CREATIVE PROCESSES IN AKAN MUSICAL CULTURES: INNOVATION WITHIN TRADITION

CREATIVE PROCESSES IN AKAN MUSIC: INNOVATIONS WITHIN TRADITIONEric Odame Beeko, Ph.D.University of Pittsburgh, 2005The aim of this dissertation is to explain the creative processes in composition and performance of traditional music, and the subsequent innovations that emerge out of these processes in the musical traditions of the Akan people of Ghana. The study is premised on the fact that traditional musicians in the Akan culture, like most people on the surface of the earth, also have the natural capacity to consciously or unconsciously effect changes in their environments, play significant roles in most human-initiated change processes, and make contributions to both the material and institutional aspects of their culture, as their creative sensibilities or tendencies continue to bring about various forms of innovations from time to time. Based on this fact, the present study is oriented more toward the creative activities of individual composer-performers in the Akan society who are believed to be making profound contributions through their creative activities, consciously or unconsciously and directly or indirectly, to sustain the entire music traditions of Akan. Akan traditional music is transmitted orally and musicians literally compose the music either before or during performance; the music that they produce is either entirely new or a partial re-composition of pre-existing music. Accordingly, the study investigates the processes by which new ideas are generated and added to existing ones. It examines how Akan traditional musicians, working within the constraints imposed by the artistic parameters of the culture, consciously and subconsciously generate new ideas as they reproduce, reconstruct, reorder, and reinterpret the existing musical elements through their creative processes, and as a result bring about innovation in the tradition. These innovations are a necessary factor for sustaining the tradition, and for making it relevant to every period. Although the primary focus of this study is the Akan culture, it, however, highlights several issues—relating to creativity, change and innovation—that may also concern many cultures of Africa. Therefore, by using the Akan culture as a premise, what the study also seeks to establish is that an approach to the study of social change in relation to African art in general cannot focus on institutions without taking into account the human creative activities. The human creative tendencies that reveal both the innate capacity (the personality) and the culturally acquired knowledge are of primary relevance in understanding both change and continuity, particularly in Africa, and generally in any oral tradition

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