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Soorebia, A Lyric Gem From Bolgatanga

Starting his career with a Bolgatanga based record label 7ireblaze, he released several rib cracking demos and mixtapes, which earned him street discipleship leading to the invention of the word “Tumaneh,” meaning the “stacked brother.”

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As a musical enthusiast with an inclination towards Rap, Reggae, R & B and very Traditional African Music, I listen to a lot of it from across Ghana.  Which always leave me with many questions regarding the permeation of music made in other parts of Ghana into the rest of Ghana.

The argument is usually limited to quality and language, which I think is a lame excuse but I reserve that subject for another day.

After rebranding www.thesavannaonline.com and introducing a music download feature my attention was drawn to a song making waves in the Ghana titled “Primus” performed by a Youngman, Soorebia featuring a lady by name Ayilla.

For me, I just couldn’t believe such a talent is only now being uncovered considering how rap music has taken center stage among the Ghanaian youth and the fact that acts like Edem have been doing it so well in their native languages.

Soorebia started his rap career some eight years ago in Bolgatanga where he made massive inroads with his mystical yet revealing lyrics exposing a musical prowess, which his contemporaries can only wish they had. His music is usually a blend of Frafra, Nankani & Kasem with regular punch lines in English making him appeal to a wider audience.

Starting his career with a Bolgatanga based record label 7ireblaze, he released several rib cracking demos and mixtapes, which earned him street discipleship leading to the invention of the word “Tumaneh,” meaning the “stacked brother.”

His dedication to the craft over the years has made him strive to attain bigger heights releasing club bangers and hot freestyles under his a new movement #BBT (Bolga Boy Tins) with a very talented producer – Azkonna.

So far he’s been a phenomenon on radio stations in the savanna regions especially around Bolgatanga, but with the release of “Primus” which enjoys airplay on YFM in Accra and radio stations and nightclubs across the country. I strongly believe Soorebia “the lyrical Gem” is about to be unleashed on a bigger audience.

Primus is composed of two verses with a chorus from Ayilla beautifully laced on a banging beat from a very talented producer, Azkonna. In this song, Soorebia boasts of his lyrical superiority, detailing how he killed the competition to emerge as the king of rap in his neighborhood and the region, and his plans to conquer the rap game. The melodious chrorus from Ayilla soothes non-rap lovers and takes you to a more powerful rap verse where the rapper shows his versatility by dropping few bars in Kasem and alternating between Frafra-English. Primus is a pure rap song that can rub shoulders with ones from titans in the Ghanaian rap game.

Though unconfirmed one of Ghana’s finest Lyricists, Quata, told thesavannaonline “the song is sick, and I would really want a collaboration with him after the launch of my album”

Story By : Atigsibadek Afoko/thesavannaonline.com

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Who are the Bulsa Ethnic Group?

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Who are the Bulsa Ethnic Group?

Who are the Bulsa Ethnic Group? A Deep Dive into the History and Culture.

The Bulsa ethnic group, residing in the north-central region of Ghana, occupies a 2,000 square kilometer area. With a rich history and a distinct cultural identity, the Bulsa people have thrived as farmers, cultivating crops such as millet, beans, and groundnuts. They also engage in various crafts, including pottery, wooden stools, decorative hoe and axe handles, and woven grass baskets and hats. This comprehensive exploration will delve into the history, traditions, and unique characteristics of the Bulsa ethnic group.

Who are the Bulsa Ethnic Group?
Bulsa War dancers

Early History and Origins

The origins of the Bulsa people trace back to ancient times, as they have inhabited the region for centuries. Although archaeological excavations have yet to occur within the Bulsa districts, research data from other parts of Northern Ghana provides insights into the region’s early history. As the Sahara gradually became drier in the millenniums before Christ (BC), making it increasingly challenging for human habitation, people sought new areas to settle, eventually leading to the establishment of communities in the present-day Bulsa territory.

The Bulsa Identity and Language

Distinct from their neighboring groups, the Bulsa people have developed a unique cultural identity. Central to their identity is their language, Buli. The Buli language serves as a crucial means of communication within the community and reflects the rich heritage of the Bulsa people. While the Bulsa language has its roots in the Niger-Congo language family, it has evolved through interactions with other neighboring languages. Preserving the Buli language plays a vital role in maintaining the cultural fabric of the Bulsa ethnic group.

Bulsa Musicians
Bulsa Musicians

Resilience in the Face of Adversity

The 19th century marked a significant period in the history of the Bulsa people as they faced the threat of the slave raider Babatu. Despite the immense challenges, the Bulsa community displayed remarkable resilience and stood against Babatu, successfully repelling his attacks. This pivotal event in their history is commemorated to this day through an elaborate festival celebrated just before Christmas. The festival serves as a testament to the courage and determination of the Bulsa people to defend their land and way of life.

A Bulsa Warrior
A Bulsa Warrior

Traditional Bulsa Architecture

The traditional Bulsa shelter, known as a compound, represents an integral part of the community’s architecture. Comprising a combination of round and rectangular rooms, the compound also features courtyards and animal enclosures. The construction materials primarily consist of mud, clay, and sand. The roofs of the rooms may vary, with some being flat and made of the same mixture as the walls, while others take on a conical shape constructed using grass. However, these structures have a limited lifespan and often collapse during heavy rains, requiring constant maintenance and rebuilding.

Social Structure and Family Units

Within the Bulsa community, compounds serve as dwelling places for extended family units. Each compound typically consists of men who share a typical father or grandfather. Smaller family units, comprising around seven to ten individuals, coexist within the compound. The sizes of compounds can vary significantly, with some accommodating over 40 people while others remain relatively small. The distance between compounds is generally around three-quarters of a mile, maintaining a sense of community while providing privacy and individuality.

The Role of the Social Shelter

In addition to the compounds, the Bulsa community utilizes an open-side grass-roofed shelter outside the compound walls. This social shelter holds immense significance as a gathering place for the entire family. It serves as a meeting point for various subsections of the family, including young mothers, children, older women, and men, throughout the day. Moreover, this traditional space serves as a welcoming area for visitors, fostering social interactions and strengthening community ties.

Influences of Christianity

Throughout the colonial period, Christianity made its way into the Bulsa community. In 1926, the Roman Catholic Church established the parish of Wiaga, bringing with it a clinic that continues to serve the Bulsa people. Additionally, a Presbyterian mission opened in 1957, further contributing to the religious landscape of the community. These religious influences have added another layer to the cultural tapestry of the Bulsa ethnic group, blending traditional practices with Christian beliefs.

Celebrating Bulsa Culture: Festivals and Traditions

The Bulsa community cherishes its vibrant culture, exemplified through various festivals and traditions. One such celebration is the Feok Festival, held annually in Sandema. This event brings together the community to honor their history, customs, and achievements. It serves as a platform for showcasing traditional dances, music, and art, allowing the Bulsa people to express their cultural identity and pass down their traditions to future generations.

Education and Development

In recent years, efforts have been made to enhance education and promote development within the Bulsa community. Established educational institutions provide opportunities for young Bulsa individuals to acquire knowledge and skills. These initiatives aim to empower the community, fostering social and economic progress. Additionally, organizations and government initiatives have focused on infrastructure development, healthcare services, and agricultural advancements, contributing to the thriving of the Bulsa ethnic group.

Conclusion

The Bulsa ethnic group stands as a testament to the endurance and resilience of a community rooted in history and tradition. From their early origins to triumphs against adversity, the Bulsa people have maintained a strong cultural identity through language, architecture, and customs. Celebrating their heritage through festivals and embracing elements of Christianity, the Bulsa community continues to evolve while preserving the essence of their rich cultural tapestry. As efforts for education and development forge ahead, the future of the Bulsa ethnic group holds promise, ensuring the preservation and growth of their unique identity for generations to come.

Additional Information: The article focuses on the history, culture, architecture, social structure, religious influences, festivals, and development initiatives within the Bulsa ethnic group. By providing a comprehensive overview of these aspects, it highlights the distinctiveness and resilience of the community. The article also emphasizes the importance of preserving the Bulsa language and traditions while embracing opportunities for progress and development. Through a unique blend of historical research and cultural exploration, this article is a valuable resource for individuals seeking to understand and appreciate the Bulsa ethnic group.

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Politics

ADAGA OO! ADAGA!!!

When on my bike on bright days like this, just don’t cross my path, lest I run you down.

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Adaga
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The sun was meters past the horizon as the day was still toddling but showed good signs of being a very sunny one. A long winding queue snaked its way from the waakye seller’s joint to the edge of the street. The Koko seller across the street had also been swallowed by the crowd of school children that had circled her, screaming on top of their voices to get her attention.

I hated to join long winding queues just to buy a widow’s mite worth of food. Gliding on the back of my not-too-new bicycle, I made a quick U-turn and headed for “makpor” the beans seller’s end. The path leading to the “makpor” was a steep one and required a great deal of experience and a touch of perfect riding skills like mine to go unharmed.

Dexterously using my weight to bring the bike to the middle lane of the busy street, I zoomed past two “trotros” (commercial buses), which were moving at tortoise pace. The wind tore at my ears as I sped on and I loved the flapping sound its impact made in my ears.

When on my bike on bright days like this, just don’t cross my path, lest I run you down.

I was soon at “makpor” and thank goodness, the usual crowd there was absent. I decided to make a quick U-turn and come to perform the “sacred ritual” in the holy sanctuary- “Makpor”

Gracefully, I brought the right paddle to accelerating position, at the same time swinging the steering and adding my weight, the style was called “Cee”, it usually turned the bike 180 degrees and would leave the screeching marks of the rear tyre on the bare floor almost like the letter “C”

The rear tyre spun so fast I lost control and was thrown out of the bike. I found myself sprawled awkwardly on the floor.

A group of children who had witnessed the mighty “humpty-dumpty” fall wouldn’t stifle their laughter. Baring their teeth, they screamed laughter out of the bellies.

Wanting to show them my worth and dexterity with the bicycle I jumped onto the bike again. Holding the steer firmly I paddled swiftly and exerted lifting force to the steer and soon the front tire was up in the air-“Adagga” I maintained the posture for about 7seconds, still trying to impress my little audience, I dropped the front tire and repeated the process, this time I lifted it even higher than before.

The force was too much and the back tyre skidded off and down I went again. I hit my head hard against the bare tarred floor and everything spun before my eyes.

There was an explosive barrage of laughter louder than the June 3 thunder clapping. I lay there wishing I could just disappear into thin air or just sink into the dusty earth.

I lay there with my eyes closed for a very long time and all I could hear was continuous explosive laughter and rhetorical questions.

And that is how come I earned my infamous nickname, “Adaga”

By:  Edwin Abanga

Contact:    eabanga21@gmail.com

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Politics

Africa Cry – Quata dares African leaders to act in Libya slavery.

This has informed the release of “Africa Cry”, a song that details the canker of slavery currently booming in Libya. The slave markets in Libya are selling Black Africans for as low as $400.

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2017 has been a good year for Quata Budukusu, the magnum opus nature of his numerous releases attests to only one thing – SUPREMACY.  Even though his relevance in the game continues to be a matter of controversy, his talent and skill cannot be debated. Having been around since 2004 as a rapper, Quata has perfected his art by dabbling in numerous genres often with a finesse that can only come from a dedication to duty. His forte still remains rap, though he jumps on any genre and owns it.

On the subject of duty, Quata believes music can be used in several ways, from entertainment to education. This has informed the release of “Africa Cry”, a song that details the canker of slavery currently booming in Libya. The slave markets in Libya are selling Black Africans for as low as $400. A situation described by the UN Security Council as “heinous abuses of human rights.”

The situation has been condemned by many, and as a rapper with a conscience it is only proper Quata adds his voice.

The emotion-laden song brings to the fore issues of rape & torture, racism, intra-racial crimes, classism, and the seeming silence of African leaders when ordinary Africans are served anguish in foreign lands as slaves. The “animosity” is “unimaginable”, he says, but the reactions of the West in such situations clearly expose the weakness of African leaders.

Quata is undoubtedly one of the most prolific lyricists of our time. His upcoming 25-track album from a single riddim will definitely send tails wagging. An objective media is the only way major talents like Quata will get their due, until then the talent won’t rest. Will it match the ingenuity employed in the 13-Track “Quantum Riddim”?

2018 is will surely be a magical musical year.

Check out other songs by Quata.

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