The Historical Development, Cultural and Aesthetic Significance of Akan Musical Art form (Ebibindwom) in the Liturgy of the Methodist Church Ghana

Abstract

The Methodist Church Ghana has been using different kinds of musical styles in its liturgy since its inception and notable amongst them is Ebibindwom (Akan musical art form). The objective of this ethnographic study was to ascertain the aesthetic and cultural significance of Ebibindwom in the liturgy of the church. Direct observation and interviews of qualitative research method were employed to elicit primary data from respondents such as Reverend Ministers, Directors of Music, and Christ Little Band members who are conversant with this musical tradition. Again, extensive literature was drawn on the subject matter relying upon secondary data from numerous documented sources relevant to the study. Findings indicated that during worship service, the texts seen in Ebibindwom were repeated and thus afforded those who could not read the opportunity to participate and memorise some of the words from the scripture. Also, Ebibindwom, since its introduction into the liturgy, was intended to allow the illiterates and the older generation to participate in the worship but the contemporary situation transcends participation to include extra-liturgical and social dimensions. It is recommended that the leadership of the church should encourage the Christ Little Band to intensify their activities and organise more singing competitions as a step in preserving the history of their music traditions rooted in the socio-cultural landscape of the Akan people.