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Radio in Accra: A confluence of National and Traditional Representations.
Unformatted Document Text:  Radio in Accra 11 political and social realities in Ghana (Bourgault, 1995). The result has been the production of content that reflects Ghanaian culture without sacrificing topical issues of national interest. “High-life” as primary music content Peace FM changed the typical Ghanaian radio musical format by playing mostly Ghanaian “high-life” music. “High-life” as a Ghanaian music genre is a product of a hybrid culture. It is a combination of traditional Ghanaian and European music forms, especially the adoption of instruments like the guitar, the saxophone and the trumpet played alongside Ghanaian instruments. The music which feature on the station is a mixture of old and new forms of highlife, it ranges from “dance band” to “hip-life.” And it features groups and artists like the Ramblers International Band, “Kakaiku” “Koo Nimo,” “Nana Kwame Ampadu,” “C.K. Mann,” “George Darko,” “Daddy Lumber,” “Amakye Dede,”“Kojo Antwi,” “Reggie Rockstone” and “Lord Kenya” and the like. Most of the local Ghanaian musicians are either Akan or write and sing in Akan. They compose a myriad of Ghanaian “highlife” genres namely; “dance band,” “palm wine,” “Burger High-life” “Concert party,” “Osode,” “High-life reggae fusion,” “guitar band” and “Hip-life” music. This form of programming is different and new because the content is largely local, and is a deviation from the old form of programming. The old programming played mostly western music interspersed with local music, while the new programming has reversed the order by playing more local Ghanaian music and less western music. The nature of this programming shift has nationalistic implications, because it involved the reconsideration of Ghanaian radio music content that favored the use of local Ghanaian music products as the primary criterion for inclusion. Also it exhibits notions of identity because it reflected Ghanaian culture in a way, which suggested that previous programming was not Ghanaian enough. Consequently, the

Authors: Boateng, Kwasi.
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Radio in Accra 11
political and social realities in Ghana (Bourgault, 1995). The result has been the production of
content that reflects Ghanaian culture without sacrificing topical issues of national interest.
“High-life” as primary music content
Peace FM changed the typical Ghanaian radio musical format by playing mostly
Ghanaian “high-life” music. “High-life” as a Ghanaian music genre is a product of a hybrid
culture. It is a combination of traditional Ghanaian and European music forms, especially the
adoption of instruments like the guitar, the saxophone and the trumpet played alongside
Ghanaian instruments. The music which feature on the station is a mixture of old and new forms
of highlife, it ranges from “dance band” to “hip-life.” And it features groups and artists like the
Ramblers International Band, “Kakaiku” “Koo Nimo,” “Nana Kwame Ampadu,” “C.K. Mann,”
“George Darko,” “Daddy Lumber,” “Amakye Dede,”“Kojo Antwi,” “Reggie Rockstone” and
“Lord Kenya” and the like.
Most of the local Ghanaian musicians are either Akan or write and sing in Akan. They
compose a myriad of Ghanaian “highlife” genres namely; “dance band,” “palm wine,” “Burger
High-life” “Concert party,” “Osode,” “High-life reggae fusion,” “guitar band” and “Hip-life”
music. This form of programming is different and new because the content is largely local, and is
a deviation from the old form of programming. The old programming played mostly western
music interspersed with local music, while the new programming has reversed the order by
playing more local Ghanaian music and less western music. The nature of this programming
shift has nationalistic implications, because it involved the reconsideration of Ghanaian radio
music content that favored the use of local Ghanaian music products as the primary criterion for
inclusion. Also it exhibits notions of identity because it reflected Ghanaian culture in a way,
which suggested that previous programming was not Ghanaian enough. Consequently, the


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