Songs as Agent of Satire in Ͻmpε Traditional Ensemble of Effutu (original) (raw)

International Journal of Innovative Research and Development

One significant observation in a multilingual African society like Ghana, is the barrage of diverse music ensembles that are identifiable with a particular group. For instance, ensembles like Adowa, Adzewa, Ͻmpε, Asafo, Adenkum, Nwomkoro, Bᴐsoε and Sikyii are identified with the Akan while Kpalongo, Kolomashi, Kpatsa and Sunuu to the Ga and Damgbe. Agbadza, Bᴐbᴐᴐbᴐ are identified with the Ewe while Bamaya, Damba, Tᴐra are identified with Dagomba and some tribes in the northern part of Ghana. These ensembles, be it the dance, songs, and other aesthetic values it conveys have its unique roles in the lives of the people where ᴐmpε a traditional ensemble in Effutu is not an exception. Traditionally, songs play a major role in the lives of men. It serves as an avenue for expressing feelings and emotions. Largely, many people appropriate songs as a way to escape from the pain of life. It does serve such purpose however, it transcends past the relief of pain, reduction of stress and mere entertainment. In the world, the continent of Africa of which Ghana is not an exception, use songs in rituals and religious ceremonies to pass on the ethos of the society to its next generation. Rwafa (2010) asserts that songs carry values, norms, attitudes and beliefs of the people and that of individuals. Songs are then, an effective tool for communicating ideas and criticize behaviours that society abhors. Therefore, in the African societies, songs in its traditional sense have played an important role in the preservation and production of the African heritage strongly within and outside its borders. However, songs have its message to its intended audience. Songs are generally composed of two elements namely; sound, which is the primary element and lyrics, as its secondary component. This implies that lyrics or song text play a significant role in the performance of songs. This is because through the lyrics, the audience is able to understand and appreciate the meaning and the message the song carries. Dallin (1994) expressed that; Lyrics are written as a form of interaction between the writer and the listeners. Most of the times, they carry a message (whatever that might be) with the purpose of motivating the listeners, at least, to think about it. Such a purpose and form of interaction are embedded in the cultural context of these people, according to their preferences, time etc. By implication, every song has its message. The appeal and /or effectiveness of the song to the audience is predominately dependent on the lyrics. Again, the message contained in the song must reflect the cultural beliefs and ethos of the people to elucidate the appropriateness of the meaning to the audience and even the mode of delivery of the lyrics as well. Given the role of songs in the lives of traditional societies, it appears that in this contemporary time, performances from traditional ensembles such as the Ͻmpε, Nwomkoro and Adowa to mention a few, are losing its touch on its audience. The reason is that traditional songs seem to be looked at with disdain since it is not really of importance to the society and culture. That erroneous thought about music (songs) or the creative arts as not essential to the function of the society and