumming into their curricula, promoting culture and skill development. Promoting music in schools can improve students’ social connectedness, mathematics, reasoning, and listening. By teaching the art of drumming to the younger generation, these initiatives empower youth with valuable skills and disciplines that contribute to breaking the cycle of poverty.
Fontomfrom drums, used in Ashanti ceremonies.
The Instruments of Ghanaian Drumming
Ghanaian drumming traditions feature a variety of instruments, each with its unique sound and role in the ensemble. Here's a closer look at some of the key instruments:
- Gankogui (Gakpevi): A double bell made of forged iron, serving as the "skeleton" and foundation of Ewe music.
- Atoke: A forged-iron bell instrument, shaped like a boat or banana, sometimes used as a substitute for the gankogui.
- Axatse: A rattle-like instrument made from a hollowed-out gourd covered with a net of seeds or beads.
- Master Drums: Including the Atsimevu, Sogo, Kroboto, Totodzi, and Agboba, each used in different pieces to lead the ensemble.
- Kidi: A mid-sized drum played with two wooden sticks, engaging in "drum dialogue" with the lead drum.
- Kaganu: The smallest and highest-pitched drum, played with two long, skinny wooden sticks.
- Atumpan: A pair of two drums used all over Ghana as talking drums.
These instruments, combined with skilled musicianship, create the rich and complex rhythms that define Ghanaian drumming traditions.
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Cross-Rhythms: The Heart of Ewe Drumming
The ethnomusicologist David Locke states: "Cross-rhythm pervades Ewe drumming." In fact, the overall rhythmic structure is generated through cross-rhythm. The most fundamental cross-rhythm in Ewe music, and Sub-Saharan African music traditions in general, is three-against-two (3:2), or six-against-four (6:4), also known as a vertical hemiola. The cycle of two or four beats are the main beat scheme, while the triple beat scheme is secondary.
Ladzekpo states: "The term secondary beat scheme refers to a component beat scheme of a cross rhythm other than the main beat scheme. In a similar manner as a main beat, each secondary beat is distinguished by measuring off a distinct number of pulsations." Novotney observes: "The 3:2 relationship (and [its] permutations) is the foundation of most typical polyrhythmic textures found in West African musics." 3:2 is the generative or theoretic form of sub-Saharan rhythmic principles.
Agawu succinctly states: "[The] resultant [3:2] rhythm holds the key to understanding..." The following bell pattern is used in the Ewe rhythm kadodo. The 24-pulse pattern crosses the barline, contradicting the meter with three sets of five strokes, across eight main beats (two measures of four main beats each). The kadodo bell pattern is an embellishment of three "slow" cross-beats spanning two measures, a type of macro "hemiola." The cross-rhythm is three-over-eight (3:8), or within the context of a single four-beat cycle (single measure), the ratio is 1.5:4.
The Role of Drumming in Ashanti Healing Ceremonies
Little, if any, research has been published on the music of traditional healing ceremonies of the Ashanti people of Ghana, West Africa. In an attempt to lay the groundwork for further research on Ashanti shrine music, I conducted a field study from May to August of 2004 in the district of Ashanti-Mampong in central Ghana. Traditionally, Ashanti people believe that many problems, whether spiritual, social, or physical, have spiritual roots.
One very practical purpose of shrine drumming, in keeping with the communicative nature of Ashanti drumming, is to announce to everyone within hearing that there will soon be a healing ceremony at the shrine. Shrine drumming is not only played to communicate with people; it is also played to communicate with the gods. When I asked okomfo, musicians, and other villagers at the shrines about the purpose of music in the ceremonies, the almost-universal answer was that the music calls the obosom to possess the okomfo.
Gyasi’s comments are consistent with Agordoh’s statement that “each god has its own type of music, which interests him more or which is of his own taste,” (Agordoh 1994, 39) and with Nketia, who said that among the Ashanti “gods are supposed to be sensitive to the language of music and would come down to see ‘their children’ if they heard music they liked” (Nketia 1963, 99).
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