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This article explores the emergence and evolution of bɔbɔɔbɔ (borborbor), a distinctive Ewe dance that originated in mid 20th century British Togoland (now the Volta Region of Ghana) and French Togoland (now Togo). Initially rooted in traditional kokomba dance forms, particularly tuidzi and akpese, bɔbɔɔbɔ rapidly integrated European military brass band instruments, notably the bugle and later the trumpet, influenced by the burgeoning popular music genre of highlife in Ghana. Drawing on ethnographic research conducted in Ewe communities in Ghana, this paper examines the transformative role of the trumpet within bɔbɔɔbɔ ensembles. It investigates how the trumpet’s adoption led to its unique interpretative functions, including improvised obbligatos, sampling of familiar tunes, and enhancing the rhythmic and percussive dynamics of performances. Ultimately, this study illuminates the process of indigenization of the trumpet within bɔbɔɔbɔ, highlighting themes of adoption, assimilation, and reinterpretation in the evolution of this vibrant musical tradition
Gbagbo et al. (Fri,) studied this question.