Bisa Kdei Highlife music preservation.
Bisa Kdei, a multiple award-winning Ghanaian singer known for his dedication to Highlife music, has recently emphasized the need for an increased presence of Highlife categories in Ghana’s music award schemes. His comments came during an appearance on the Onua Showtime Entertainment program, hosted by the renowned actress and media personality, Nana Ama McBrown. The singer used this platform to advocate for the preservation and celebration of Highlife music, which he sees as an integral part of Ghana’s cultural identity.
Preserving Highlife: A Cultural Imperative
Bisa Kdei’s passion for Highlife music is deeply rooted in his understanding of the genre as a cultural treasure that needs to be cherished and preserved. Highlife music, which originated in Ghana in the early 20th century, has played a significant role in the country’s musical heritage, influencing generations of musicians both within and outside of Ghana. However, in recent years, the genre has seen a decline in popularity, especially among the younger generation of artists who are often more inclined to pursue modern genres like Afrobeats and Hiplife.
Bisa Kdei is concerned that this shift away from Highlife could lead to the genre being sidelined and eventually forgotten if deliberate steps are not taken to keep it alive. He believes that one of the most effective ways to encourage the younger generation to embrace Highlife is by giving the genre more prominence in the country’s music award schemes. “We need to have more Highlife categories at our music awards schemes so that the younger generation will be motivated to do more Highlife music,” Bisa Kdei stated passionately during the interview.
Highlife’s Stigma: The Need for a Cultural Shift
One of the issues Bisa Kdei highlighted is the stigma that is sometimes attached to Highlife music, particularly among younger artists. According to him, many young musicians are reluctant to associate themselves with the genre because they perceive it as old-fashioned or as music for the older generation. This stigma, he believes, is harmful to the genre and to the cultural heritage it represents.
“Sometimes artists are shy to be labelled Highlife with the thinking that Highlife is for the old,” Bisa Kdei lamented. This perception, he argued, is misguided and needs to be addressed if Highlife is to survive and thrive in the modern music landscape. By increasing the number of Highlife categories in music award schemes, Bisa Kdei believes that young artists will be more encouraged to explore the genre, take pride in it, and see it as a viable path to success in their musical careers.
Fighting for Highlife: A Personal Mission
For Bisa Kdei, advocating for Highlife music is not just a professional obligation but a personal mission. He credits the genre with opening many doors for him as a musician, and he is determined to ensure that it continues to provide opportunities for future generations of Ghanaian artists. “For me, I have decided to fight for Highlife music because it has opened many doors for me as a musician,” he affirmed during the interview.
Bisa Kdei’s dedication to Highlife is evident in his body of work, which consistently showcases the richness and diversity of the genre. He is known for his ability to blend traditional Highlife sounds with contemporary elements, creating music that appeals to both older and younger audiences. This ability to bridge the gap between generations is something he hopes other artists will embrace as well, helping to ensure that Highlife remains relevant in an ever-evolving music industry.
The Role of Ghana Music Rights Organisation (GHAMRO)
In addition to advocating for more Highlife categories in music award schemes, Bisa Kdei also addressed another important issue during the interview: the need for the Ghana Music Rights Organisation (GHAMRO) to modernize its operations. GHAMRO is responsible for collecting and distributing royalties to Ghanaian musicians, but its current system has been criticized for being outdated and inefficient.
Bisa Kdei called on GHAMRO to digitize its system, which would allow artists to track their earnings more effectively. This, he believes, is essential for ensuring that musicians are fairly compensated for their work and can sustain their careers in the long term. The digitization of GHAMRO’s operations would not only benefit individual artists but also contribute to the overall growth and development of the Ghanaian music industry.
“Boso”: Rekindling the Love for Highlife
Bisa Kdei’s commitment to promoting Highlife music is also reflected in his latest musical release, “Boso.” The song, which has been generating a buzz on social media, is part of his ongoing efforts to rekindle the love for Highlife among fans. Bisa Kdei explained that “Boso” is more than just a song; it is a celebration of Ghana’s musical heritage and an invitation for listeners to reconnect with their roots.
“With ‘Boso,’ I want to bring back the love of Highlife among fans because I believe it represents Ghana’s music cultural heritage,” Bisa Kdei shared. The song, which combines traditional Highlife rhythms with contemporary sounds, is a testament to Bisa Kdei’s ability to innovate within the genre while staying true to its core elements. The official music video for “Boso” is set to be released in the coming weeks, and fans are eagerly anticipating its debut.
The Future of Highlife: A Collective Responsibility
Bisa Kdei’s call for more Highlife categories in Ghana’s music award schemes is a timely reminder of the importance of preserving and promoting the country’s cultural heritage. Highlife music, with its rich history and unique sound, is a vital part of Ghana’s identity, and it deserves to be celebrated and supported. By giving Highlife more recognition in music awards, Ghana can ensure that the genre continues to thrive and inspire future generations of artists.
However, the responsibility of preserving Highlife music does not rest solely on the shoulders of award organizers. It is a collective responsibility that involves artists, fans, industry stakeholders, and cultural institutions. Artists need to take pride in their musical roots and explore ways to innovate within the genre, while fans need to support Highlife music by attending concerts, purchasing music, and celebrating the genre’s rich legacy.
Industry stakeholders, including record labels, radio stations, and event organizers, also have a role to play in promoting Highlife music and giving it the visibility it deserves. This includes dedicating airtime to Highlife songs, organizing Highlife-themed events, and supporting artists who are committed to the genre.
Conclusion
Bisa Kdei’s advocacy for Highlife music is a powerful reminder of the need to preserve and promote Ghana’s cultural heritage. By calling for more Highlife categories in music award schemes and urging GHAMRO to modernize its operations, he is championing a cause that goes beyond his personal success as an artist. His efforts are aimed at ensuring that Highlife music remains a vibrant and integral part of Ghana’s music industry for generations to come.
As fans eagerly await the release of the “Boso” music video, it is clear that Bisa Kdei’s commitment to Highlife music is unwavering. His dedication to the genre serves as an inspiration to other artists and a call to action for all those who value Ghana’s rich musical legacy. By embracing and celebrating Highlife, Ghana can ensure that this unique and important genre continues to thrive in the years ahead.
Bisa Kdei Highlife music preservation.
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