
A recent interview featuring Nigerian Afro-pop artist Yemi Alade has sparked a heated debate regarding the true origins of highlife music.
In a conversation with CNN's Larry Madowo, Alade suggested that highlife music originated in both Nigeria and Ghana, a statement that has been met with strong opposition from Ghanaian music experts, notably arts and culture journalist Kwame Dadzie.
Yemi Alade's Perspective
During the interview, Madowo highlighted the highlife elements in Alade's hit song "Johnny," attributing the genre's roots to Ghana. Alade responded by questioning this attribution, stating:
"You said first of all that Highlife is originally Ghanaian? We have to talk about that. I grew up at a time in Nigeria when highlife was a big deal. And as far as I know, Nigeria, Ghana, etc., we have already been connected via music and everything, so I feel like it originated in both Nigeria and Ghana."
Alade's comments reflect her personal experiences with highlife music's prominence in Nigeria during her upbringing and suggest a shared cultural heritage between the two nations.
Kwame Dadzie's Rebuttal
In response to Alade's assertions, Kwame Dadzie, a respected Ghanaian arts and culture journalist, published an article titled "Stop the Lies! Nigeria Did Not Originate Highlife" on MyJoyOnline. Dadzie criticized Alade's remarks, describing them as "ignorance if not for ill agenda." He emphasized that highlife music is deeply rooted in Ghanaian history, evolving from indigenous sounds like Osibisaba and Adaha in the early 1920s before making its way to Nigeria around 1937.
Citing the work of ethnomusicologist Professor John Collins, Dadzie highlighted that highlife was introduced to Nigeria through various channels, including the 1937 tour of the Ghanaian band Cape Coast Sugar Babies Orchestra and the early 1950s tours of E.T. Mensah's Tempos band. These events underscore Ghana's pivotal role in the creation and dissemination of highlife music.
Historical Context
Highlife music originated in the coastal regions of present-day Ghana in the late 19th and early 20th centuries. It emerged as a fusion of indigenous Ghanaian rhythms with Western musical elements introduced through colonial influence and trade. The genre gained popularity in exclusive clubs, leading locals to refer to the lifestyle associated with the music as the "high life."
The genre's spread to Nigeria was facilitated by cultural exchanges and tours by Ghanaian musicians. Nigerian artists embraced and adapted highlife, infusing it with local musical styles, which led to the development of distinct Nigerian highlife variations. Despite these adaptations, the genre's origins remain firmly rooted in Ghanaian musical traditions.
In conclusion, the discourse surrounding the origins of highlife music highlights the importance of acknowledging and preserving cultural histories. While highlife has been embraced and transformed by various West African countries, its genesis is undeniably Ghanaian. Recognizing this origin honors the rich cultural tapestry and artistic innovations that have shaped the genre into its contemporary forms.