By Obed O. Otoo
The Musical Revolutionary of Ghana’s Independence
Standing beside the iconic Dr. Kwame Nkrumah in historical photographs is a revolutionary whose weapon wasn’t rhetoric or politics, but something equally powerful: music. While his stage name “Oko Kolomashie” became legendary, few know him by his birth name, Ankara. His story represents one of the most fascinating yet underappreciated chapters in Ghana’s fight for independence.
Ghana’s journey to freedom employed multiple strategies – diplomatic negotiations, nationwide demonstrations, and intellectual discourse. But Ankara chose a different path. He harnessed the universal language of music to amplify the independence message across communities, transcending literacy barriers and cultural differences.
The genius of Ankara’s approach was establishing the “Colonial Movement” – or “Kolomashie,” which translates powerfully to “Colonials Must Leave.” This wasn’t merely entertainment; it was strategic resistance. His group adapted and evolved the traditional Ga gome music and dance that had originated among the Ga people in the 18th century, transforming cultural expression into political action.
Day after day, with unwavering dedication, Kolomashie performances carried their message of freedom throughout communities. The rhythmic persistence mirrored Ghana’s relentless pursuit of independence, which finally culminated in 1957 when the nation broke free from colonial rule.
But Ankara’s legacy extends far beyond independence. The musical innovations he pioneered sparked a cultural revolution that continues to define Ghanaian identity. From the Kolomashie movement emerged kpanlogo in the 1960s, which then influenced the development of Jama – now an essential element of sporting events nationwide. This musical evolution continued, eventually birthing azonto, one of Ghana’s most internationally recognized contemporary music genres alongside highlife.
What makes Ankara’s contribution truly remarkable is this dual impact: he not only helped secure Ghana’s political freedom but also laid the foundation for its musical liberation and cultural expression. His legacy lives on every time Ghanaians celebrate with Jama at football matches, when youth express themselves through azonto, and whenever Ghanaian music reaches international audiences.
The next time you see that historical photograph of a man standing beside Nkrumah, remember you’re looking at more than a forgotten figure. You’re witnessing a cultural architect whose rhythmic resistance helped birth both a nation’s independence and its musical identity – a legacy that continues to reverberate through Ghana’s cultural landscape today.
