The Story of Wulomei and Saka Acquaye

Saka Acquaye (1923–2007) was a Ghanaian polymath—a musician, playwright, sculptor, and textile designer—whose life intersected deeply with the world of Ga traditional music and cultural revival. Born in Accra as the sixth child of Regina and John Akweifio, he was educated at Methodist School, Accra Royal School, and Achimota College (on a Cadbury Scholarship). Early in his career, Acquaye taught art at St. Augustine's College in Cape Coast and founded the Black Beats Band in 1952, playing saxophone, flute, and mouth organ while experimenting with textile designs to fund his studies abroad. In the U.S., he formed the African Ensemble in 1954, performing widely and blending African sounds with global influences. He also studied advertising and public relations at the Charles Morris Price School (1957–1959).

Upon returning to Ghana in the early 1960s, Acquaye immersed himself in theater and music, writing operas like Obadzeng (which impressed Ghana's first president, Kwame Nkrumah, leading to a command performance and a Soviet tour). His passion for Ga folk traditions—rooted in Accra's vibrant street music, sea shanties, and rituals—led him to the idea of a modern ensemble that could revive and globalize these sounds. In 1971, Acquaye published a paper titled Modern Folk Opera in Ghana, where he highlighted the cultural role of the Wulomo (singular for "chief priest" in Ga), a spiritual leader who prayed for the community's well-being. This concept became the spark for the group he helped create.

The Birth of Wulomei: A Cultural Revival Project

In 1973, Acquaye teamed up with Nii Tei Ashitey (also known as Nii Ashitey), a skilled Ga drummer and former percussionist for E.T. Mensah's highlife band The Tempos, the Tubman Stars, and others. Ashitey, hailing from Accra's fishing communities, brought authentic Ga rhythms and percussion expertise. Acquaye, with his impresario vision, encouraged and co-founded the group, naming it Wulomei (meaning "chief priests" in Ga) to evoke the sacred, communal spirit of Ga heritage. He served as the band's manager, composer, and producer for nearly a decade, shaping its sound and aesthetic.

Wulomei was more than a band—it was a deliberate cultural movement to counter the dominance of Western pop and highlife by reclaiming indigenous Ga music for a new generation. The group's instrumentation stayed true to roots: atenteben (bamboo flutes), gombe (giant frame drums for bass-like pulses), traditional percussion, and acoustic guitar played in West African fingerstyle. They avoided heavy amplification to preserve an organic feel. Vocals featured three female singers delivering call-and-response in Ga, drawing from:

• Ga and Liberian sea shanties: Work songs from fishermen.

• Gome songs: Rhythmic beats tied to Ga funeral and social rites.

• Kolomashie and kpanlogo: Upbeat Accra street dances blending highlife with local drumming.

• Touches of Akan highlife for broader appeal.

To visually embody their "priestly" ethos, performers wore white or yellow cloths and frilly hats mimicking Ga traditional priests and priestesses. Acquaye's direction emphasized storytelling and spirituality, turning performances into immersive folk operas.

Rise to Fame and Global Impact

Under Acquaye's guidance, Wulomei exploded onto Ghana's scene. Their debut album, Walatu Walasa (1974), was produced by Acquaye and showcased their fusion of tradition and modernity—it became a national hit. This was followed by Wulomei in Drum Conference (on Phonogram label), which toured Europe and the U.S. multiple times in the 1970s and 1980s. The band performed at venues like the Accra Arts Centre (e.g., their 1975 live set of "Okomfo") and even tied into larger events like the 1971 Soul to Soul concert at Black Star Square, where Acquaye's networks brought American stars like Santana and Roberta Flack to Ghana.

Wulomei's success sparked a Ga music renaissance, inspiring spin-offs like the Bukom Ensemble and Suku Troupe. Tracks like "Bukom Kpakpo Shito" (a spicy Ga stew metaphor for life's zest) and "Tswa Omanye Aba" remain classics, blending humor, rhythm, and social commentary. Acquaye's nine-year directorship elevated the group to international acclaim, proving African folk could thrive without dilution.

Legacy and Beyond

Acquaye stepped away from Wulomei around 1982 to focus on sculpture (influencing artists like El Anatsui and Kofi Setordji) and other plays, but his imprint endured. He married actress Mavis Amua-Sekyi in 1962 (after casting her in Obadzeng) and had four children. He passed away on February 27, 2007, leaving a body of work including fiberglass sculptures exhibited worldwide.

After Ashitey's retirement, his children—Nii Ashiquey and Naa Asheley—led a second-generation Wulomei, keeping the flame alive. Today, the group marks milestones like its 50th anniversary (2023), with albums reissued and performances celebrating Ga identity. Acquaye is often called an "unheralded impresario," a pioneer who bridged Ga traditions with global stages, ensuring Wulomei's beats echo from Accra's shores to the world.

If you're into the sounds, start with Walatu Walasa for that raw 1970s energy—it's a time capsule of cultural pride.