Lets Talk Highlife And Forget MUSIGA

Obour, MUSIGA President

Obour, MUSIGA President



Have you followed music unions in Ghana? Are they worth being called unions?

For the first time in a long while, I have decided to make a public statement on music in Ghana, history, challenges and prospects.

Have we as a people found out why Nigerian contemporary popular musician are making in-row into the African music industry? Have we carefully found out the ‘koo-mininiis’ that spices up that sector? How is investment into the sector like? How have they been looked after by, be it their record labels, unions or patrons?

In gentle Ghana, we are all too mild to confront those self-seeking and greedy musicians who call themselves union leaders fighting for the welfare of the industry. Those STARK musical-illiterates who do not know what goes into the composition of a music industry. Those hungry young persons who have realized that our people are not musically inclined and even the very few musicians are Choral oriented and are virtually dead in the popular culture front.

My name is Edem Koku Edem, a product of the School of Performing Arts at the University of Ghana, Legon and regret ever passing through the music department. If you have a department that do not have courses like Music Business, Critics, Music Law, Music and Technology, Audio Ear Training, Artist Management, Business Communication, Concert Touring etc.

A school that does not have a highlife department, neither does it have an atenteben studio. A place of higher learning that do not have a conducive environment for the young musician to explore her gifts but that prides herself in Baroque Music, which may not be relevant for today’s popular culture. How then should we be surprised to have a virtually weakened union because most of the union members are themselves dead from beginning.

Have we ever considered how we can empower the music industry not ACCRA MUSIGA? Do we not know that the over 1million musicians in the country who are themselves struggling to play from churches to bands, who get a meagre GHC 20 as allowance for playing over and hour be it at a concert or church, the ‘underground rapper’ who do not understand that rap is poetry and poetry is understanding the various idioms and syllables embodied in our language, food and ancestral music.

Do we not know that we can raise the economy of mother Ghana? I have more to advocate for but until i’m back, lets talk highlife.

Edem Koku Edem
[email protected]


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