In his article "Representations of Politicians in Contemporary Ghanaian Hiplife Music" Mark Nartey argues that in Asare Obeng's music politicians in Ghana are depicted as self-seeking, self-serving, and self-centered. Further, he argues that since its emergence on the Ghanaian music scene in the early 1990s, hiplife music now transcends its original purpose of providing an entertainment outlet for its audience, predominantly the youth, offering them a pleasurable and therapeutic means of escaping from the harsh realities and pressures of life. Importantly, Nartey demonstrates that this musical genre has taken on a new and, perhaps, more important role: a legitimate avenue for Ghanaian musicians to express their views and opinions freely on virtually every subject within the country. Nartey concludes that music can be a powerful tool for societal change and reform.
"Representations of Politicians in Contemporary Ghanaian Hiplife Music."
CLCWeb: Comparative Literature and Culture
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