Participation of Women in the Traditional Music Scene: Perspectives from Avatime Totoeme Musical Performance in Ghana (Published)
The article provides an empirical example and a study rooted in the concept of cultural construction of feminism in relation to traditional music making of Avatime people of Ghana. Data was collected through participant observation of Totoeme. The author addresses the participation of women in traditional music performance and its associated rituals based on gender asymmetric assumptions. It also highlights removal of certain barriers among women in totoeme musical performance as pertains to installation of a new queen mother. The paper concludes that women can be credited for sustaining most African dances including totoeme in this contemporary world. It is therefore important that they are supported possibly by traditional authorities in this regard to ensure cultural preservation.
This paper examines the history of easel painting on libation art in post-independence Ghana in relation to Nkrumah’s non-statutory cultural policy of inculcating libation art in national state functions. Through a visual analytic approach of post-colonial paintings on the subject matter by two pioneering contemporary Ghanaian artists, and analysis of musical libation into hiplife, it concludes that libation is a beneficial intangible cultural heritage permitted by Ghana’s constitution and international laws and must be reinstated at state functions. It posits that though libation shares peculiar religious characteristic verticality with Christian and Islamic prayers, the nation owes no apology to any religious sect for pouring libation at state functions as it has been the case for over five decades after independence. It recommends that a libation manual must be made to encourage its practice by young ones in order to ensure its preservation for the current and future generations