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Sat, 23 Mar 2024 Feature Article

George Darko, Da Yie!

George DarkoGeorge Darko

One Hot afternoon in the 1980s, I was making the rounds of popular places in Accra, trying (as was often the case in those days) to find petrol to buy.

Near what was then Chief Mark Cofie's motor workshop at Osu, I heard loud music blaring out from a bar near the road, which had apparently been set up on my blind side.

The music was fantastic, and I quickly found a place to park my car. I then walked to an open space near the Catholic Cathedral, where the bar was operating from. No sooner had I entered the grounds than a strong feeling rose in me to join the dancers on the floor.

Without waiting to find out whether I would be able to quench my thirst with a beer; without scouting for some unaccompanied lass who might be willing to accompany me to the dance floor; without knowing if the amazing song blaring out of the loudspeakers would end soon or not – I just dove into the waves of the intoxicating music.

I don’t think I have ever enjoyed dancing as much as I did that afternoon. I had often, in the distant past (when Ghana was one huge pot of enjoyable entertainment, daring one to “taste and see” what Weekend in Havana; Apollo Theatre; Lido or some such venue would offer) done my bit of hi-living.

But apart from one “24th Night”, when Koforidua Casino Dance Band had invaded Bunso (Eastern Region), near my hometown, I could not recall being seized by music into such frenzy as I was feeling.

The lyrics of the song were simple: Ako te Brofo ooh, Eeei eei! Efiri tete ako te Brofo ooh Eeei eeh!”

(The parrot can speak English well; from long ago, the parrot has been very eloquent in spoken English!”)

Not exactly words that would set the sea blaze, were they? But the nice baritone voice that intoned them matched the music in its beauty. Anyway, whoever penned the lyrics had realised that to just keep repeating that a parrot could speak English (a novel idea though it was) could be taken this far but not beyond!

So, he had penned a second verse in which to make sure that any accusation of being “superficial” would not stick! – He inserted a complete Twi proverb, pondering which would be enough to satisfy the advocates of philosophical profundity in pop songs: Krotwiamansa to nsu mu a, Ne ho na ofor, Na nensanho no de, Ewo ho daa! (When the leopard falls into a pond, Its skin does get wet.

But that’s as far as it goes: Its stripes remain forever!”)

After satisfying my musical/dancing hunger, I took myself home and began to ask about the musician who had impressed me so much.

Very little information was available about him. I was merely told that his name was “George Darko”, and that he was a practitioner of “burger hi-life” music. I was hoping to hear more of his music, but never came across his band or himself.

It shows you how difficult it is to maintain a reputation as an artiste in Ghana. I never heard of any music promoter organising an event featuring George Darko and his band.

Of course, it is possible that such a promotion took place while I was away from Ghana. But I did keep my ears open whilst abroad, yet never heard of George Darko performing.

Agya Koo Nimo mentioned George’s name with affection in one of Agya Koo’s TV interviews, and (I think) also in his autobiography.

The fact that Agya Koo Nimo had mentioned George Darko as one of the guitarists he had interacted with made me want to meet George more than ever. But I never got to satisfy that wish, nor ever will.

For, sadly, George has passed, at the age of 73. He apparently had been hospitalised for some months at the Tetteh Quarshie Memorial hospital at Akwapim Mampong (where George was sub-chief, with the title, Nana Ampem Darko.) Da yie, wae, George! (Says one of your most ardent fans)

Cameron Duodu
Cameron Duodu, © 2024

Martin Cameron Duodu is a United Kingdom-based Ghanaian novelist, journalist, editor and broadcaster. After publishing a novel, The Gab Boys, in 1967, Duodu went on to a career as a journalist and editorialist.. More Martin Cameron Duodu (born 24 May 1937) is a United Kingdom-based Ghanaian novelist, journalist, editor and broadcaster. After publishing a novel, The Gab Boys, in 1967, Duodu went on to a career as a journalist and editorialist.

Education
Duodu was born in Asiakwa in eastern Ghana and educated at Kyebi Government Senior School and the Rapid Results College, London , through which he took his O-Level and A-Level examinations by correspondence course . He began writing while still at school, the first story he ever wrote ("Tough Guy In Town") being broadcast on the radio programme The Singing Net and subsequently included in Voices of Ghana , a 1958 anthology edited by Henry Swanzy that was "the first Ghanaian literary anthology of poems, stories, plays and essays".

Early career
Duodu was a student teacher in 1954, and worked on a general magazine called New Nation in Ghana, before going on to become a radio journalist for the Ghana Broadcasting Corporation from 1956 to 1960, becoming editor of radio news <8> (moonlighting by contributing short stories and poetry to The Singing Net and plays to the programme Ghana Theatre). <9> From 1960 to 1965 he was editor of the Ghana edition of the South African magazine Drum , <10> and in 1970 edited the Daily Graphic , <3> the biggest-selling newspaper in Ghana.< citation needed >

The Gab Boys (1967) and creative writing
In 1967, Duodu's novel The Gab Boys was published in London by André Deutsch . The "gab boys" of the title – so called because of their gabardine trousers – are the sharply dressed youths who hang about the village and are considered delinquent by their elders. The novel is the story of the adventures of one of them, who runs away from village life, eventually finding a new life in the Ghana capital of Accra . According to one recent critic, "Duodu simultaneously represents two currents in West African literature of the time, on the one hand the exploration of cultural conflict and political corruption in post-colonial African society associated with novelists and playwrights such as Chinua Achebe and Ama Ata Aidoo , and on the other hand the optimistic affirmation of African cultural strengths found in poets of the time such as David Diop and Frank Kobina Parkes . These themes come together in a very compassionate discussion of the way that individual people, rich and poor, are pushed to compromise themselves as they try to navigate a near-chaotic transitional society."

In June 2010 Duodu was a participant in the symposium Empire and Me: Personal Recollections of Imperialism in Reality and Imagination, held at Cumberland Lodge , alongside other speakers who included Diran Adebayo , Jake Arnott , Margaret Busby , Meira Chand , Michelle de Kretser , Nuruddin Farah , Jack Mapanje , Susheila Nasta , Jacob Ross , Marina Warner , and others.

Duodu also writes plays and poetry. His work was included in the anthology Messages: Poems from Ghana ( Heinemann Educational Books , 1970).

Other activities and journalism
Having worked as a correspondent for various publications in the decades since the 1960s, including The Observer , The Financial Times , The Sunday Times , United Press International , Reuters , De Volkskrant ( Amsterdam ), and The Economist , Duodu has been based in Britain as a freelance journalist since the 1980s. He has had stints with the magazines South and Index on Censorship , and has written regularly for outlets such as The Independent and The Guardian .

He is the author of the blog "Under the Neem Tree" in New African magazine (London), and has also published regular columns in The Mail and Guardian ( Johannesburg ) and City Press (Johannesburg), as well as writing a weekly column for the Ghanaian Times (Accra) for many years.< citation needed >

Duodu has appeared frequently as a contributor on BBC World TV and BBC World Service radio news programmes discussing African politics, economy and culture.

He contributed to the 2014 volume Essays in Honour of Wole Soyinka at 80, edited by Ivor Agyeman-Duah and Ogochukwu Promise.
Column: Cameron Duodu

Disclaimer: "The views expressed in this article are the author’s own and do not necessarily reflect ModernGhana official position. ModernGhana will not be responsible or liable for any inaccurate or incorrect statements in the contributions or columns here." Follow our WhatsApp channel for meaningful stories picked for your day.

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