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African musical hybridity in the colonial context: an analysis of Ephraim Amu's "Yen Ara Asase Ni" Steven Spinner Terpenning

By: Material type: TextTextSeries: Ethnomusicology ; Volume 60, number 3,Champaign, IL: University of Illinois Press; 2016Content type:
  • text
Media type:
  • unmediated
Carrier type:
  • volume
Subject(s): Online resources: Summary: This essay describes how the creative hybridity of “Yɛn Ara Asase Ni,” a choral composition by Ephraim Amu, contributed to the emergence of national consciousness in Ghana. Originally composed for a colonial holiday in 1929, this piece spread through schools, radio broadcasts, and live performances, and was heard throughout the country around the time of independence. Based on postcolonial theory, secondary sources, archival research, and interviews, I present a history and analysis of “Yɛn Ara Asase Ni” that demonstrates how it disrupted colonial categories, such as religion and culture, and prepared the way for an independence movement informed by Pan-Africanism and Christianity.
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Item type Current library Call number Vol info Copy number Status Notes Date due Barcode
Journal Article Journal Article Main Library - Special Collections ML128.E8 KOS (Browse shelf(Opens below)) Vol 60, No. 3 (459-483) SP26291 Not for loan For in-house use only

This essay describes how the creative hybridity of “Yɛn Ara Asase Ni,” a choral composition by Ephraim Amu, contributed to the emergence of national consciousness in Ghana. Originally composed for a colonial holiday in 1929, this piece spread through schools, radio broadcasts, and live performances, and was heard throughout the country around the time of independence. Based on postcolonial theory, secondary sources, archival research, and interviews, I present a history and analysis of “Yɛn Ara Asase Ni” that demonstrates how it disrupted colonial categories, such as religion and culture, and prepared the way for an independence movement informed by Pan-Africanism and Christianity.

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