Ghanaians are angry at Nigerian singer Yemi Alade for boldly making this comment...
The recent comments made by Nigerian singer Yemi Alade
regarding the origins of highlife music have ignited significant backlash among Ghanaians. In an interview with CNN’s Larry Madowo, Alade suggested that highlife originated from both Nigeria and Ghana, a statement that has been met with fierce criticism from Ghanaian music experts and fans alike.
Background of the Controversy
Yemi Alade's remarks came during a discussion about her hit song "Johnny," which features highlife elements. When Madowo attributed the genre's roots solely to Ghana, Alade countered, stating, "I grew up at a time in Nigeria when highlife was a big deal... so I feel like it originated in both Nigeria and Ghana"[1][3]. This assertion has reignited a long-standing debate over the true birthplace of highlife music, a genre that has become a cornerstone of West African musical heritage.
Ghanaians Response
Prominent Ghanaian arts and culture journalist Kwame Dadzie
was quick to respond to Alade's claims. He labeled her statements as "ignorance if not for ill agenda," emphasizing that highlife has deep roots in Ghanaian history, evolving from indigenous sounds like Osibisaba and Adaha in the early 1920s before making its way to Nigeria around 1937. Dadzie's article, titled "Stop the Lies! Nigeria Did Not Originate Highlife," outlines historical evidence supporting Ghana's primacy in the genre's development. Ghanaian dancehall star Stonebwoy also weighed in, asserting that Ghana is the "physical and spiritual source" of highlife music. His comments reflect a widespread sentiment among Ghanaians who feel strongly about their cultural heritage and the recognition it deserves.
Cultural Significance
Highlife music is more than just a genre; it represents a rich cultural tapestry woven through the histories of both nations. While it is true that highlife gained popularity in Nigeria and has since evolved into various forms across West Africa, many Ghanaians argue that its origins cannot be disputed. The genre's development involved significant contributions from Ghanaian musicians who shaped its sound and style before it crossed into Nigerian music scenes. The debate is not merely an academic exercise; it reflects deeper issues of cultural identity and ownership. Ghanaians are concerned that attempts to credit Nigeria as a co-originator of highlife could dilute their cultural legacy. As noted by entertainment analysts, UNESCO is reportedly considering recognizing both countries as originators of highlife, a move that many Ghanaians oppose vehemently.
Yemi Alade's comments have sparked more than just a musical debate; they have highlighted ongoing tensions between Ghana and Nigeria
regarding cultural ownership. As discussions continue on social media and in public forums, it is clear that for many Ghanaians, highlife is not just a genre but an integral part of their national identity. The call for recognition as the sole originators of highlife underscores the importance of preserving cultural heritage amidst globalization and cross-border influences in music.
blogpay
Total Comments: 0