Faculty of Arts
1. NAME: PROFESSOR E . JOHN COLLINS
2. FULL CURRICULUM VITAE FROM FIRST DEGREE
Education/Degrees:
1969 – 72: University of Ghana BA degree in sociology/archaeology.
1989 – 94: Ph.D. in Ethnomusicology. State University of New York at Buffalo.
Thesis: The Ghanaian Concert Party: African Popular Entertainment at the Cross Roads Published by University Microfilms, Ann Arbor, Michigan 1995 (pub. No. 95-09102)
2000 Associate Professor, University of Ghana, Legon.
Present Appointment:
Senior Lecturer in Music, School of Performing Arts, UG. [Since Sept. 1995].
Teaching & Other Relevant Experience:
1969 –72: During holidays and spare time played and toured with the Jaguar Jokers and F. Kenya’s concert parties.
1973: Taught chemistry at GATECO, Koforidua.
1973: Played for four recordings by Koo Nimo’s band, released by Phillips.
1974 – 79: Taught physics and chemistry at the Ghana International School (GIS), Accra.
1974 – 75: Worked as musician with the Bunzu sounds band of the Napoleon Club, Accra. Toured Nigeria, the Benin Republic and Togo with them in 1974 and recorded 2 songs with them in Lagos – later released by the Makossa label of New York.
1975: Toured as musician with Victor Uwaifo;s band in Bendel State and Eastern Nigeria. Recorded with him on his ‘Laugh and Cry’ album.
1975 – 79: Performed with and managed the 14 strong Bokoor Band which was affiliated to the Arts Council and commercially released two cassettes and two singles.
1976: Received a grant for research into African music from the Authorship Development Fund of the Curriculum Division of the Ghana Teaching Service.
1977: Performed in Lagos for the Black President film production of Fela Anikulapo-Kuti.
1978: Worked for the BBExternal Service’s for two months and presented itsfirst ever series on African popular music: five half hour programmes for the External Service on the history of African popular music called In the African Groove. Subsequently have done thirty or so other BBC broadcasts. Have also done radio programmes for the VOA and American Public Broadcasting, Radio Gabon, France Internationale, Radio Deutchevelle, Radio Netherlands and Radio stations in Ghana, Togo, Liberia, The Cote d’Ivoire, Canada, Denmark and Italy.
1979: Became an Executive Member of MUSIGA (Musicians Union of Ghana) and became their representative in early negotiation between them and international copyright organisations.
1979 – 80: Taught African Music and Black Studies to West Indian youth at the Wolverhampton Council for Community Relations in Britain.
1982 – 88: Worked with the Arts Council/ Nat. Comm. On Culture on various projects (involved with their children’s cultural competitions and Roots of Highlife film; documentation of journalistic and archival work with the Arts Council, National Orchestra/ Dinah Reindorf, NAFTI, DuBois Centre, Ghana Film Corporation and Ghana Dance Ensemble)
1983 – present: Manager of Bokoor Recording Studio.
1983: Gave a course of six lectures on African popular music and drama to NAFTI students.
1983: Consultant for Third Eye/ BBC film on black music ‘Repercussions’
1984: Worked in Liberia documenting popular musicians – at the invitation of Studio 99 in Monrovia.
1987: On the local Organising Committee for the 4th International Conference of the international Association for the Study of Popular Music (IASPM). Together with Prof. Nketia and Koo Nimo became an Honorary Life Member of IASPM.
1988: Consultant for Danish Loki Film production ‘African Cross Rhythms’ (released 1994)
1989: Whilst working on my Ph D. At SUNY Buffalo taught an undergraduate course at its Dept. of American Studies on African and African-American Music’
1990: Together with Koo Nimo, E.T. Mensah, Kwaa Mensah ‘Opia’, King Bruce and other popular performers, established the Bokoor African Popular Music Archives Foundation (BAPMAF)
1991: Given a Certificate of Honour by the National Commission on Culture for providing documented information for the First Ghanaian Brass Band Festival of 1991.
1991: Invited by the NCC to become a Trustee of the Ghana Folkore, established that year.
1992: Consultant for the Dutch ID TV film on Ghanaian brass bands ‘Brass Unbound’
1994: Became a Resident Fellow of Northwestern University’s Institute for the Advanced Study and Research into the African Humanities 1993/4 program ‘The Enscription of the Material World’ with Dr. Karin Barber as Preceptor.
1994: Consultant for Ghana Television film ‘The Story of Highlife’
1994: Consultant for German Huschert Realfilm production ‘Highlife in Ghana.’
1994 – 96: Technical Director of the Univ. of Mainz/ Univ. of Ghana project to re-copy and re-document the Institute of African Studies music archives.
1995: Consultant for German Bavarian TV film ‘Art Music in Ghana’
1995: Consultant for Norwegian Vision TV film ‘When the Moment Sings’
1995: Began work as Facilitator/Assessor/occasional lecturer for the Danish/Ghanaian AGORO non-formal education through music Project bases in Cape Coast.
1995: October. Took up appointment as lecturer in the Music Department of the School of Performing Arts, Univ. of Ghana.
1996: Co-organiser of the joint Goethe Institute/BAPMAF ‘Highlife Month’ in February that involved a photo exhibition, seminars, films and performances.
1996: Establishment of the BAPMAF Highlife Museum at my residence Bokoor House, Ofankor.
1997 For one year provided a once weekly series of talks on the history of highlife for Radio Gold.
1998 Became PRO for the Ghana Music Pioneers Association. Later became involved with its sister organisation the Ghana Old Musicians and Artists Welfare Association (GOMAWA)
2000 Performance/lecture tour with Koo Nimo of New England Universities (Yale , Harvard., Wesley, Boston, Trinity,etc)
2000 Awarded Associate Professorship by the University of Ghana.
2000 June. Presented a paper in Washington DC on the Music Industry in Six African Countries for the World Bank and the Yale based Policy Science Center. Became member of World Bank working committee on above project headed by Michael Finger, lead economist of the World Bank’s Poverty Reduction and Economic Network (PREN) department.
2001 Joint organiser of the French Embassy/BAPMAF/Harmathan Management ‘Highlife Story’ celebration (photo exhibition, lectures, films, discussion panels and concerts) held at the Alliance Francais premises, Accra from 23rd May to June 6th.
2002 Organiser of joint US Public Affairs Section/ BAPMAF Jazz Returns to Africa lecture/concert series held at the National Theatre, Accra 8th February to March 22nd 2002
2003 Feb 15-May to 20th on a short-term contract with the World Bank to prepare a working document (in consultation with the Univ of Ghana Music Dept and four Ghanaian performance unions) on the needs of the Ghanaian a music industry
3) DETAILS OF RESEARCH OR MAJOR PROJECTS UNDERTAKEN
a) Ongoing research from 1969 on West African popular music and drama. Includes documenting the social history/collection of individual biographies/relation to the traditional performing arts/the role of women/the music industry and copyright/the growth of neotraditional performance styles/the links between African and black diasporic performance/as a ‘history of the inarticulate’.
b) Ongoing collection since 1969 of photographs, recorded materials, documents, books, posters and memorabilia associated with African popular performance. Since 1990 these have become part of the BAPMAF collection and its Highlife Museum.
c) Currently running the Local Dimension band (formed 1997) composed of students and instructors of the School of Performing Arts. It combines modern with traditional instruments and plays its own compositions based on African popular and folk idioms.
d) From 2000 began researching into the Ghanaian/African music industry for the World Bank and as a consultant for various Ghanaian music/performance unions.
From 1981, occasional lectures and workshops at the following universities and other institutions of higher learning.
Britain: School for Oriental and African Studies(SOAS), University of London Anthropology Dept, Centre for West African Studies Birmingham, the Africa Centre, London, Dartington College of Arts, Cambridge University Music Department, Exeter University, Anglia Polytechnic and University.
Holland: the University of Amsterdam’s sociology and anthropology departments, Neimegan University’s Mass Communication Dept, the Tropical Institute in Amsterdam.
Denmark: the Uninversity of Copenhagen Anthropology Dept. the Aarhus University Music Therapy Dept. the Aarhus Music Conservatory, the Rhythmic Music Conservatory in Copenhagen, the Silkeborg Centre for Rhythmic Music and Dance.
Germany: the Iwela Hausa African Studies Dept in Bayreuth, the University of Mainz Ethnology and African Studies Dept, the Berlin Museum fur Volkerhunde, the University of Witten/Herdecke.
France: The L’Ecole de Mines, the African Studies Centre in Paris.
Sweden: the Music Depts of the University of Lundt and of Goteborg.
Canada: The Royal Toronto Museum, the University of Guelph Music Dept, the University of York African Studies Dept, the University of Carleton Arts and Culture Dept.
U.S.A: Columbia University, New York, Ethnomusicology Dept, Tufts University Ethnomusicolgy Dept, SUNY Brockport African Studies Dept, Yale University IASPM conference, University of Washington Seattle Ethnomusicology Dept, Columbia College Chicago Black Studies Dept., Harvard University, Wesleyan.
Switzerland The History and Ethnomusicology Departments of Zurich University, the Ethnmusicology and History Departments of Basel University, the Swizz Ethnomusicological Society at the Basel Mission.
a) SUNY Buffalo 1989/90 Teaching Assistant for its American Studies Dept. Teaching an undergraduate course on ‘African and African-American Studies.
b) 1994 Northwestern University. As a 3 month Resident Fellow for the Institute for the Advanced Study and Research into the African Humanities, gave a series of lectures to undergraduates in the Dept. of Music and Dept. of African-American Studies.
c) 1995. Began teaching undergraduate and M.A./M.Phil courses for the Music Dept. of the School of Performing Arts, Legon.
d) 2003. Feb-March, one month residency at Dartington College of Arts, Totnes, UK
5. CONFERENCES, SPECIAL SEMINARS AND WORKSHOPS AT WHICH PAPERS WERE READ, WITH REFERENCES WHERE APPROPRIATE.
1. First International Conference of the International Association for the Study of Popular Music (IASPM) held in Amsterdam in 1981. Joint paper with Dr. Paul Richards of SOAS entitled ‘West African Popular Music: Suggestions for an Interpretive Framework’ First published in Popular Music Perspectives by IASPM Exeter/Goteborg, (eds) Phillip Tagg and David Horne, 1982, pp. 111-141. Reprinted under the title ‘Popuar Music in west Africa’ in 1989 in World Music, Poltics and Social Change (ed) Simon Frith, Manchester University Press, pp 12-67.
2. The Second Nordic/African Audio Visual Archives Conference (AVA-90) held in Fayum Sweden in 1990 July. Paper entitled ‘Running a Band, a Music /studio and Music/archives in Ghana’. Published in the Proceedings of AVA 90 by the Dalarna Research Council, Sweden, (ed) T. Kvifte and Gunner Ternhag, 1990, pp. 9-19.
3. National Workshop on Copyright held by the Ghana Copyright Administration, the Ghana National Commission on Culture and the World Intellectual Property Organisation, WIPO, at theAcadamy of African Music and Arts, AAMA, at Kokrobite, Accra October 9-11th 1990. Presented a paper entitled ‘Folklore : Some Problems of Oral Copyright’.
4. National Festival of Arts and Culture (NAFAC) held in Kumasi in August 1992. Paper ‘The Concert Party, Popular entertainment and the Ghanaian School Syllabus’. Published by the Centre for the Study of Education in Developing Countries (CESO), the Hague, 1992, No.176, pp. 171-177.
5. The First PANAFEST held in Cape Coast in December 1992. Led discussion and gave paper ‘come Music and the Roots of Highlife’ incorporated into Chapter ‘Goombay, Gome and Asiko’ of Highlife Time by John Collins, Anansesem Press, Accra 1994 and (second edition) 1996.
6. Seminar on Ghanaian Folklore in Retrospect held in Koforidua in March 1993 and organised by the Copyright Administration/National Folklore Board of Trustee/Eastern Region Centre for National Culture. Paper entitled ‘The Yaa Amponsah Story’ published as chapter 2 of Highlife Time by John Collins, Anansesem Press, Accra, 1994 and 1996.
7. Seminar on Tradition and Innovations organised by the American united States Information Service, Accra, in August 1993. Paper on Ghanaian Popular Music.
8. The African Composers Forum organised by the International Centre for African Music and Dance (ICAMD) at Legon in August 1994. Paper ‘The Musical Ghost in the Machine’ incorporated into Chapter 51 ‘Highlife, Computers and the Highlife Imagination’ of Highlife Time by John Collins, Anansesem Press, Accra, 1996, pp. 281-295.
9. Copyright Administration/National Folklore Board of Trustees/NCC Seminar on Folklore held in Tamale in August 1994. Paper read entitled ‘Folklore and Popular Music: The Case of Dagomba Simpa Music. “Portion of this paper incorporated into the Chapter ‘The Simpa Music of Dagbon’ in Highlife Time by John Collins, Anansesem Press, Accra, 1994 and 1996.
10. Conference on The Wider World of Music and Dance organised by the ICAMD, Legon in December 1994. Paper read entitled ‘Some Major Trends in Highlife.
11. Goethe Institute/BAPMAF Highlife Month panel discussion on 28th February on ‘The Future of Highlife’ (with Profs. Agovi, Anyidoho and Kwesi Yankah, Dr. Komla Amoako, Koo Nimo and King Bruce) Paper presented titled ‘The Highlife Imagination’ incorporated into a Chapter of Highlife Time by John Collins, Anansesem Press, Accra, 1996.
12. The University of Ghana/Ohio University/National Endowment for the Humanities Summer Institute held in Accra in August 1996. Paper read entitled ‘The West African Popular Music Tradition’.
13. The Conference on Research and Education in African Music and Dance organized by the ICAMD at Legon in December, 1996. Paper read entitled ‘Popular Music, The Ghanaian School Syllabus and the Infinite Art of Improvisation.’
14. Conference on Music and Healing in Africa and the Black Diaspora organised by the ICAMD at Legon 3-5 September 1997. Paper entitled ‘Gospel Highlife: Ghana’s New Answer to Urban Anxiety’.
15. ‘Goombay: The Impact of Freed Slaves on African Popular and Neo-Traditional Music’. Paper read at the Afromusique/Africania Colloquium, Grand Bassam, Cote d’Ivoire, 2-5 December, 1998.
16 ‘Ghana’s Folk Tax: A Cultural Conundrum’. Paper presented at the Regional, Seminar on the Application of the UNESCO 1989 Recommendations on Safeguarding Traditional Culture in African Countries, held at the University of Ghana, Legon, 26-26 January, 1999.
17. Presented three seminars on the ‘De-colonisation of Ghanaian Popular Entertainment ‘ for the CODESRIA African Humanities Institute Program at the Graduate Studies Centre, Legon, February 2000.
18. Paper entitled ‘The Reasons for the Recent Local Gospel Music Boom in Ghana’ read at the Consultation on Religion and Media in Africa, held at GIMPA, Accra, 22-24th May 2000.
19. June 2000 presented a paper in Washington DC on the Music Industry in Six African Countries for the World Bank and the Yale based Policy Science Center.
20. Plenary paper entitled ‘The Generational Factor in Ghanaian Music: Past, Present and Future; at the Playing with Identities in African Music Conference of the Nordic African Institute at Turku/Abo, Finland, 19-22th October 2000.
21. The Copyright Consequences of Paul Simon Meeting West Africa’s Highlife Muse:Yaa Amponsah. Paper read on 9th November at the Millercom Lecture Series of the University of Illinois.
22. Paper called ‘Transnational Culture and Ghanaian Music: Copyright Conundrums in a Developing Nation’ read at a colloquium of the Centre of African Studies, University of Illinois entitled ‘Transnational Cultural Industries in Africa and Local Sites of Production’, 10th November 2000.
23. Making Ghanaian Music Exportable. Paper read at the Ghana Music Awards 2001 Workshop held at the National Theatre, Accra, 6th April 2001.
24. The Pan-African Goombay Drum-Dance: Its Ramifications and Development in Ghana. Paper read at the 12th Triennial Symposium on African Arts of the Arts Council of the US African Studies Association held in the US Virgin Islands, 25-29th April 2001
25. The Problems of Applying Copyright to Ghanaian Folklore. Lecture held at the ITnter-faculty Lecture of theUniversity of Ghana on the 6th dec 2001: chaired by Professor Kwese Yankah
26. Seven lectures on the theme Jazz Returns to Africa for the US Public Affairs Section of the US Embassy Black History Month, National Theatre, 8th Feb. to 22nd March 2002
27. Ghanaian Christianity and Popular Entertainment: Full circle. Paper read at thre Symposium on Performing Arts organized by the Insitute of African Studies, University of Amsterdam June 13-14 2002 as part of the 300 years Ghana/Holland Celebration
28. World Music and Eco-Toursim. Paper read at Eco-Fest Symposium. La Palm Hotel, 14-15th October 2002
29. Sabbatical lecture tour (Nov/Dec 2002) Lectures on Ghanaian popular music and theatre/Caribbean influence/traditional retentions and progressive indigenisation/the impact of war/church influences/music workshops. GERMANY: the university of Witten/Herdecke and the Mainz Universiity African Studies Dept. SWITZERLAND: the History and Ethnomusicology Depts. Of Zurich University, The Ethnmusicology and History Depts. Of Basel University. A meeting of the Swizz Ethnomusicological Society. FRANCE: The African Studies Centre in Paris.
30. Sabbatical performance tour (Nov/Dec 2002) Tour of Germany, Switzerland and France with the acoustic palmwine highlife group of Kwabena Nyama and the Local Dimension Band
31. Sabbatical one month redidency 23 February-23rd March 2003 at Dartington College UK and lectures/workshops at Cambridge University Music Department, Anglia Polytehnic University, School of Oriental and African studies and Exeter Univerity
32. ‘One Hundred years of West African Highlife: African “Guitarism”’paper at the 1-4th August 2003 ‘Second International Symposium and Festival on Composition in Africa and the Diaspora’ held at Churchill College, Cambridge University, organised by Professor Akin Euba.
33. Showcasing Archives in Africa: The BAPMAF Highlife Centre. Paper read at the ‘Audiovisual Archives:Memory and Society’ Conference of the International Association of Sound and Audiovisual Archives (IASA), held at the Univeristy of Pretoria, South Africa, 21-15 September 2003.
34. Member of nine person panel of UNESCO on safeguarding of the Intangible Cultural Heritage:Traditional Music and Dance, at UNESCO Headquarters, Paris 15-16 December 2003. Visit to UNESCO Global Alliance for Cultural Diversity Section.
6. PUBLICATION WITH DETAILS OF BOOKS AND ARTICLES, STATING EXACT REFERENCES OF ARTICLES AND OTHER PUBLICATIONS
Since the early seventies I have had about one hundred publications. For the sake of convenience here I have divided them into three categories; namely a) Journalistic works b) Books c) Academic/Educational articles.
a) Journalistic Work
On the topic of West African (particularly Ghanaian) popular entertainment/music industry and unions/cultural and mass communications institutions. Since 1973 I have supplied individual article, or series of them as regular correspondent, for the following magazines, journals and newspapers. Pleasure Magazine (Accra), Music Express (Lagos x 2), Black Echoes (London x 7), Africa Now (Lagos/London x 8), Afrique Magazine (London x 2), African Magazine (London x 3), Africa Now (London x 5), New African (London x 5), Oor(Holland x 4) , West Africa Magazine (London x 21), Guardian Third World Supplement (London), Reggae and African Beat (USA x 2), African Letter (Toronto x 2), Latina (Japan), Hit Parade (Accra x 2), Uhuru Magazine (Accra), Around Ghana (Accra x 2)
b) Books
1. My Life: Victor Uwaifo the Black Knight of Music Fame, Black Bell Publishing, Accra, 1976.
2. African Pop Roots, Foulshams, London, 1985.
3. Music makers of West Africa, Three Continents Press, Wash. DC. 1985.
4. E.T. Mensah the King of Highlife, Off The Record Press, London, 1986, Reprinted by Anansesem Press, Accra in 1996.
5. West African Pop Roots, Temple University Press, Philadelphia, 1992.
6. Highlife Time, Anansesem Press, Accra, 1994. New expanded version published 1996.
7. West African Popular Theatre (with Karin Barber and Alain Ricard) Indiana Univ. Press/James Currey, 1997.
8. King Bruce – The King of Blackbeat (with King Bruce). Forthcoming Anansesem Press, Accra.
9. Fela : Nigeria’s Musical Warrior. Forthcoming Off The Record Press, London.
10. African Musical Symbolism in Contemporary Perspective (Roots Rhythms and Relativity) . Forthcoming Peter Lang Publications of Switzerland.
c) Academic/Educational articles
1. Comic Opera in Ghana In African Arts, U.C.L.A., California, Vol.9, No. 2, January 1976, pp. 50-57.
2. Ghanaian Highlife. In African Arts, U.C.L.A., California, Vol.9 10,No. 1, October 1976, pp. 62-8 and 100.
3. Post-war Popular Bands in West Africa, In African Arts, U.C.L.A., California vol. 10, No.3, April 1977, pp. 53-60.
4. West African music: An Audio visual Teaching Aid (with R. Graham), Pub. By Afro-asian Resources Centre, Newmann College Birmingham in 1980.
5. West African Music: Suggestions for an Interpretive Framework (with Dr. Paul Richards). First published in Popular music Perspectives, Exeter and Goteborg (eds) ). Tagg and D. Horne, 1982, pp. 111-141. Reprinted under the title ‘Popular Music in West Africa’ in World music, Politics and Social Change, (ed) Simon Frith, Mancherter university Press, 1989, pp. 12-67.
6. Crisis in the Ghanaian Music Industry. In Velernen Was Mich Stumm Mach, (ed) Al Imfeld, Uionsverlag, Zurich, 1980, pp. 226-228.
7. The Concert Party in Ghana. In Musical Traditions, Exeter (ed) Keith Summers, No. 4, 1985, pp. 37-39.
8. Jazz Feedback to Africa. In American Music, (ed) John Graziano, published by the Sonneck Society/University of Illinois Press, Vol.5, No. 2, Summer 1987, pp. 176-193.
9. Comic Opera in Ghana. In Ghanaian Literatures: Critical Perspectives, (ed) Richard Priebe, Greenwood Press, Westport, Connecticut, 1988, pp. 61-72.
10. African Music Strengthens Cultural Autonomy. In group media Journal, (ed) Sheila O’Connell, published by SONOLUX, Munich, Vol. VIII, No. 4, 1989, pp. 17-21.
11. The Early History of West African Highlife Music. In Popular Music, (ed) Ian Fairley and Stan Rijven, University of Cambridge Press, 1989, Vol. 8, No.3 pp. 221-230.
12. Article on West African Popular Music (translated into Japanese) for Japanese Noise: Music Magazine, (ed. Toyo Nakamuru), Tokyo, Number 1, Spring 1989.
13. Running a Band, a Music Studio and Music Archives in Ghana. In Proceedings of the AVA-90 Conference, Fayum, Sweden, (eds) Tellef Kvifte and Gunnar Ternhag, published by the Dalarna Research Council of Sweden/University of Oslo, 1990, pp. 9-19.
14. African Music in the Space Age: The Agbadza Drums. In Music Letter journal edited and published by Charles Keil of SUNY Buffalo, 1990, pp. 57-68. Reprinted in edited form as ‘Traditional Hot and Cool Rhythms’ in west African Pop Roots, by John Collins, Temple University Press, 1992, pp. 1-16. Reprinted in full form as ‘The Traditional Musical Background’; in Highlife Time by John Collins, Anansesem Press, Accra, 1996, pp. 113-122.
15. Die Populare Music in Westafrika Nach Dem Zweiten Weltkrieg. In Populare Musik if Africa (ed) Veit erlmann, published by the Museum Fur Volkekunde, Berlin, 1991, pp. 15-31.
16. Folklore – Some Problems of Copyright.In Ghana Copyright News, issue 3, Jan 1991-Dec.1992, pp. 17-19. Based on a paper presented at the National Workshop on Copyright held by the Ghana Copyright Administration, the Ghana National Commission on Culture and the World Intellectual Property Organisation, WIPO, at theAcadamy of African Music and Arts, AAMA, at Kokrobite, Accra October 9-11th 1990.
17. Some Anti-Hegemonic Aspects of African Popular Music. In Rockin’ The Boat (ed) Reebee Garafalo, Southern Press, Boston, 1992, pp. 185-194.
18. The Concert Party: Popular Entertainment and the Ghanaian School Syllabus (NAFAC 92 PAPER). In The Empowerment of culture (eds) Ad Boeren and Kees A. Epskamp, published by the Centre fo the Study of Education in Developing countries (CESO), The Hague, CESO Paperback No. 17, 1992, pp. 171-177.
19. The Problems of Oral Copyright. In Music and Copyright (ed) Simon Frith, Edinburgh University Press, 1994, pp. 194, pp. 146-158.
20. Interview with John Collins on the Cultural Policy, Folklore and Recording Industry of Ghana, by Cynthia Schmidt.In The Guitar in /Africa:The 1950’s – 90’s (ed. Cynthia Schmidt) In The World of Music published by the International Institute for Traditional Music, Germany, volume 36, number 2, 1994, pp. 138-147.
21. The Ghanaian Concert Party. In Glendora Review, African Quarterly on the Arts (ed) Dapo Adeniyi, Lagos, vol. 1, No. 4. 1996, pp. 85-88.
22. Music Feedback: African-American’s Music in Africa. In Issue, A Journal of Opinion (eds) B. Hawk and L. Brock, published by the African Studies Association of the USA, Vol. XXIV. No. 2, 1996, pp. 26-27.
23. Fela and the Black President Film. In Glendora African Quarterly of the Arts, (ed) Dapo Adeniyi, Lagos, Vol. 2, No. 2, 1997, pp.57-73 24. The Evolution of West African Popular Entertainment. . The Encyclopedia of Sub-Saharan Africa (ed) John Middleton, Charles Scribner and Sons Reference Books, U.S.A. 1999.’
25. Ghana Entry (with Ronnie Graham) for the Rough Guide to World Music,Volume 1, (eds. S. Broughton, M. Ellingham and R. Trillo). Published by Rough Guide/Penguin, London, 1999, pp.488-498
26. Hitechnology, Individual Copyright and Ghanaian Music, in the book Ghana: Changing Values/Changing Technologies, (ed) Helen Lauer, published by the Council for Research in Values and Philosophy, U.S.A, 2000.
27. Paper on the African Music Industry. For the June 20th 2000 Workshop of the World Bank on Developing the Music Industry in Africa.. Available from the Policy Science Center, 127 Wall St. Room 314, BOX 208215, New Haven, CT. 06529-8215.
28. La Musique Populaire de L’Ouest Africain Anglophone, in Notre Librarie: Literatures du Nigeria et du Ghana:2 (ed. Jean-Louis Joubert) published by the French Ministry of foreign Affairs, Number 141, July-September 2000, pp. 114-118.]
29. The Generational Factor in Ghanaian Music: Concert Parties, highlife, Simpa, Kpanlogo and Gospel, Article in Playing With Identities in the Contemporary Music of Africa, (eds. M. Palmberg and A. Kirkegaard), Published by the Nordic African Institute/Sibelius Museum Apo, Finland. 2002. pp 60-74.
30. Three articles on the Ghanaian Music Industry (A Quarter Century of Problems:The Way Forwards: The Gospel Boom) In West Africa Magazine , London, 19-25th August 2002 (issue 4339) pp 8-13.
31. Eight entries (on the Ghanaian and Liberian popular music and recording industry) for the Continuum Encyclopaedia of Popular Music of the World Vols. I and II (eds. John Shepherd, David Horn, Dave Laing, Paul Oliver and Peter Wicke) published by Cassell, London, March and May 2003.
32. The ‘Folkloric Copyright Tax’ Problem in Ghana. Media Development, the Journal of the World Association for Christian Communication, London. No. 1, 2003, pp 10-14.
33. Fela and the Black President Film: A Diary. Chapter in the book Fela: From West Africa to West Broadway, (ed) Trevor Schoonmaker, Palgrave/Macmillan Press, June 2003. 2003,pp 55-77.
34. Ghanaian Women Enter into Popular Entertainment. Humanities Review Journal, (ed) Dr. Foluke M. Ogunleye, Vol. 3, No.1, (ISSN 1596-0749), Published by the Humanities Research Forum, Univerity of Idadan and Obefemi Awolowo University, Nigeria, June 2003, pp.1-10.
7. CD AND MUSIC VIDEO RELEASES
2002 NAXOS (US/Hong Kong record company) release ‘Electric Highlife’.
2003 Otrabanda Records Amsterdam. ‘Vintage Highlife’ (acoustic guitar music Kwaa Mensah, Koo Nimo and T.O.Jazz recorded Bokoor Studio.
2003 Earthworks/Sterns African Records. ‘Guitar and Gun’ (recordings from Bokoor Studio)
8. BOARDS AND COMMITTEES THAT PROFESSOR OF WHICH JOHN COLLINS IS A MEMBER
1) Made an Honourary Life Member (with Prof. J.H.K. Nketia and Dr. Daniel Ampomah/Koo Nimo) in 1987 of the International Association for the Study of Popular Musicc (IASPM)
2) Manager of the Bokoor recording studio, Accra since 1982
3) Acting Chairman of the Accra based African Popular Music Archives Foundation BAPMAF since 1990
4) Music Director since 1997 of the Ghana University based Local Dimension acoustic highlife band
5) Became patron of the Afika Obonu Drum and Music Therapy Ensemble in Feb. 2002.
6) Consultant since 2002 (on the World Bank project to assist the African Music Industry) for MUSIGA (the Ghana Musicians Union), GOMAWA (the Ghana Old Musicians and Artists Welfare Assocation, the GCPU (Ghana Concert Parties Union) and the Ghana Actors Guild .
7) On the Board of Directors in 2002 of Love Africa (Ghana music for schools project) established by Rocky Dawuni and modelled the US VH 1 Save the Music Project.
8) Dec 2003 Imnited to be on the Editorial Bo of the International Journal of Humanistic Studies of the University of Swaziland, editor Dr. (Mrs.) Foluke Ogunleye
FORTHCOMING ARTICLES IN THE PIPELINE
· The Entrance of Ghanaian Women into Popular Entertainment. Forthcoming Journal of the School of Performing Arts, University of Ghana Legon, editor Dr. Ben Abdullah.(Gave Ben 2002 Originally given much earlier to Esi S Addy/Anne Adam for Efua sutherlands Festschift. Also (slightly updated) sent to Foluke Ogunleye Nigeria, editor of Humanities Review Journal Sept 2003
· Rumours, Religion and Popular Performance in Ghana. Forthcoming from African Literatures (eds. K. Agawu and K. Anyidoho), Greenwood Press, Westport, Connecticut. Also sent )Oct 2003 to janet Topp Fargion ofUK jouynral of Ethnomuisicology oct 2003
· Music and Mathematics. Chapter in Forthcoming History and Philosophy of Science, (ed. H. Lauer), Ghana University Press/African Book Collective.
· Entry on Highlife for forthcoming Encyclopaedia of African Folklore (eds. Kwesi Yankah and Phillip Peek), to be published by Garland Press/Taylor&Francis Routledge, USA. Corrections seny May 2003
· African Popular Music: A Global Historical Review for forthcoming The Universe of Music: A History, Volume 5 : Africa (eds. J.H.K.Nketia and Kongo Zabana), to be published by UNESCO. ( + Esi Sutherland Addy (ed) for Reader in African Studies April 2003 ?)
· The De-colonisation of Ghanaian Popular Entertainment. In the forthcoming CODESRIA African Humanities Institute’s Trancending Boundaries (ed. by K. Agawu and K. Anyidoho) To be published by Carolina Academic Press ed by Toyin Falola and Steve Salm) Sent April 2003
· The Pan-African Goombay Drum-Dance: Its Ramifications and Development in Ghana. In the forthcoming book on Atlantic Rim Studies being edited by Robert Nichols of the University of the Virgin Islands. Also sent Janet Topp FargonUK UK Journal of Ethnomusicology Oct 2003
· Ghanaian Christianity and Popular Entertainment: Full circle. Paper read at the Symposium on Performing Arts organized by the Insitute of African Studies, University of Amsterdam June 13-14 2002 as part of the 300 years Ghana/Holland Celebration (sent April 2003 to David Henige of Wisconsin University via Veit Arlt.
· 'Urban Anxiety and Its Sonic Response' version of my Gospel Highlife:Ghana’a Answer to Urban Anxiety presented for ICAMD concerence on Music and Healing in Africa and the Diaspora held at Legon in 1997( Ntone Edjabe of Zimbabwean magazine Chimurenga, has told me (Sept 200)3 it has been published by Glendora of Nigeria and now they Chimurenga is interested in it so I sent it to him under original title ‘Urban Anxiety’in Sept 2003
· article onGhana gospel (= discography) for fiesta magazine and never published
· Ghana’s Gospel Glory (includes gospel discography and list of gospel artists recorded at Bokoor studio Mesant to be pub by FIESTA but never was Text id modified Ghana Christianity Ful Circle paper – but the discographies have NEVER been published
