| Beat | 1 | & | 2 | & | 3 | & | 4 | & | 5 | & | 6 | & | |------|---|---|---|---|---|---|---|---|---|---|---|---| | Bell | X | . | . | X | . | X | . | . | X | . | . | X | | Vocal (Twi) | Da | bi | da | (rest) | wo | nko | so | (rest) | ye | be | sa | (rest) |
Embodied Worship and Transnational Praise: A Analysis of Ryan Ofei’s “Reign Medley (Live in Accra)”
This paper will explore three dimensions of the medley: (1) —the shift from personal supplication to corporate declaration; (2) Musical architecture —the integration of Highlife and CCM rhythms; and (3) Performative geography —why performing this in Accra matters. 2. Contextual Background 2.1 Ryan Ofei: The Bicultural Worship Leader Ofei, born to Ghanaian parents but raised in the United States and Canada, embodies a musical hyphenate identity. His work with Maverick City Music places him at the intersection of Black American spirituals and West African praise traditions.
Ryan Ofei - Reign Medley -live In Accra- -
| Beat | 1 | & | 2 | & | 3 | & | 4 | & | 5 | & | 6 | & | |------|---|---|---|---|---|---|---|---|---|---|---|---| | Bell | X | . | . | X | . | X | . | . | X | . | . | X | | Vocal (Twi) | Da | bi | da | (rest) | wo | nko | so | (rest) | ye | be | sa | (rest) |
Embodied Worship and Transnational Praise: A Analysis of Ryan Ofei’s “Reign Medley (Live in Accra)” Ryan Ofei - Reign Medley -Live in Accra-
This paper will explore three dimensions of the medley: (1) —the shift from personal supplication to corporate declaration; (2) Musical architecture —the integration of Highlife and CCM rhythms; and (3) Performative geography —why performing this in Accra matters. 2. Contextual Background 2.1 Ryan Ofei: The Bicultural Worship Leader Ofei, born to Ghanaian parents but raised in the United States and Canada, embodies a musical hyphenate identity. His work with Maverick City Music places him at the intersection of Black American spirituals and West African praise traditions. | Beat | 1 | & | 2