The Socio-religious Significance of Songs Performed during Apo Festival at Bono Takyiman, Ghana

Abstract

The identity of any ethnic group is portrayed through cultural practices and •traditions. The Bono ofTakyiman in Ghana celebrate their annual Apo festival in ApriL The week-long festival celebration reaches its climax on the 8th day, which is a Friday. The festival was constituted by King Amoyaw Akumfi I, one of the founders of the Bono State around the 15th century AD. The king's advisors revealed to him a planned revolt against the monarchy because of his authoritarian rule. To satisfy his subjects, he set a day aside annually for the people to voice out their grievances. Apo comes from the Akan word po {meaning "to reject"). Apo is the time the people of Takyiman are permitted to reject {po) bad governance, corruption, abuse and unacceptable behaviour of the king, chiefs and people in high places. During the festival, people masquerade, wear funny hats, headgear and cultural outfrts to hide their identity as they parade through the main streets singing songs, some of which rebuke the king and his chiefs. The songs performed during the festival hold leaders accountable for their misdeeds. The leaders are subject to ridicule by the exposure of their corruption, misuse of state resources, immoral behaviour and abuse through folksongs. The opportunity for the Bono to expose bad governance peacefully is worthy of emulation by other ethnic groups. Participant observation was used to investigate the socia-religious importance of Apo songs in assisting community members to amend their ways for the achievement of social cohesion.

Cultural tourism and socio-economic regeneration of rural communities: the Apo festival of Bono Takyiman, Ghana

“…The traditional festival reaches its climax on the 8 th day, which is always arranged to be on a Friday. During the Apo festival, the people masquerade, wear funny hats, head gear and cultural outfits to hide their faces or identity as they parade through the main streets singing songs some of which rebuke even the paramount chief (Quan-Baffour, 2019). The participants of the festival hold their leaders accountable for their bad deeds through proverbial folksongs.…”