Legacy Female Highlife Musicians in Ghana

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Chapter Two
“Her-Storical” Legacy Female Highlife Musicians in Ghana
Over the last century, and up until today, women indeed played symbolic and significant roles in every organized society’s activities im Ghana. The social, as well as cultural, political, and musical functions and (representations of these women provided opportunities to stimulate informed discussions for interventional agency and equality. The stories of these female Highlife performers question the power dividers and give poignant insights into their musical existence in their chosen musical careers. To a large 4-tent, an unlim-ited testament to women’s struggles and triumphs, indeed, is the attestation of their evolution, as well as their contributions and celebration off their different tropes and genres. Even, considering the ingenuity and artistic innovations, wItomen in music nonetheless are stigmatized With unethical practices and low 01 orals. Conse-quently, due to this low regard for women performers, music became strictly a male affair as argued by Asante-Darko and Van Der Geeist (2014). Bob Johnson, the pioneer concert party comic, also presented a comical depiction of women, referring to them as girls: “A girl on stage would is branded as a girl without morals” (Efua Sutherland 1970). The popular music industry has grown to meet several of its challenges, one of which is male domination of the industry. When it comes to the past and present roles of female musicians, my study highlights their heard and unheard sounds, conflictis and synergy, contestations and acquiescence, praise and dispraise in the Republic of Ghana.
During the mid-1970s, when Highlife music gained its.visibpity, the lyrics were endearing, captivating, and appealing toward everyone, and reflected

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