Literary analysis of Farefari women songs

Abstract

This study examines a literary appreciation of fifteen Anaanuurɛ Pɔgesi yuuma (APY), a genre of music among the Farefari people. The Farefari people are the speakers of Gurenɛ; Mmabia language, spoken by about 500,000 people, in the Upper East Region of Ghana. The study established that, women groups that sing these songs are an evolution from a long singing tradition among women in the Farefari community. With regard to the nature of the songs, the songs can be categorized into either (wa‟a yuuma) “danceable” or (yuuma ma‟a) “non-danceable" songs. These songs are accompanied by stamping of the feet, clapping, dancing, body movement, of the tongue, and the use of maracas. The songs are also laced with the use of appellations, proverbs, interjections and code mixing. The study also proved that, the songs are mostly composed by the lead singer and in some cases by some of the chorus singers. However, the songs may sometimes be renditions of folk songs. The study also found that the songs can be used to narrate stories; either fiction or actual happenings in society. With regard to scope, I have found out that, Anaanuurɛ Pɔgesi yuuma (APY) address many aspects/themes of life; advice, anger/criticism, sarcasm, pleading/prayer, praise, peace, awareness creation, regret, and mourning. Structurally, the study shows that the singing involves call and response. The lines are arranged in short and long stanzas or lines depending on the type and length of the song, as well as the style of the composer. Usually, each refrain in the songs is a partial repetition of the previous stanza. Finally, Anaanuurɛ Pɔgesi yuuma (APY) exhibit the following stylistics features: idiophones, hyperboles, similes, personifications, rhetorical questions, symbolisms, euphemisms, and repetitions. Data used for this research was taken from a collection of songs recorded between October and November 2016 at Feo, Soe, Namoo, Bongo town, Boko and Zɔkɔ, all in the Bongo District of Ghana, whilst others were selected from Atintono archives manuscripts collected in 2010.