A Ghanaian Band Kwan Pa Band, has released what is turning out to be the 2018 Christmas carol which has already gone viral on various social media platforms. Kwan Pa Band gave viewers the hilarious version of the the popular “12 Days of Christmas” carol at Joy Prime TV Studio. This has been described as typical #feelghana moment.

Watch and enjoy below…

The lyrics to the “Palm Wine Music” version of the popular carol is as follows:

LYRICS:

On the FIRST DAY of Christmas my true love gave to me, A PARTRIDGE IN A PEAR TREE!

On the SECOND DAY of Christmas my true love gave to me…, PAYA NE ANWAMO … , and a partridge in a pear tree!

On the THIRD DAY of Christmas my true love gave to me…, FANTA NE NKATIE… , Paya ne anwamo, and a partridge in a pear tree!

On the FOURTH DAY of Christmas my true love gave to me…, K)T) NE ABENKWAN, Fanta ne nkatie, Paya ne Anwamo, and a partridge in a pear tree!

On the FIFTH DAY of Christmas my true love gave to me… KONTOMIRE, KYINGOM (chewing gum) NE ALEWA, NKATIE, NE K)K)) A YATOTO, and a partridge in a pear tree!

BRONYAAAAAA….! ????

Below is an extract on unique Ghanaian music by Prof. J.K. Anquandah.

Ghana is par excellence a nation of music. Every sphere of Ghanaian life-style throbs with music.

At the naming ceremony and the puberty rite, at the betrothal and the wedding, at the market and on the farms, at the blacksmith’s and the potter’s factory and at the beach fishing scene, at the village story-telling scene at night, at the chief’s durbar and the annual Yam Festival, at the traditional priest’s shrine or in the Christian church, at the social gathering or in the nightclub, music-making is ubiquitous.

Ghana’s contemporary musical world is characterized by an array of indigenous and foreign music types, employing local and foreign styles, techniques and instruments. There are ancient traditional instruments some dating back to 500-1000 years, such as the Seperewa, Adenkum, Dawuro, Akasa and the Ashiwa, the Nnawa, Odurugya and Atenteben

And there are foreign instruments such as guitars, trumpets, organs, pianos, saxophones and clarinets which have been introduced recently into the country. Today, the very imagination boggles at the fantastic array of music varieties produced by Ghanaian dance bands, choral groups, church musical groups, traditional recreational groups, funeral groups and royal music groups.

During the last half century, Ghana’s creative composers have sought to identify the country’s unique qualities of indigenous music and develop them. One such quality involves the technique known to musicologists as “contrapuntal.”

In such a musical type, each drum plays its own part and yet all the drums combine to form one unit, there is also a voice interplay of solo and chorus, with one calling and the other responding.

Ephraim Amu, Ghana’s celebrated composer, in experimenting on the contrapuntal concept, married Western type of harmony to traditional Ghanaian rhythm and produced at least a dozen musical compositions which world musical critics have adjudged as master pieces.

These include Adawurabome, Meda Preko, Nkradi, Alegbegbe, Yaanom ebibirima, Momma yenkoso nfro, Tete wobikyere, Konakatutuw, Miva miva, and Bonwere Kente.
This article examines some of the rich traditional sources which Ghanaian music-makers have tapped in order to make such an important contribution to the world’s musical heritage.

Ghanaian traditional music can be grouped into two major families, first, music for entertainment or recreation, and second, institutional music performed as part of social, religious, cultural or royal political functions or celebrations. Recreational or entertainment music seems to have the greatest variety of musical types employing varied instruments and also, quite, naturally, has the most popular types of music.

Source: National Commission on Culture