Kwesi Gyan: A Cross-Cultural Artistic Impression on Apatampa Musical Resources
Nana Amowee Dawson 
Issue: Vol.3 No.2 July 2023 Special Issue Article 2 pp. 34-96
DOI :https://doi.org/10.38159/ejomur.2023322| Published online 28th July 2023.
© 2023 The Author(s). This is an open access article under the CCBY license (http://creativecommons.org/licenses/by/4.0/).
Interculturalism has played a significant role in influencing societies’ artistic identity, particularly in Africa’s music. This phenomenon seems to be no exception in the choral, art-song, and instrumental music spheres despite the untapped nature of orchestral music in this part of the world, especially among Ghanaian art/scholar musicians. Orchestral music as a genre in the Neo-African art music space appears deficient in terms of its usage of African resources for creation. The less-to-zero exploitation of this art form has roughly marked a gap in its ingenuous disposition; thus, affording the opportunity for similar works. “Kwesi Gyan”, the 3rd Movement of the ‘Sankɔfa Symphony’ is a 21st-century chamber orchestra piece that merges traditional rhythms and a folk tune from Apatampa music with scholarly compositional techniques. The orchestral form of this music speaks to its Western nature. Likewise, the main melodic and rhythmic structures originate from Ghanaian culture, which illustrates the concept of interculturalism through the aforementioned merger. This paper presented the composition through a practice-based research approach, drawing on theories of cross-cultural music-making and Neo-African art music. It also provided a deeper understanding of the composer’s thought process and provides insight into understanding the piece. Additionally, the article aimed at inspiring creative research into Ghanaian musical arts, potentially contributing to the preservation of the country’s cultural heritage for future generations.
Keywords: Interculturalism, composition, African music, Apatampa, Ghanaian musical arts, cultural heritage
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Nana Amowee Dawson is an ardent devotee of African music, entwined with the world of intercultural artistic exploration. Graduating from the University of Cape Coast, Ghana in 2015, where he earned a Master’s degree in Music Theory and Composition, he now sets his sights higher with an ambitious pursuit of a PhD in the same realm. Driven by a deep-seated commitment, his academic journey is guided by a profound mission – to celebrate and uplift the rich mosaic of African musical arts, transcending boundaries and empowering communities through enlightening scholarship. Drawing inspiration from the heart of Africa’s cultural heritage, Nana Amowee is resolute in unearthing the intrinsic musical treasures ensconced within, fostering creativity, and nurturing knowledge-sharing from the grassroots upwards. As an esteemed music tutor at the illustrious Ghana National College, nestled within the historic city of Cape Coast, he imparts his vast expertise, igniting a musical fervour within his pupils, shaping a generation of harmonious visionaries. Fuelled by an insatiable thirst for musical excellence and an unwavering reverence for Africa’s bountiful legacy, Nana Amowee Dawson emerges as a steadfast custodian and fervent advocate of its melodious heritage. With each resounding note and soul-stirring composition, he leaves an indelible impression, captivating hearts, and inspiring a profound appreciation for the richness of African musical expression.
Dawson, Nana Amowee. “Kwesi Gyan: A Cross-Cultural Artistic Impression on Apatampa Musical Resources,” E-Journal of Music Research 3, no.2 (2023): 34-96. https://doi.org/10.38159/ejomur.2023322
© 2023 The Author(s). Published and Maintained by Noyam Journals. This is an open access article under the CCBY license (http://creativecommons.org/licenses/by/4.0/).
