“Music is something that connects everybody together. Music is a very powerful instrument. Music has its own voice and also, rhythm is very powerful tool to bring connections between people.” -Theo Martey
From ancient times to the present day the drum has been essential in the connection of individuals, honoring love, life, death and nobility. Used as a tool to summon ancestral spirits, its rhythmic styles may change from region to region, yet its essence remains the same, as an instrument of communication that has the ability to awaken the soul.
Performer, teacher, and New Hampshire Artist Laureate for 2022-2024, Theo Martey utilizes the drum as a means of celebrating tradition and connection through workshops and performances. A native of Ghana, Martey spent his youth learning about traditional African music.
“As a youngster growing up in Ghana, for you to stay out of trouble, you would have to get yourself into activities, like boxing, soccer, drumming and dancing. For me, I like playing soccer. I also love music and drumming. So I put my focus on what gave me the most joy and it made me happy and that was drumming and dancing. Performing and participating in theatrical shows in the community became an annual event and kept me focused. That’s where my story started. I fell in love with dancing, drumming, and singing. It became part of my daily activity, ever since music has been part of my life,” says Martey.
Seeking greater possibilities, Martey’s father moved his family to the Bronx, New York. “My father spent 19 years in the Ghanaian army, and when he retired he decided to move to New York City. My father wanted me and my siblings to get a better opportunity and a better life,” says Martey.
After completing a tour in London, Martey returned to New York.
“When I came back, I felt like there was a lot going on in New York. It was busy… I wanted a place where I could share what I have musically with other people. I came to New Hampshire to visit my brother and the moment I visited New Hampshire, I felt the connection. I love the natural feeling of it, the green, the clean, the fresh air,” Martey explains.
Currently, Martey is a well-known figure in NH but as with most life journeys Martey’s cementing was an arduous undertaking, where circumstances did not waver his faith.
“I wanted people to know what I have to share…so, that’s why I did not give up…I kept on pushing at it, even though it was difficult. In the back of my mind, I knew it would take time, but I was willing to try to make it work,” says Martey.
Martey’s determination was as solid as his rhythmic skill and after years of outreach an encounter with musician Randy Armstrong would significantly help solidify the path that would bring Martey’s vision, Akwaaba (Ghanaian for “welcome”), to New Hampshire.
I had the opportunity recently to speak with Martey.
CC: Let’s discuss, traditionally speaking, the importance of the drum.
TM: So the importance of the drum. Traditional drums that we use go back centuries, that our forefathers used, and it’s how they communicated and it’s still relevant in African Culture. It is a form of communication. We still use drums in Ghana for communication. Also in Ghana there is a gongo bell that they play in order to gather people for a meeting. It’s usually the messenger from the palace that will play the bell, and then people will hear and gather.
Also, the royal drums will be played to welcome the Kingsman. For instance when there is an occasion, and the Kingsman are coming out, the drums are played to announce their arrival. It is a form of respect to honor our Kingsman in Ghana and in Africa. The drum rhythm has been a connection for many years, and they are still relevant in Africa. We still use drums when someone has a baby and we gather to play and welcome the newborn.
When someone passes away, we gather as well to play to celebrate the person’s life. Then, when someone is getting married, we play to rejoice with the new couple. So, in our daily lives in Africa, drumming and music is always part of it. But in the United States, it is different. Here, you play music, but it is not a significant part of life. The rhythms connect us and bring us together, [In Africa] it is part of our daily life activities and it connects us in everything we do.
CC: How did Akwaaba Ensemble form?
TM: Akwaaba Ensemble started when I was in London on a tour with the Brekete Drumming and Dance Ensemble in the year 2000, after the tour I return back to the United States, I wanted to do my own thing and work as solo artist, so I registered the name and I started to perform at functions, schools, universities, community events and teaching workshops.
CC: Who inspires you?
TM: So when I was growing up, I used to listen to an Ensemble named Wulomei. They play traditional folk music blended with Western instruments, like guitars, keyboards, and trumpets. They use a box drum that provides a bass sound and it is called Gome or Cajon that they sit on to play by using their feet and hands to change the pitch. It provides a heavy bass sound and that is what inspired me to learn more. That is where I started. I wanted to sing to their beautiful music and that is where my inspiration came from as a youngster, listening to and singing their music.
CC: What were some of the hardships that come to mind when you first came to New Hampshire?
TM: So the challenges that I had was, first, you arrive in a place where you don’t know anybody, even though my brother was here, I did not have a community. Also, my mission for what I want to do is not what he does. For me, with my music, I did not know anyone. So, it makes it difficult to be connected to anyone around music. It was very difficult for me to be accepted in any of the schools. There was a time that I printed flyers, dropped them off at the schools, and I thought I was doing marketing or something like that, I showed up at the schools with my flyers and presented myself, I’m a musician, and I like to do some school teaching.
But I did not get any response for many, many, years. I did not get any response from anyone. At the same time, I needed to meet my basic needs, food was another challenge for me. I let the music rest for a couple of years. It was just me trying to put my feet on the ground, stand up and work any job so I would have income and pay for my living and food. I was lucky when I met Randy Armstrong at the Boys and Girls Club. I think the Boys and Girls Club was my opening gate. We always have a saying; you don’t know where your angel could be. When you’re going through hard times, and you meet someone that changes your life.
So that’s what happened when I met Randy at the Boys and Girls Club. He linked me to other people, and that’s how the way opened for me to start doing what I believe in. But, I still had to go through some different loops before I got there. There were racist issues and all that stuff. I had a harder time being a black man from Africa getting those initial meetings and that was hard. Now the doors are open and I don’t see as much of that issue. NH is changing and improving, the people are more open, and I like that change.
CC: When did you get to the place where instead of you having to go to people, people started coming to you?
TM: What I would say about that, I think, years of work. Many years. I did a whole lot of volunteer stuff just to get myself out there so people know who I am. I guess at this point now, with all the work that I’ve done in the past, now people know who I am. I feel blessed now that the people who knew what I can do did not give up on me, I want to follow this guy and I want to hire him for my school. Often people will check your background and what you’ve done, who you have worked with in the past, the experience you’ve had, and also, some of them, word of mouth, talking to other people, this person has been to my school, or he’s been to this event, and he is really good. But the difficulties were when I started, when nobody knows you and you’re putting yourself out there for people to at least give you a look and be like, oh, okay, this person has something. At that time it didn’t happen. But, that did not shut me down. I kept on moving. I kept on trying and the reason is, that I wanted people to know what I have to share. So, that’s why I did not give up. I kept on pushing at it, even though it was difficult, but I didn’t get discouraged.
CC: To have a group of children play in unison, there has to be a certain level of discipline that goes into that…
TM: It’s hard for kids, right? It’s hard for kids to sit still. I found a way. Music is something that connects everybody together. Music is a very, very, very powerful instrument. I will say that music has its own voice. And also, rhythm is very powerful. The kids don’t always see that right away, from what they have heard, this person is from Africa, and he’s coming to teach us. Before I go to the schools, I ask the teachers to do a little research about Ghana and Africa, so they understand where I’m coming from, and how people live in Africa, and so on, and so forth. So, when they see me, they’re not going to see me as a stranger. I come to them as their friend, that they can be free, or they can share whatever with me. In that moment, they know that I’m with them, and it always works. I’m being honest with them and I want everybody to be honest with me as well. We often only spend one week together, but that one week is a rich experience and a time when we are learning from each other. I’m coming from Africa, I have a different background, they are here, and they often don’t know a lot about the other world. I’m coming to teach them about culture, and how we live for music and all that. They would feel that trust before they can sit still, to listen, and then we play together. So, we always talk before we play. It makes everybody nice and calm and easy. It relieves. Some of them have tantrums and the rhythm itself calms them down. It’s like medicine.
CC: Have you had any comments from teachers afterward about how well the children conducted themselves while learning with you?
TM: Many times. Some of the kids are very tough, very tough. Sometimes, what I would do, if a student is disturbing the class and may ruin it for everybody then they sit out. They sit and watch what we’re doing. So, as they are watching they’ll come to realize, oh, boy, I’m missing out on what is going on. Then, they come to their senses and often they want to join in. They apologize to everybody, and we invite them back in. So, I meet some tough kids that are struggling and having a hard time in school. When I hear about them, I focus on them more, because, once you have a good relationship with them, it makes everything easier and more successful for everyone.
CC: What is the feedback that you recieve from the children?
TM: For the kids themselves, they feel like, I would say, proud that they were able to participate and do it. Even if they were having difficulty or challenges. In the end, what I try to tell them is your effort and participation is all we need. We don’t need it to be professional. We all are going to play together as a team. So if you mess up, don’t worry about it. Don’t think I’m going to mess up.” No. Just relax yourself and we will all work as a team together. Even if you mess up, take a little breather and remember that you had a good time. I had a good time. And the teachers and everybody, have a good time together while playing the drum and connecting to a different culture. So it’s always a win-win situation. Relax yourself, don’t push it too much. Don’t feel like, where you mess up, the whole world is going to crash down. Take it easy, and even if sometimes they mess up, I’ll give them eye contact, look at me, just look at me, and then I’ll bring you back into the rhythm, and it always works out perfect at the end. Everybody’s happy, the kids are excited. They are excited to perform, and they can’t wait to show their friends what they learned to do, and they brag about it.
CC: Tell me about Emperor T-Jiga.
TM: Emperor T-Jiga is a musician, songwriter, performer and producer. I like to do different types of music. Emperor T-Jiga works more in Africa doing Afrobeat and a modern style of music that is popular in Ghana and Africa. Doing traditional music here, that’s what sells in the US, because people have more interest in the traditional music. So when I’m in Africa, it’s atotally different sound, and then when I’m in the US. The Akwaaba ensemble focuses on educational programs and focuses on schools, community events, and workshops. Where Emperor T-Jiga focuses on recording modern music, Highlife, Reggae and Afrobeat. It is two different styles of music but operates under one umbrella.
CC: Who would you like to connect with in the future?
There are a lot of people that I would like to collaborate with in Afrobeat music, but to mention a few artists on my list like Stonebwoy, Shatta Wale, Sarkodie, Samini, WizKid, Davido, Burna Boy, Tekno, Simi and Tiwa Savage. Right now they are the giants in African music I would say. So yeah, someday I would like to connect with all of them for collaboration. More connections with other musicians in the music industry will be great. I have collaborated with few artists in the Ghanaian music industry for a couple of my single tracks and I am hoping to collaborate with a lot more, either with Akwaaba ensemble or as Emperor T-Jiga.
CC: Where did you get your unstoppable attitude from?
TM: My unstoppable attitude came from my late father, who always told me the sky is the limit and nothing could stop me if I kept focus on whatever I wanted to do. Although there have been challenges, rough times and my road has sometimes been bumpy, I always try to put in one hundred percent or more and never give up.
