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Discover the rhythms, artists, instruments and dances that carry Ghanaian culture from one generation to the next.
Read, listen and watch without leaving the story.
An Asante funeral and ceremonial dance where the feet barely matter — everything is said through the wrists, shoulders and fingers, in a gestural language regulars can actually read.
A polyrhythmic Anlo Ewe drum-and-dance tradition that began as a war dance and became a way of belonging — now taught in universities worldwide, but still fundamentally a community practice.
Ironing a shirt, driving a car, texting on a phone — Azonto took the most ordinary gestures of daily life in urban Ghana and turned them into a dance craze that took over the world within a couple of years.
The biggest, most sacred drums in the Asante royal ensemble — heard only at a chief's court and on state occasions, announcing authority long before anyone speaks.
The genre that has soundtracked Ghanaian life for a century — brass and guitar tangled up with West African rhythm, born in the early 1900s and still filling funeral grounds and bars today.
In the 1990s, Reggie Rockstone started rapping in Twi over hip-hop beats and proved, in the process, that Ghanaian languages could carry global popular music just as well as English could.
The communal call-and-response chant you hear at Ghanaian funerals, school events and football matches — no instruments, just voices, claps and a crowd that refuses to stay quiet.
Born among young Ga men in 1960s Accra, kpanlogo took older drum heritage and gave it a looser, more urban swagger — controversial at first, now a fixture of Ga cultural life.