ASAMANI MUSIC
Theophilus Kwame Kekrebesi Asamany also known as Asamani is a Ghanaian musician, visual artist, craftsman and instrument maker https://pt.wikipedia.org/wiki/Ghana.
Asamani is a compelling performer and band leader. A master craftsman of African traditional instruments he's also an inventor of a series of bespoke chordophones.
Born on November 25, 1989 in Kpando (Volta region, Ghana), into an artistic family. Born on a Saturday, he was named “Kwame” (just like the historic Ghanaian the revolutionary 1st president of the Republic of Ghana Dr. Kwame Nkrumah https://pt.wikipedia.org/wiki/Kwame_Nkrumah
According to a tradition of the Ewe ethnic group https://en.wikipedia.org/wiki/Ewe_people
Since his birth, Asamani has been strongly influenced by his family's artistic vocations, growing up in a highly creative environment.
His matrilineal grandfather was a wood carver, and he even carved the bowls and spoons that they used in the households.
On the other hand, his patrilineal grandmother was a talented clay sculptor and entertainer. According to Asamani: “I partially stayed with her and she happened to be the first person I saw doing creative works, when I was growing up. Back in school days we have a programs like show your crafts so she used to create an art piece with clay for to present. She also sold her works to both locals and international tourists”.
Furthermore, his patrilineal grandfather (also called Theophilus Kwame Asamany) was also a trumpeter and composer.
CHILDHOOD AND FIRST CONTACTS WITH THE ARTS
After Asamani’s birth, the family moved from the volta Region to the city of Accra. While his father (Gilbert Kodzo Asamany) worked as a sailor at the port of Tema and his mother (Gladys Aku Zih) traded in the market, Asamani began his formal studies in kindergarten at Ashaiman Saint Mary's Preparatory School.
However, a few years later his father's employment contract was terminated, and financial difficulties forced him to send the family back to the village while he looked for better opportunities.
A few years later, in the early 1990s, His mother left him and his brothers in the care of his grandmother, to join my father in the city to work. Hence he grew up under the care and positive influence of his grandmother:
“She was everything to me, training me to become a better person, even if life was difficult financially.”
It got to a point when Asamani's father was no longer able to help with the financial provision for him and his siblings, his mother took on all the responsibilities.
Even as a child, Asamani organized singing groups with his brothers while they walked to fetch water from a river that was about two kilometers from their home.
At this time he already demonstrated great ease with crafts, and taught his brothers and friends how to build recycled toys from empty corn, milk or tomato cans. It is also at this time that he comes into contact with some Ghanaian musical traditions, such as Borborbor https://en.wikipedia.org/wiki/Borborbor, Agbadza https://en.wikipedia.org/wiki/Agbadza, Adewvu, Gbolo, Gabada etc.
ADOLESCENCE AND REFLECTIONS ON MUSIC
In 2004, the year Afero finished high school, he heard that his father had fallen ill in the city. They brought him home and within a few weeks he sadly passed away.
At this time, Asamani's grandmother sent him to the home of his matrilineal grandfather, who is a pastor. Because he was chosen as guardian of church instruments, it was during this period that he had more concrete contact with musical instruments. According to Afero:
“I didn't really choose to make music, but music chose me naturally.
The spirit of music continued to grow in me. Sometimes I set aside isolated moments to stay in the instrument room just talking to the instruments. One day I took an old bass with broken strings that I left with just two strings for my room and played anything that came to mind even though I didn't know anything about musical notes from that time”.
At this time Asamani formed his first band at church, male group, called Boys Club.
In 2005, his grandfather and mother gave him options to learn the trade of carpenter or electrician.
Although he intended to continue his studies, they clearly told him that there were no financial resources to do so.
Despite rejecting the offer, he later chose to learn wood carving and realized that nature continued to direct him to the right paths.
Asamani states that: “in two months as an apprentice, I had already acquired sculpture skills. Everyone was surprised, including my master. I stayed with him for two years and finished in 2007.”
In 2008, he moved back to Accra to pursue his dream of a career as a musician and visual artist. Until then, most of his musical training had been in informal environments, in “street education, rather than in the classroom”.
Walking through the streets of Accra to buy materials, and he once spotted a guitar in a music store that captured his heart: “It was the first time I saw a guitar, because I was new in the city, and the following week I worked a lot and I bought it. I started learning on my own before a friend of mine introduced me to a music teacher. I studied guitar practice and music theory.”
In 2010, Asamani proposed to his music teacher that they organize a band with the students, but the response was negative, as they did not have the necessary musical instruments.
He worked hard for 6 months to save the money to resolve the situation. He managed to buy a drum, a bass and a mixer. At first, the band was called I AM ENTERTAINMENT, and later they changed to ZINETOR BAND.
At this time he was under the strong influence of reggae music, and his main inspirations were Peter Tosh, Bob Marley, Lucky Dube and Joseph Hill. Afterwards, he came into contact with the works of Angelique Kidjo, Asa and Bela Belo, who became important references in his music, along with Toumani Diabate , Ali Farka Toure and Richard Bona
Asamani continued to seek other references and reflected on the possibilities of musical creation: “I continued to meditate, question and research about where exactly I belong in music”. In 2014 he definitely felt that traditional African music was calling him, and this was a big turning point. Through a friend, he was introduced to a maker of Kora and other instruments, a balafon player from Burkina Faso called PAPA DJINA.
Then he spent three years close to him at the arts center, where he improved his lutherie techniques and learned to build several traditional African instruments, such as the Kamele ngoni (in 2014), Kora (in 2015) and the Balafon (in 2016).
CAREER CONSOLIDATION AND CURRENT ACTIVITIES
From then on, Theophilus kwame kekrebesi Asamany musical career intensified, whether as a musician/composer or as a builder/inventor of instruments.
In 2019 Asamani went on his first international tour, in India and Sri Lanka. In these countries he participated in notable events such as the Africa Asia Summit in New Delhi, the Indian music festival in the film city of Ramoji. Additionally, he participated in the Draw Your Imagination Art Festival in Bangalore (India), where he received his first certificate in arts.
In 2023, Afero's work was documented and broadcast on South Africa's AFRIMA TV and Germany's DWTV. In 2024 he collaborated with Mansa musa music orchestra and performed in Algiers Algeria Cannex 2024 Festival.
Following the improvement of his skills and professional consolidation as a builder, Asamani specialized in making several traditional chordophones, such as the Seprewa, the Kora, the Goje, and the Kamele Ngoni, Kologor among others.
In addition to his meticulous work with traditional instruments, Asamani is also the inventor of new African chordophones, including the KAFONU (“the talking strings”) and the KADANU (“the wisdom strings”). In his workshop, currently (…)
According to Asamani , the passion for building instruments is due to two main factors: “Firstly, I ventured deeply into the manufacture of string instruments because they are natural spiritual and also touch the heart. Secondly, my goal is to preserve the culture, the tradition that our ancestors pass on to the next generation.”
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https://www.instagram.com/reel/Cs3yUltqX4Z/?igsh=MW5kc2N6cXlpNjB1dg%3D%3D
Currently, therefore, Asamani divides its activities between instrument construction (Afero works) , performance and teaching.
When analyzing the context of contemporary cultural processes in Ghanaian society, Asamani points out that: "Our traditions in Africa are falling apart and I see that young people are generally not interested in them". According to him, this culture process is related to religious disputes: "One of the reasons why traditional instruments are going out the system is religion. Religion has demonized our culture and instruments."
With the aim of contributing to the rapprochement of younger generations with African musical traditions and changing the narrative of the past. Asamani started hos charity works Afrokids foundation, not for profit Project in his community, in 2019. After a break in the project to go on a musical tour, the project it resumed in 2023. In these classes, students learn about African culture, music, indigenous instruments like kora, ngoni, kafonu, Seprewa, calabash drum, atentenben (flute) , storytelling and dance. The project currently benefits around 100 to 120 students and the idea is to expand it to other communities: "My goal is to take it throughout Africa and beyond.