Ho-Asogli uses authentic West African instruments in their performances. Shown below and on the following pages are the instruments accompanied by their descriptions and their use in African society.

Asante
The Asante are a large ethnic group in Ghana who speak the Twi language. They live in the central forest region. Drums The traditional wood is tenebrous, a hard wood for the drums that is termed to be termite proof. A drum carver looks for a tree in the forest that has leaves that are turned upside down. This means that the tree has spiritual powers. A libation is poured before the tree is felled.
Adowa Ensemble back row from left to right Apentemma, Atumpan (male and female), Petia front row from left to right Donno (hourglass drum), Dawuro (single bell), Torowa (Rattle), Dawuro, Donno
Traditionally used as a funeral dance among the Akan people of Ghana, Adowa is now found in recreational situations, but with the original graceful, dignified walking movement preserved. As a dance, it is popular among the Twi, Fante, and Ga people. The Asante Adowa currently has about eight forms derived from other dances like Kete. Various changes in the rhythms played by the lead drummer correspond to changes in the dance routine. The atumpan drums play exclusively in "speech" mode. For example, the opening phrase "tome kume menie, tome kume adampa" literally translates to "I am at your mercy" or "I am at your disposal." This demonstrates the respect between the drummer and the drums. • Mark your circle - hand in palm means: You are asking the chief for permission to dance. • Hand over hand, top hand palm up means: You are moving something. • Turning round with elbows up means: I am somebody; it is stately. • Footwork. Drum: da dum da dum / da dum dam dum / da dum This is the most beautiful part of the dance, You can add your own into it. You can mix other foot movements into it. • Index finger together, go forward and back facing sideways means: Unity, together. You can put other hand gestures in there such as pointing and signaling to come. • Move in a circle facing toward the middle with fists meeting in front of you on strong beat means: Together • Swish right hand in front and in back of you with feet swishing side to side moving in a circle to a straight line means: Showing your beauty. • Arms up like you are grabbing something with your hand. Right, Left, both. Means: Fear no one except God (Gyn name) • Fist on Fist, move body down, up down, up while moving hips. Means: We are among chiefs. • Wave Good bye • Turn movement- other hand gestures • Bite index finger of your right hand means: I am hurting • Shake hands like there is something in them means: There is something bothering me that I want to let go. Fontomfrom Astrama back row from left to right Bommaa, Atumpan (male and female),Bommaa front row from left to right Apentemma, Donno (hourglass drum), Gankogui (double bell), Petia This is the most important of all state drum orchestras in the Akan communities. It features the large bommaa drums and the atumpan, the talking drums of Ghana. The rhythms of Fontomfrom pieces are the most complex of any drum ensemble of the Akan people. Not all the pieces have a verbal basis as clearly defined as those of other ensembles. Some of the rhythms are often referred to by means of nonsense syllables, but nevertheless perform similar functions. Kete Ensemble back row from left to right Apentemma, Aburukuwa I, Aburukuwa II, Kwadum front row from left to right Torowa (rattle), Donno, Dawuro (single bell) Kete was captured from the Jaman (sometimes spelled gyaman) people in war. Today it is a musical style performed on ceremonial occasions at the courts of chiefs among the Asante and other Akan people of Ghana. Around Cape Coast the apentemma is called the Ajejedy. It responds to the rhythm of the kwadum. The drums are traditionally covered with red and black felt but now there are modern color variations. The traditional colors symbolize that the drums were captured in war (red symbolizes the blood that is spilled, and black symbolizes the death and darkness that always accompanies war). The ensemble plays a number of pieces, each with a characteristic set of rhythms that often have an underlying text or message that influences the phrasing and expressive movements of the dancer. As in other Asante and Akan dances, gestures and other symbolic movements are utilized. The arm movement in Kete in which the dancer crosses and then spreads their arms means gyname, accept god. There are eight variations with a total of twelve when the modern variations are added in. Kete dancers Photo by Kathie Zaccaria Copyright 2002 • Abofor This variation praises the hunter. A hunter is the breadwinner, The Jaman people were known as great hunters. A hunter provides meat for the chief. The dance celebrates professionals. • Achampan A good hunter. • Kofiamanza is a song sung before Abofor. Osebo is the name of the lion. It calls on other hunters to laugh at the lion that is caught in the trap. "It is only the hunter who knows how he kills an animal". • Adaban This is the real or original form of Kete that is also known as Kete-Pa. It commemorates an event performed before executions before there was gunpowder. The palace executioners wore war smocks. Today it is a royal court dance of the Asante chiefs. • Adinkra The Jaman chief. The text translates to slowly, slowly (bre, bre) we will capture Adinkra Yede bre bre bupral (bruapra) Adinkra •Agawam "Let us see that you can dance well." This dance is inspirational. If your performance in the dance ring is very good the drummers will switch to this rhythm. • Apente A highlife form of Kete that is played at the end of the night to signal that the drummers are stopping. This signals "last dance!" If a particular dancer is good and the drummers approve they will switch to this rhythm. • Jaman Dua The Jaman Dua is an umbrella shaped tree. Some chiefs are believed to protect their people. The rhythm is played to honor a chief that is believed to be a good protector of his people. It is traditionally played at funerals, durbars, or big gatherings of rich people. Dancers have to ask permission of the drummers before they dance, often throwing money at the drummers. • Ohene on Koa (ohene-chief / Ko-fight) "If the chief doesn’t fight, the messengers will run away." This dates back to the war with the Mampung. The chief ran away because he had just taken a new wife and wanted to live. This rhythm is played to inspire a chief. • SreSrebite (Sre - beg / bite - eat) War captives such as the Jaman had to beg for food in order to eat. The chief of the palace created this Kete so the history of the Jaman war captives would not be lost. It is played at funerals because the family needs money to pay for the funeral expenses. This is also shown in the hand in palm gesture. A Kete Ensemble at the funeral of Paramount Chief Togbe Afede Asor II in Ho, Ghana Photo by Kathie Zaccaria Copyright 2002 Atenteben Music The atenteben is a bamboo flute played in certain areas of Ghana by the Asante people. Originally it was a three-holed end-blown bamboo flute. Noted African musician and scholar Dr. Amu recently changed the design to six holes in order to play a larger repertoire of music.

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Asante	Dagomba	Dagaare	Ewe	Ga