Kwahu Cultural Values: Their Impact On The People’s Art

BY

Emmanuel Yaw Adonteng

(BE.D. IN ART)

A thesis submitted to the School of Graduate Studies,

Kwame Nkrumah University of Science and Technology in

partial fulfillment of the requirements for the Degree of

Master of Arts in African Art And Culture on July, 2009.

July, 2009

© 2009 Department of General Art Studies

DECLARATION

I hereby declare that this submission is my own work towards the MA (African

Art and Culture) and that, to the best of my knowledge, it contains no materials

previously published by another person nor material which has been accepted for the

i
award of any other degree of the University except where due acknowledgement has

been made in the text

EMMANUEL YAW ADONTENG ( 20045462)

………………………………………….…….. ……………… …………
Student Name & ID Signature Date

Certified by:

DR. O. OSEI AGYEMANG

………………………………………….. ……………… …………
Supervisor‟s Name Signature Date

Certified by:

DR. JOE ADU-AGYEM

………………………………………….. ……………… …………
Head of Dept Name Signature Date

ACKNOWLEDGEMENTS

First and foremost, I express my gratitude to God Almighty for the love,

kindness and protection accorded me and also enabling me to write this thesis. I also

want to extend my heartfelt gratitude and appreciation to those who extended the love

ii
and support needed most in making this thesis a reality. I also register my sincere

thanks to the authors whose books and articles I cited as sources of references.

My utmost thanks go to Dr Opamshen Osei Agyeman, my supervisor and a

lecturer of the college of Art, KNUST, KUMASI for his assistance, guidance and

encouragement. I am grateful to Dr Ben K. Dogbe, a senior lecturer who taught me in

the African Art and Culture section and who discussed some of the problems of the

thesis with me.

I also thank the following people for lending me some books which were

helpful to me; first and foremost Mr and Mrs Humphrey Kofi Buabeng (Scripture

Union, Kumasi), Mr Prince Kwame Wiafe (CEO-Rockia Group), Mr Ebenezer

Acquah, lecturer, University of Education, Winneba(UEW), Mr Kofi Duku, lecturer

(UEW), Mr Isaac Opoku Mensah (UEW), lecturer and Mr Senior Noble Eshun, head

of the Visual Art Department at Osei Tutu Senior High School Kumasi, Mr and Mrs

Victor Ampadu Wiafe (Atibie), Opanin Yaw Kumah, Atibie, Nana Frempong

(Obomeng), Okyeame Kojo Ameyaw (Obomeng), Nana Anomboasi, former tutor

Mpraeso Senior High School, Opanin Kofi Mensah (Okunini) Mpraeso, Okyeame

Yaw Baah (Mpraeso), Opanin C.K Odame (Atibie), Mr Oware Antwi, former DCE‟s

secretary, Atibie, Mr Ofosu, assemblyman Atibie, Mr Jerry Amoafo, Kwahu South

District Assembly, Mr Asante (Kwahu Traditional Council), Bepong.

This acknowledgement would be incomplete without specifically

acknowledging the following important personalities, who, without their assistance I

would have stuck somewhere, especially the Omanhene(Paramount Chief) of Kwahu

Traditional Area, Daasebre Akumoah-Boateng II, Nana Ampadu Daaduam (the chief

of Mpraeso), Nana Obeng Akrofi (the chief of Obomeng), Nana Mireku Nyampong

(the chief of Asakraka) and all the chiefs of Kwahu.

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 I express my regards to my family, especially my dear late father Ex-Warrant

Officer Emmanuel Kofi Adonteng who in diverse ways communicated with me on

phone by giving me the necessary information needed for the thesis and also went

round to gather information from friends and resource persons for me. My Mum,

Madam Deborah Adowa Ansaa (Momie), Irene, Ivy, Roberta, Erasmus, Isaac Abuaku

Adonteng and my dear wife, Winifred Bassaw for their moral support and assistance.

I extend my appreciation to my course mates at KNUST, Agnes Obesi, David

Kumah, James Adjei, Mamy Magdalene Steven, Gifty, Victoria, John etc.

I also commend these personalities for their support and assistance: Mr

Alexander Kofi Buabeng (KNUST), Mr Holy Kwasi Agbolosoo and family, Mr and

Mrs Owusu Daniel, (Asiakwa), Mr Christopher Oware (KNUST) Mr and Mrs William

Chanor (Mpraeso Senior High School), Mr Gyamfi (Photographer, Accra Girls Senior

High School), for lending me his digital camera for the project, Patricia C. Tuffour

(UCC) Cape Coast. I once again commend all and sundry who contributed in making

this thesis a reality. May the Almighty God richly bless you all and replenish whatever

you spent.

ABSTRACT

This research is aimed at creating awareness on Kwahu cultural values: its

impact on the people‟s art for the betterment of the Kwahu traditional area and the

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nation at large. Information and other details were drawn from chiefs and authorities

of the Kwahu land, Institutions, professionals in the field of art, citizens with

knowledge about the history of Kwahu and some current occupants of the land.

The research is categorized into five chapters, comprising of an introduction,

related literature review, methodology, discussion and analysis of data and findings

and recommendations. In order to achieve the objectives of the study, the research

examines Kwahu cultural values as a tool or determinant to community and in a

broader scope national art development. The paper also outlines some of the impact

Kwahu cultural values have or play on the art of the people and again suggests

possible measures to improve and make Kwahu cultural values a preferred option to

enhancing the quality of art of the people and life as a whole.

In a nut shell, a combination of several research methods, approaches and

techniques were employed in the success story of the research amidst the expertise of

the sample population who by virtue of their status are literate and understand what

makes and constitute the culture of the people in relation to achieving the goals this

research seeks to address.

TABLE OF CONTENTS

PAGE

v
Title page i

Declaration ii

Acknowledgements iii

Abstract v

Table of contents vi

List of plates xiv

List of tables xviii

List of figure xix

CHAPTER ONE 1

1.0 INTRODUCTION 1

1.1 Statement of the Problem 1

1.2 Importance of the Study 2

1.3 Objectives of the Study 2

1.4 Hypothesis 2

1.5 Delimitation 2

1.6 Geographical Background of Kwahu 3

Location and Size 3

1.7 Vegetation 3

1.8 Drainage 4

Relief 4

1.9 Climate 5

1.10 Population 6

1.11 Historical Background of Kwahu 7

1.12 District Capitals in Kwahu 10

1.13 Towns in Kwahu 11

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 1.14 Villages in Kwahu 11

1.15 Organisation of Chapters 15

CHAPTER TWO 16

2.0 REVIEW OF RELATED LITERATURE 16

2.1 Culture 16

2.2 Cultural Values 17

2.3 Art 18

2.4 Religion 19

2.5 Visual Arts 19

2.6 Body Art 21

2.7 Performing Arts 21

2.8 Verbal Art 22

CHAPTER THREE 23

3.0 METHODOLOGY 23

3.1 Introduction 23

3.2 Location of the study 23

3.3 Research design 24

3.4 Library research conducted 24

3.5 Other available facilities used 25

3.6 Populations for the study 25

Target 25

Accessible population 26

3.7 Sampling 26

Purposive sampling 27

Convenience sampling 27

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 3.8 Instrument for data collection 27

Interview 28

Observation 28

Questionnaire 29

3.9 Documentation 30

Types of data 30

3.10 Pre test 31

3.11 Data collection procedure 31

3.12 Data analysis plan 32

CHAPTER FOUR 34

4.0 PRESENTATION AND DISCUSSION OF FINDINGS 34

4.1 Introduction 34

4.2 Kwahus way of Life 34

4.3 Language / Dialect (Language as an identity) 35

4.4 Influence of language on art 37

4.5Food (Identification/ Identity through food) 41

4.6 Influence of meal/food on art. (identity) 43

4.7 Agriculture (depicts hardworking nature of Kwahus as a

cultural value) 46

4.8 The influence of agriculture on art 48

Timber and Lumbering 49

4.9 Pottery as a vocation in Kwahu (art and craft as a means of

identification) 51

4.10 Influence of pottery as a vocation on art. (Identification) 53

4.11 Medicinal Values (Sound health as a cultural value) 57

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4.12 Influence of healing on art. ( sound health as a cultural value.) 58

4.13 Architectural Design depicting hardworking as a cultural value

in Kawku 60

4.14 Influence of architectural design on art (promoting hardworking) 65

4.15 Clothing as an identity, beauty; a cultural value in Kwahu 66

4.16 Influence of clothing on other art forms 67

4.17 Beliefs revealing Worship as a cultural value In Kwahu 69

Belief in Spiritual Beings 70

Bruku Shrine 70

Tigare Shrine 71

Atia Yaw Shrine 71

4.18 The influence of worship on art 72

4.19 Moral Values promotes humility, respect, honesty, kindness as

a cultural value in Kwahu 74

4.20 Influence of moral values on art among kwahus 75

Dance 79

Drama 81

4.21 Economic Aspect (Hardworking seen as cultural values in

economic activity) 82

4.22 Influence of trading activities on art (economic life of kwahus) 83

Minerals 85

Clay Minerals 86

Hunting And Fishing 86

Traditional Catering Services 86

4.23 Education (wealth, respect, knowledge) 87

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 Formal Education 89

4.24 Influence of education on art 91

4.25 Social Life of the People 92

Birth: blessing as a cultural value in birth 92

4.26 The influence of birth on art 94

Naming Ceremony (Abadin To) 95

4.27 Influence of naming ceremonies on art 99

Puberty Rites among Kwahus 99

Puberty for Girls 100

4.28 Influence of puberty for girls on art (respect) 100

Marriage (Togetherness, unity, love, Trustworthy, Respect) 101

4.29 Changes in Traditional Marriages among the Kwahus 106

Divorce 107

Types of Marriage 108

Traditionally Recognised Marriage (Adehyeware) 108

Suitor/Courting (Mpena Warε) 108

Next Of Kin‟s Marriage (Kuna Aware) 109

Slave Marriage (Afena Aware) 109

Awowa Aware 109

Bethrotal Marriage (Asiwa Aware) 110

Ayεtε/Nsiananmu 110

Polygamy 110

4.30 Influence of marriage on art (blessing) 111

Death and Funeral Ceremony (as a sign of respect) 111

Rituals for the Dead (Respect/ Togetherness) 112

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 Preparation of the Corpse 113

Pre-Burial Mourning 113

Burial 114

Mourning after Burial 116

The Funeral Day 116

Types of Death 118

Natural Death (Owupa) 118

Accidental Death 118

Suicidal Death 118

4.30 How Kwahu People Handle the Dead 118

Minor / Children 119

Death of a Wife 120

Death of Husband 120

Burial and Funeral 120

Funeral: (Ayieyε) 121

4.31 The influence of funeral on art (respect for the dead) 123

Festival Celebration (Togetherness/ Unity) 125

Adae 126

4.32 Influences of Adae Afahye and Easter celebration on art. 130

4.33 Political Life of Kwahu People (Political promote, respect,

authority, togetherness, humility as cultural value) 137

Chieftaincy in Kwahu 138

Enstoolment 138

Destoolment 140

Funerals for Chiefs 140

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4.34 The influences of political structure (chieftancy) on the art.

(respect, humility, authority, togetherness) 142

4.35 Customs and Tradition (Respect, unity, togetherness, identity) 147

The Family (Abusua) 147

The Clan (Unity) 149

Inheritance 149

Totemism 149

The Totem of the Bretuo Clan 150

The Totem of the Aduana Clan 151

The Totem of the Asona Clan 152

The Totem of the Asakyiri Clan 153

The Totem of the Agona Clan 154

The Totem of the Asene / Asenie Clan 155

The Totem of the Ayokuo/Oyoko Clan 157

The Totem of the {kuona Clan 158

4.36 Influence of the clan (family) on art 159

Greetings 162

Morning 163

Afternoon 164

Evening 164

Seasonal Greetings 164

Birth 165

Marriage 165

Success 165

Funeral 165

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 Working 165

Returning From Work or Journey 166

Eating – words of invitation 166

Sleeping – some common words used 167

Greeting chiefs/elders – some common words used 167

Superstitious Beliefs 167

4.37 Recreational Activities in Kwahu and its impact on art

promotes togetherness and sound health 169

Oware 169

Draft (Dammy) 170

Ampe or Agyarekc 171

CHAPTER FIVE 173

5.0 SUMMARY, CONCLUSION AND RECOMMENDATIONS 173

5.0 Introduction 173

5.1 Summary 173

5.2 Conclusion 175

5.3 Recommendations 177

REFERENCES 181

APPENDICES 183-188

LIST OF PLATES

Plate 4.0: Kwahu Logo 38

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Plate 4.1: The symbol of the paramountcy 39

Plate 4.2 Drums displayed at the Obomeng Palace 39

Plate 4.3 Relief of Adinkra symbols at the chief’s palace at Obomeng 40

Plate 4.4: Akasanoma of Abetifi (the Kwahu Announcer) 41

Plate 4.5: a boy grinding pepper at Adoagyiri (Nkawkaw) 44

Plate 4.6: a woman pounding fufu with one hand (awocka) 45

Plate 4.7: Two people pounding fufu 45

Plate 4.8: a carver making a mortar at Pepease 45

Plate 4.9 Plantain Farm at Abetifi 47

Plate 4.10 Maize farm at Bepong 47

Plate 4.11 Agricultural products from kwahu 47

Plate 4.12: A Blacksmith at his workshop 48

Plate 4.13: Variety of farm tools 48

Plate 4.14: Some logs at the Nyame bekyere sawmill at Nkawkaw 50

Plate 4.15: Fishermen busy at work on the Afram Plains 51

Plate 4.16: Removing fishes from nets 51

Plate 4.17 Asantewaa moulding a dish 52

Plate 4.18 Asantewaa burnishing her dish 52

Plate 4.19: This is where baking of the wares is done by Asantewaa 54

Plate 4.20: display of ceramic wares 55

Plate 4.21Sample of mukyia 56

Plate 4.22: Unbaked (dish) ayowa from Mpraeso 56

Plate 4.23: Baked (dish) ayowa at Mpraeso 56

Plate 4.24: old woman (Christiana) bitten by a cat at Nkawkaw 60

Plate 4.25: grinded medicine in( dish) 60

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Plate 4.26: A mud house at Nkwatia 62

Plate 4.27: A mud house at Obomeng 62

Plate 4.28: A Wooden House at Obomeng 62

Plate 4.29: Obomeng Ahenfie 63

Plate 4.30: Front view of Obomeng Ahenfie 63

Plate 4.31: A Mansion at Obo 65

Plate 4.32: Samples of Clothing 67

Plate 4.33: Samples of Clothing 67

Plate 4.34: The Bruku Shrine between Kwahu Tafo and Kotoso 70

Plate 4.35:Image of gyabom at Obomeng palace 73

Plate 4.36: Children listening to stories at Nkawkukuma 76

Plate 4.37: Picture of a spokesman staff at Obomeng palace 77

Plate 4.38: Pouring of Libation Mpraeso palace 79

Plate 4.39: People dancing during the coronation of a Chief at Mpraeso 80

Plate 4.40: A picture of People Dancing Adowa at Atibie 80

Plate 4.41: Some Stores at Nkawkaw 83

Plate 4.42: Some artifact Stores at Nkawkaw 84

Plate 4.43: Some simple farm tools made for sale 84

Plate 4.44: Traditional cater at Nkawkaw 87

Plate 4.45: Mpraeso Senior High School, Mpraeso 90

Plate 4.46: Abetifi Presbyterian Senior High School, Abetifi 91

Plate 4.47: A father holding a baby at a naming ceremony at Obo 96

Plate 4.48: Presentation of gift at a marriage ceremony at Atibie 103

Plate 4.49: Picture of a marriage ceremony at Nkwakaw 105

Plate 4.50: Married couple dancing 107

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Plate 4.51: A coffin in a grave at Atiebie 115

Plate 4.52: People at a funeral ground at Atibie 117

Plate 4.53: People at a funeral ground at Atibie 123

Plate 4.54: Picture of people in white for thanksgiving service

(white clothing) 124

Plate 4.55: Picture of people mourning in black /red attire 124

Plate 4.56: Kwao Kese and a backing musician on stage performing at

Abetifi during Easter 127

Plate 4.57: Some products being exhibited on stage at Mpraeso during

Easter 128

Plate 4.58: Getting ready to take off with a parachute at the paragliding

site at Odwenanoma 129

Plate 4.59: Flying in the air with the parachute 129

Plate 4.60: Picture of Daasebree and President Kuffour at a durbar

ground at Abetifi 130

Plate 4.61: Picture of a gathering at a Durbar at Abene 132

Plate 4.62: Picture of linguist with a staff at Obomeng 133

Plate 4.63: Picture body painting during Easter festivity at Abetifi 134

Plate 4.64: A relief of people dancing at Atibie 136

Plate 4.65: Picture of swearing in ceremony of Nana Anom Boansi as

Asfohehe of Mpraeso 139

Plate 4.66: Picture of a chief with a gun at a sub chief’s funeral ground

at Mpreaso 141

Plate 4.67: Picture of installation of a Chief at Mpraeso 143

Plate 4.68: Picture of a Stool at Obomeng Palace 144

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Plate 4.69: The Totem of Bretuo clan 151

Plate 4.70: The Totem of Aduana clan 152

Plate 4.71: The Totem of Asona clan 153

Plate 4.72: The Totem of Asakyiri clan 154

Plate 4.73: The Totem of Agona clan 155

Plate 4.74: The Totem of Asene clan 156

Plate 4.75: The Totem of Oyoko clan 158

Plate 4.76: The Totem of Jkocna clan 159

Plate 4.77: Asipim chair 160

Plate4. 78: Painting depiting Asona clan displayed at Nkwatia, chiefs palace 161

Plate 4.79: Greeting by handshake 162

Plate 4.80: People Playing Oware 170

Picture of people playing draft at Nkawkaw 170

Plate 4.81: Children Playing Ampe at Nkawkaw 171

Plate 4.82: Picture of the products displayed at the chief’s palace at

Obomeng- Kawku 172

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 LIST OF TABLE

Table 4.0 A list of schools in Kwahu 90

Table 4.1: Some Kwahu Names and Their Attributions “Sabranne” 98

xviii
 LIST OF FIGURE

Figure 1.0 Traditional Authority structure in the Kwahu traditional area 12

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 CHAPTER ONE

1.0 Introduction

This chapter gives information on the nature of the research. It explains the

statement of the problem, importance of the study, objectives, justification, hypothesis,

methodology, geographical background of Kwahu, historical background of the study,

scope and meaning of the study.

1.1 Statement of the Problem

Generally, there has been a steady decline of the values of Kwahu culture in

recent times. This has left many of its citizens with little or no knowledge about the

impact of their cultural values on their art.

Also, it seems there are no written records on Kwahu culture, and stakeholders

of the Kwahu cultural institutions do not make conscious effort to educate the rest of

the citizens about Kwahu culture. The rest of the citizens also do not see the need to

study their culture and its impact on their art conscientiously. For this reason, Kwahu

citizens are gradually losing their cultural identity. The researcher therefore believes

that it is a problem that needs to be addressed. In this regard, the study seeks to

evaluate the cultural values and their impact on the people‟s art.

1.2 Importance of the Study

The findings of this study will help Kwahu citizens as well as the entire nation,

to know some aspects of Kwahu culture.

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The results of the study will provide useful information on Kwahu culture to

researchers, students, lecturers, historians, tourists, policy makers, educators,

archaeologists, anthropologists, ethnographers among others.

1.16 Objectives of the Study

The objectives of the study are:

 To identify the rich cultural Values of Kwahu people.

 To examine Kwahu cultural values and how they influence the art of the

people.

1.17 Hypothesis

That Kwahus have important cultural values that impact on Kwahu art.

1.18 Delimitation

The research is limited to Kwahu cultural values and their impact on the

people‟s art.

The values which were studied are:

 Identity

 Respect/ Humility (Respect for the dead, Respect for the elderly)

 Reunion/ Togetherness/ Unity (family sense of belongingness)

 Sound health

 Greetings

 Hardworking

 Wealth/Knowledge

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 It is also limited to the Kwahu Traditional area, which is just a fraction of the

Eastern part of Ghana. Again, the duration for the research was also short.

1.19 Geographical Background of Kwahu

Location and Size

Kwahu Traditional area can be found in the Eastern part of Ghana. It is located

between longitudes 1° West and 0° 15 East and between latitudes 6°30 and 7°15

North. Kwahu is at the mid-point from Accra to Kumasi on the high way. Kwahu

shares a boundary with Asante Akyem South on the Northern part; Atiwa District is

also on the Southern part of Kwahu and Birim North which is also on the Western

part.

1.20 Vegetation

Kwahu lies within the Semi-Deciduous forest zone. The vegetation is dense in

terms of tree coverage with most trees shedding off their leaves in the dry season.

Trees of economic value like Odum, Wawa, Sepele, etc. are found in the forest. The

forest is made of three layers namely the upper, middle and lower layers. A greater

part of the natural vegetation has been altered due to man‟s activities on the land.

The forest however, remains in their natural state in the five (5) reserve areas

namely the Southern Scarp Forest, Oworobong South, Abisu, Northern Scarp West,

Oworobong South, Northern scarp West and Oworobong North Forest reserves.

Together, the reserves cover a total of 37, 070 hectares of land.

(http://www.wikipedia.kwahu.com)

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1.21 Drainage

The Afram, a tributary of the Volta, is the major river in the area. It forms

Kwahu South district‟s northern border with the Afram Plains South District. Another

significant river is the Pra which takes its source in the area. Apart from these, there

are some other small rivers and streams in the area.

1.22 Relief

A relief which shows the variations in the height of the land includes the plains

which stretch from the southern Voltarian plateau. The variations range from 60m to

150m above sea level. The forest-dissected plateau consisting of a series of

escarpments, notably the Kwahu scarp rises from 220m to 640m above sea level. The

scarp has two prominent mountains - Bruku and Apaku, and another forest-dissected

plateau consisting of the steep-sided Birimian rocks which rise to heights up to 240m.

(Ghana Meteorological Services, 2006)

Kwahu land is made up of valleys and mountains that is, lowlands and

highlands in the region.

1.23 Climate

Because Kwahu lies within the wet semi-equatorial region and therefore,

experiences a double rainfall pattern, average monthly relative humidity range

between 75% and 80% during the two rainy seasons. Mean monthly temperature

values, as high as 30oC, are often recorded between the months of March and April,

but this decline to 26oC in August. (Ghana Meteorological Services, 2006)

Kwahu comes under the influence of two air masses, namely, the tropical

maritime air mass (MT) and the tropical continental (CT). The former hits the district

xxiii
twice a year thereby causing the two rainy seasons from May to August, and

September to October. Between the months of November and March, however, the

district is affected by the tropical continental air masses making the area warm and

dry. (Ghana Meteorological Services, 2006)

The area‟s relatively higher altitude has a moderating influence on the local

temperature. The plateau is relatively cool, an attractive factor for foreigners,

particularly those from the temperate world. The Basel Missionaries recorded the

following description about Abetifi‟s climate in 1885:

“… the Switzerland of West Africa, with nights as cool as May nights in Europe”.

(Macmillan and Kwamena Poh, 1965)

1.24 Population

Below is the distribution of population according to area council.

Town/Area Council Population (2000)

1. Nkawkaw 40,423

2. Nkwatia/Aduamoa 9,926

3. Bepong 12,498

4. Abetifi 11,197

5. Mpraeso/Atibie/Obomeng 16,111

6. Kwawu Tafo/Nteso/Bukuruwa 11,952

7. Obo/Twenedurase 9,984

8. Asakraka/Asikam 6,575

9. Kwawu Praso/Besease 16,097

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10. Donkokrom 135,928

11. Pepease 4,250

12. Suminakese 10,431

13. Akwasiho 4,430

14. Abene 17,412

307,214

Source: Ghana Population Census, 2000

Note: These figures are approximated.

The low population figures could be deceptive because Kwahus constitute

Ghana‟s most scattered people, just as the Jews are scattered in Europe. Wherever any

research is conducted on commercial activities in Ghana, one is likely to find a Kwahu

person there because of their commercial inclinations.

1.25 Historical Background of Kwahu

According to Mr. Victor Ampadu Wiafe who is from a royal family at

Mpraeso, the Kwahus did not originate from one particular place. It is noted that

majority of them migrated from Kumasi that is Ashanti Region which included

Pampasi, Kuntunasi, Juaso, etc because of wars, misunderstandings and other issues

which shall be reviewed in the formation of various townships in Kwahu.

He further stated that Kwahus chose to settle on the mountain to seek for

protection. They were the first to see their enemies whenever any group was about to

attack them. They used to hide in the valleys and also made mention that the people

used to roll stones/ rocks from the hill top against their enemies.

xxv
 According to Asihene‟s (1996:22), who quoted Roy Sieber that an analysis of

wood carvings based on Oral Traditions of Begoro revealed that “Kwahus migrated

with Begoros and have certain historical and artistic traditions in common”.

Sieber further writes that “Kwahu Oral traditions record a series of migration

which took place about 1700 AD to the scarp of Kwahu on the area south of Kumasi

from Adanse during the reign of Ntim Gyakari who was then the king of Denkyira

(1695-99).

It is likely that the people of Kwahu migrated from Ashanti and found

settlement on the mountain till this present day, where majority of the towns in Kwahu

can be located on the mountains which has made it difficult for one to climb the

mountains when going to the Kwahu Towns, for example Atibie, Mpraeso, Obomeng,

Obo and the like.

Nkansa –Kyeremanteng, Kwahu (2000: 36 and 37) gave three (3) analyses and

perspective about the formation of Kwahu Townships. Kyeremanteng indicated in his

write up that the movements of the three main Kingdoms are Kowu Kingdom,

Akoawu Kingdom and Kodiabε Kingdom. Most of these kingdoms were corrupted and

became Nkawkaw.

Kyeremanteng states that “Bepong was said to be a formidable Kingdom with

heavily guarded mountain passes. The fear the Kingdom evoked got its name “Kowu”

which simply means “go there and die”. The name Nkawkaw (Nk‫כּ‬-Kowu) was a

warning to people approaching the Kwahu chiefdom”.

Kyeremanteng further explains another source about the historic formation of

Kwahu, thus Akoawu Kingdom. He stated that Kwaw Baadu was a successor of Osei

Twum, one of the nephews of King Ntim Gyakari of Denkyira. Kwaw Baadu sent his

scout Kofabra to select a healthier site, for their settlement at Anweam. Kofabra

xxvi
selected Bokuruwa. When he perished, Baadu his servant renamed the healthier site

Akoawu which eventually got corrupted into Koawu/Kwawu.

Kyeremanteng continued to describe the third chiefdom or dynasty as Kodiabε.

Tena - Bretuo group which is known to be Abene left Adanse to escape from Ntim

Gyakari‟s oppressive rule. Some other clan companies (groups) who left Adansi

included Nana Amaniampong, Nana Ameyaw (Mposo Frempong) and Nana Adu

Gyanemfi, founders of Asante Mampong, Asante Afidwase and Asante Gyamase

respectively.

Abene is the place where the Royal seat of Kwahu is located. People from

Abene claim to be the first people to settle on the Kwahu land, which is in the valley.

Mr. Victor Ampadu Wiafe once again mentioned that people from Burukuwa claim to

be the royals of the land since they said they were the first group to find settlement on

Kwahu land. Due to that there has been rivalry between people from Abene and

Burukuwa, in terms of the capital that is where the royal seat should be. The occupant

of Kwahu stool is from the Bretuo clan.

Dwellers from Kwahu settled on the mountain to seek for protection and

because of that the people formed a slogan known to be Asase Aban, Yεnte Gyae

another slogan for Kwahu people is Obo‫כּ‬, and their response is Obo‫כּ‬ba.

Records and information gathered reveal that Kwahus were never conquered in

wars by any ethnic group. Almost all the wars recorded in Kwahu history were

brought down to the original settlers by warriors from other ethnic groups who needed

new settlements as they fled from their ancestral homes due to unsafe conditions

arising from disputes, bad climate and other adventurous necessities. The people had

to look for new and conducive settlement.

xxvii
 Information gathered from Rockia Resorts and tour consultancy represented by

Mr. Prince Kwame Wiafe declared that Kwahus routed and decided out of

magnanimity to accept the compromising ethnic group into their fold. The stubborn

ones were blundered off to find settlement elsewhere and leave Kwahus alone. This

reveals that Kwahus were highly united and because of that they were never defeated

by any group of people or ethnic group.

1.26 District Capitals in Kwahu

Due to the large nature of the land, Kwahu land has been divided into four

main districts, each one having its own capital. The districts are Kwahu South, Kwahu

West, Kwahu North and Kwahu East.

Initially there was only one district capital in Kwahu which was established in

1988 under the Legislative Instrument, Act 1428, which was part of the fifteen (15)

district capitals in the Eastern Region, which was located at Mpraeso. This has given

an opportunity to the place (Mpraeso) to develop in terms of facilities.

In 2004, during the reign of President John Agyekum Kuffour in the fourth Republic,

some district capitals were formed; three other district capitals were established to

manage their own activities due to the vast nature of the land. The newly created

district Assemblies are Kwahu West and Kwahu North and Kwahu East.

The Kwahu North District Assembly is located at Afram Plains which is

popularly known as Donkorkrom which include Ekye Amanfrom, Tease, Maame

Krobo, Adiembra, etc.

The District capital for Kwahu West is Nkawkaw, which was regarded as a

village for Obomeng and Atibie citizens. The Kwahu West District, whose capital is

Nkawkaw, includes other villages like Jejeti, Amanfrom.

xxviii
 The district capital for Kwahu East is Abetifi. It includes towns like Abene,

Pepease, etc

1.27 Towns in Kwahu

Papa Yaw Kuma an elder of Atibie disclosed that the Kwahu traditional area

was made up of fourteen (14) towns but now it has been increased to about twenty –

one (21).

The various settlements that form Kwahu towns are: Abene, Abetifi, Pepease,

Atibie, Nkwatia, Obo, Bepong, Tafo, Akwasiho, Obomeng, Twenedurase, Nteso,

Mpraeso, Asakraka, Aduamoa, Pitiko, Sadan, Burukuwa, Nkantanane, Ahinasie and

Donkorkrom.

1.28 Villages in Kwahu

The various towns that have been mentioned have their villages where some

Kwahu people settle.

Nkwakaw for instance, is a (village) for citizens from Obomeng. Nkwakaw-

kuma is also a village for people from Atibie. Jejeti is a village for Mpraeso and

Kwahu Praso is also for the people from Obo. Other villages in Kwahu are Tease,

Suminakese, Asubone Rail, Hweehwee, Oworobong, Ankoma, Oframase and

Amanfrom.

xxix
 AD‫כּ‬NTEN

ABETIFI
Bokuruwa
Aframso
Sadan

SANAA TWAFO

NKWATIA

ABENE
Hweehwee
NIFA
Dwerεbeas BENKUM
e
OBO
ADUAMOA
Obomeng GYASE KWAWU Nkwatia
Bepong Mpraeso
Asakraka ATIBIE Kwawu Tafo
Pitiko Jejeti Kotoso
AKWASIHO
Danteng Suninakεse
Nkawkaw
KYIDOM
Kwahu Praso

PEPEASE
Twenedurase
Ntεso
Ahinnase
Nkwantanang

Figure 1.0 Traditional Authority structure in the Kwahu traditional area

xxx
 The Traditional authority structure as narrated by the Asafohene of Mpraeso

(Nana Anom Boansi) deals with the administrative and conflict/war roles each town

within the Kwahu traditional area plays. The seat of paramountcy is from Abene that

is where the capital is located and they are from the etena/ bretuo clan. Hweehwee and

Dwerebeas are newly created Towns; they stay with the chief and offer the necessary

assistance.

Twafo which by nature belong to the Asona clan in Kwahu is being guarded by

Kwahu Tafo, who serves as scout and is in charge for planning activities for the

various wing chiefs. Particularly, in terms of conflict or war with other ethnic groups,

it is Twafo who mount or map up strategies and direct the groups as to where and how

they are to move. Administratively, if there is any message to be carried across, it goes

direct to the Twafohene.

The Adonten Division is the first group to protect the paramountcy. Twafo

division, which is lead by Kwahu Tafo then informs Adontenhene and directs the

Adonten Division which is from Abetifi, followed by Bokuruwa, Aframanso and

Sadan respectively. They are from the Agona clan.

If there should be any conflict or war, which requires the protection of the

paramountcy, the Twafo division is the first group to act by carrying instructions and

directions to the other Divisions. They then go with Bokuruwa, Aframanso and Sadan.

But if there should be any message or administrative role, the Adonten division which

is lead by Abetifihene will receive the message then send it to Bokuruwa through

Aframanso then to Sadan group.

Sanaa Division is from the Asona clan and is led by Nkwatia. It is mainly in

charge of treasury and finance activities. If there should be any contribution or any

xxxi
financial matters about the Kwahu Traditional Council, the Sanaahene becomes

directly responsible. He keeps the treasury of the Omanhene.

Nifa Division which is an aspect of the wing chief is led by Obo, followed by

Obomeng, Bepong, Asakraka, Pitiko, Dantey, Nkawkaw, Kwahu Praso in that order

and are responsible of the right hand side of the throne. They constitute the Aduana

clan and have a dog with fire emitting from the mouth as its totem. They are mandated

to protect the right side of the paramountcy base on the instructions and directions

issued from the Twafo Division.

Gyaase Division which belongs to the Oyoko clan is also been led by Atibie.

Administratively, they take care or protect the Omanhene and receive messages

directly from the chief or from someone who has been sent by the Omanhene to

deliver a message. After receiving the message the chief of Atibie then passes it on to

the chief of Jejeti.

The next division is led by Pepease followed by Twenedurase, Nteso, Ahinase

and Nkwantanang in that order who all constitute the Kyidom division and are from

the Ekona clan. They protect the seat of paramountcy that is the Omanhene of Kwahu

Traditional area when Benkum Division, Nifa Division and Adonten Division are

away. They take cover and also send re-enforcement to help the three divisions.

Kyidom is referred to as the supply unit. In terms of administration and relay of

messages, the kyidom division receives information through the Pepeasehene who is

the head of Kyidom Division. He then passes the information on toTwendurase, Nteso,

Ahinnase and Nkantang chief respectively.

Akwasiho is also under Kyidom division according to information gathered.

They support the Gyaasehene to help protect the Omanhene and all who assist the

Omanhene. Administratively the Akwasiho chief who has been raised to the same

xxxii
level as Gyaasehene helps to supply information to the rest of the wing chiefs who

later send it to their subordinate chiefs.

1.29 Organisation of Chapters

Chapter one deals with Introduction and has already been outlined. Chapter

Two discusses the related literature of the study, whiles Chapter Three entails the

methodology. Chapter Four tackles the presentations, discussion of findings accrued

from the study with Chapter Five presenting Findings, Summary and

Recommendations. This is then followed by Bibliography and is captured in an

alphabetic order using the APA system. The next item is the Appendix.

xxxiii
 CHAPTER TWO

2.0 REVIEW OF RELATED LITERATURE

The related literature covers relevant areas like: definition and scope about the

subject matter. That is culture, Art, Religion, Visual Arts, Performing Arts, Body and

Verbal Arts.

The researcher tried to investigate “Kwahu Cultural Values: their impact on the

People‟s Art” (and their art). The main aim of this review is to help Kwahu and the

entire public to know much about Kwahu culture.

However, the researcher cannot talk of cultural values without looking at the

basic elements in culture that make it complete. These two (2) important items are

“Art” and “religion”. They are interrelated or closely related to each other.

2.1 Culture

Kottak (2005:41) recounts that “culture is that complex whole which includes

knowledge, belief, arts, morals, law, custom, and any other capabilities and habits

acquired by man as a member of society”

Twum-Barima (1985:1), also states that “in our consideration of the word and

concept many subjects rush to our minds such as dressing, etc”. The knowledge

acquired reveals that culture depicts the way of life. Manser (1997:309) reports that

“culture is the customs, ideas, art etc of a particular civilization, society or social

group”.

xxxiv
 The above definitions on culture reveal that culture is the behaviour and life

style of an individual and the society. That is, how the people interact with things

found in their environment.

2.2 Cultural Values

Schaefer (2004:60) further stated that cultural values are those collective

conceptions of what is considered good, desirable, proper or bad, undesirable and

improper in a culture.

With these contributions we can say that values influence people‟s behaviour

and can serve as criteria for evaluating the actions of others.

The cultural policy of the Republic of Ghana emphasizes that culture is the

totality of the way of life evolved by our people through experience and reflection in

our attempt to fashion a harmonious co-existence with our environment.

The policy further states that culture is dynamic and gives social, political,

economic, aesthetic and religious practices of our people.

Cultural habits, perceptions and inventions mould human nature into many

forms. Parts of our cultural traditions have converted natural acts into cultural

customs.

This gives a clear indication that culture is the sum total of the human being,

which makes man complete in his way of life. It makes it possible for us to know the

sort of people we are.

2.3 Art

xxxv
 Many attempts to define art have been made but not very satisfactory results

have been achieved however, arts can be said to be a way of representing an idea in a

creative manner which is useful in the society.

Grimshaw (1996:4) defines art as “a collection of ideas produced by human

skill, imagination and invention”. He believes that art can be part of everyday life.

People from every culture make art. In some cultures art is more connected to

everyday life than in others.

Konrad (1962:1) also contends that art is nothing but one of the primary means

by which man acquires reality”. Describing art as a component of culture, Herbert M.

Cole confirmed this statement in his article that: “Some festivals in Ghana are total

works of art”. Amenowode (2002:7) contends that “Art is the expression of

mankind‟s inner feelings in visual form”. Adding to this, one can say that the features

or characteristics of art have made it possible as a mirror for observing activities that

go on in a person‟s inner being.

Back to the definition of art cited by the authors, it clearly shows that art can

be tangible or intangible material that can be used by man in his environment. It shows

that there is art in everything one does and the environment is composed of art. Art is

therefore the basis of everything we do. Without art the world would have been in a

mess or in a miserable state in which one will find very difficult to survive. This seems

to give evidence that art is life.

2.4 Religion

Mbiti (1975) concedes the notion that religion is found in all areas of human

life. He said that religion has dominated the thinking of African peoples to such an

xxxvi
extent that it has shaped their cultures, their social life, their political organizations and

economic activities. We can say, therefore that religion is closely bound up with the

traditional way of African life, while at the same time, this way of life has shaped

religion as well.

In Mirror for Humanity, a concise Introduction to cultural Anthropology by

Kottak (2004:210), Anthony F. C. Wallace an anthropologist defined religion as

“belief and ritual concerned with supernatural beings, powers, and forces”.Kottak

further states that “religion exists in all human societies. It is culturally universal.

It has been observed that culture, art and religion are inter related or inter

woven. Since they all portray the way of the people. In African societies of which

Kwahu is no exception, it is true that cultural and religious circumstances did not

exclude the making of art. Art has really contributed to the survival of man in the

environment that he lives.

2.5 Visual Arts

As the name suggests visual art simply refers to all the art forms that can be

seen and felt. Many writers have been able to define visual art in various ways.

Marshall (1972:95), dilated that Visual Art Programme include painting and

drawing, sculpture and pottery, textiles and graphic design. With this knowledge it

proofs that art, particularly visual art, is very wide and therefore takes part in

everything that one does even without considering one‟s culture. One will hopefully

be in need of an item that is an artefact for survival. This motivated Britain and France

to introduce art and craft in their formal education which contributed to the

development of the country.

xxxvii
 I have also observed that souvenir work, the most commercially successful of

most recent African arts has developed in response to demands having some link with

cultures.

Amenuke et al (1991:1) also stress that “visual art education encourages

personal development and an awareness of both cultural heritage and role of art in

society.

The contribution from both writers indicates that, the scope of visual art

comprises Graphic Design, Picture making, Textiles, Ceramics (pottery), Sculpture,

Basketry, Jewellery (Bead making), Leather work, body art, etc. All these art forms

are usually felt and seen. As part of culture, this art form (visual art) enables

individuals and the entire society to function effectively.

The making or creation of visual art forms has made it possible for us to know

much about our cultural heritage. These art forms especially visual art has helped us to

know the exact events that took place in the past. For example when one dies items

that he or she used whiles alive make it possible for us to know some of the activities

and events that happened in his or her life time.

2.6 Body Art

Boateng (2004:2) expresses his view that body art refers to the art of the body.

Throughout the world people modify their natural appearance. Such modification or

art of the body which has a cultural background includes ornamentation, the use of

cosmetics, scarification, tattooing, deformation, hairstyle, body marks, paintings,

xxxviii
clothing, circumcisions and the like. Body arts are mostly done for religious purposes,

cultural, medicinal, identification, beauty or beautification, entertainment and others.

From the writer‟s view on body art, is the decorations and other art forms

should be such as (textiles, jewellery, leatherworks, paintings etc) found/worn on the

body based on the definition given, other writers views on the body arts. The wirter

therefore agrees that body art is an aspect of visual art.

2.7 Performing Arts

Art also functions in the society as a form of communication between the artist,

community and the audience. The audience as well as the society appreciate

performance. Boateng (2004:4) stated that “performing arts are aspects of Arts which

are performed instead of being made”. Nketia also concluded that Performing Arts are

arts that can be performed before an audience. Appiah (2004:2), on his part also

mentions that performing arts include drumming, chanting and dancing to promote

ritual activities of a religion, philosophy and cultural activities.

From the definitions, it can be deduced that this form of art is usually

perceived by the use of our sense of hearing and seeing. Generally, performing arts

deal with performance rather than being made. This includes music, drama (dance

drama, narrative drama, and ceremonial drama), dance and verbal art.

2.8 Verbal Art

Boateng (2004:4) said “Verbal Art involves prayers, exclamation, spells,

invocations and incantations which are used to venerate, placate or coax the gods, the

spirits and the ancestors.

xxxix
 Language is an abstract system of word meanings and symbols for all aspects

of culture. It includes speech, written characters, numerals, symbols, gestures and

expressions of non verbal communication. Languages are often spoken words.

However, ordinary constructions of words without stylistic elements in the language

are not verbal art.

CHAPTER THREE

3.0 METHODOLOGY

3.1 Introduction

This chapter deals with the methodology employed by the researcher for

eliciting and analysing data for the successful accomplishment of the entire research

work. It also gives a step by step approach of how the research was conducted to

achieve the objectives of the research.

The following are sub-headings under the research methodology:

a. Location of the study.

xl
b. Research Design.

c. Library Research Conducted.

d. Other Available Facilities.

e. Population (target and accessible).

f. Sampling.

g. Instrument for the data collection.

h. Primary and Secondary data.

i. Data Collection Procedure.

j. Data Analysis Plan

3.2 Location of the study

The research was conducted in the Kwahu Traditional areas in the eastern part

of Ghana.

3.3 Research design

The Research Design method adopted was the qualitative approach. The

qualitative approach deals with the collection of data by using words to describe and

evaluate situations, which made it possible for the researcher to test and validate the

hypothesis. The methodology used helped the researcher to identify some important

findings and also made equally important assumptions and recommendations.

The descriptive and narrative approaches were used. The design describes and

narrates the life style of Kwahus. Descriptive technique used made it possible for the

writer to give vivid account of the way of life of Kwahu people based on their

numerous events and activities.

xli
 The narrative technique made it possible to obtain information from chiefs,

elders and the public. The narrative method was used to show how things were done.

It also helped to bring out relevant information such as the historical background of

Kwahu people, settlement, their culture, influence of the culture on their art.

3.4 Library research conducted

The following libraries were visited to gather the information; The KNUST

libraries: which include College of Art, Social Sciences and the main Library, the

Balme library at University of Ghana - Legon in Accra, University of Education,

Winneba libraries at the North campus and the art Education Department libraries.

Also, the Kwahu Traditional Council library was visited as well as the internet.

3.5 Other available facilities used:

The Palace, shrine, funeral grounds, community centres at Kwahu, some

cemeteries in Kwahu, Kwahu district assembly halls were used to acquire valuable

information.

3.6 Populations for the study:

The research covers a population of people living within Kwahu traditional

area in the Eastern part of Ghana. It also takes into account infinite objects within the

locality.

Target:

xlii
 The target groups for the study were the chiefs (traditional rulers), elders of

Kwahu traditional area, priest and priestesses, family heads, family members, heads of

institutions, staffs of Kwahu Traditional Council, potters farmers, teachers, students as

well as residents and natives of Kwahu.

The population was then divided into three (3) categories for easy

classification. That is traditional rulers, members of the general public which

constitute residents, natives and youth (students).

Category A: Traditional leaders (chiefs, queen mothers, priests and priestesses

and elders of Kwahu traditional area).

Category B: Members of the general public which includes residents and

natives of Kwahu (family members, parents, farmers, potters, traders, staffs of Kwahu

traditional Council, etc).

Category C: The Youth (students).

Accessible population:

In all 300 people were engaged in the research. These include 10 chiefs, 50

elders, 100 students, 140 residents and natives living in Kwahu traditional area out of

the total population of about 307,214 people of Kwahu Traditional area based on the

approximated figures of the population census which was conducted in the year 2000.

3.7 Sampling

The process of sampling made it possible for the researcher to limit the study

to a relatively small portion of the population. Due to that some selected towns

including Atibie, Mpraeso, Obomeng, Obo, Abetifi, Bepong, Nkwatia, Pepeasi,

Abene, Kwahu Tafo, Kotoso and Nkawkaw were used for the study.

xliii
 To get the true representation of the population, the simple random sampling

and purposive sampling were used: The simple random sampling was used for the

selection of students from Atibie DC Methodist Junior High School, Mpraeso Senior

High School, St Peters Senior High School, Abetifi Teacher Training College and the

Presbyterian University College at Abetifi.

The sample size was taken from people aged from (12) twelve years and

above. These were divided into four (4) groups namely 12-25, 26-35, 36-45 and above

45.

In all 20 students from various institutions took part in the activity. This was

done in a way that population had equal chance of being included in the sample.

The lottery method (hat and draw) under simple random sampling was used to

select respondents. This really motivated the students to take active part in the exercise

and also take the activity (exercise) serious with the assistance of the teaching staff.

Purposive sampling:

Considering this approach, the sample in here was chosen to suit the purpose of

the study, where certain elements of the population were deliberately selected.

In this activity the purposive sampling were used for the traditional leaders

(chiefs and elders).

Convenience sampling:

With this approach the sample was selected according to the readiness or

willingness of the general public.

xliv
 The convenience sampling was used for the general public which belongs to

category B. It includes residents and natives in Kwahu (family members, staffs of

Kwahu traditional council, staffs of the district assemblies, farmers, traders etc).

They were within the age group of 25years and above.

3.8 Instrument for data collection

The nature of the study led to the use of varied forms of instruments like

interviews, observations and questionnaire. The questionnaire and guided interviews

were administered to the various sample groups.

Interview

This is an oral presentation obtained from the respondents. Here, it was a face

to face meeting between the researcher (questioner) and the respondent which

employed the structured interview and unstructured interview.

With regards to the structured interview, a fifteen item interview guide was

used in relation to the subject matter, thus “Kwahu Cultural Values their impact on the

people‟s art”. The unstructured Interview which is also a flexible approach was used in

interviewing the general public. The outcome of the results was also recorded in the

form of notes and tape recording.

Respondents or interviewees gave vivid description and also narrated the

needed information verbally in the presence of the writer (interviewer) about their

culture, cultural values of Kwahus and their impact on their art. The writer had the

opportunity to clarify issues and statements made by the respondents. With this device

the response rate was high since they were able to express themselves freely than

asking them to write.

xlv
 The interview also helped in bringing out confidential information such as the

situation between Abene and Bokuruwa claims as to who was the first to settle in the

area, since the people of Bokuruwa claim the royal seat should be at their place and

not Abene.

Observation:

Some information was obtained through observation, which helped immensely

in a descriptive research. It is easy to recollect events and activities through

observation and in pictorial form. It gives a clear picture and understanding about how

things are made.

Observation simply answers questions posed on an individual such as what,

why, who, how, when and the likes. The researcher witnessed a series of events and

activities done by Kwahu people. With regards to that it exposed the writer to the

culture of Kwahus; as well as their cultural values and how it influences their arts.

Both participant observation and Non – Participant observation were used by

the writer. Some of the events and activities observed were funeral ceremonies,

festivals, marriage ceremonies, birth and naming rites, healing performed by the

herbalist, recreational activities, installation of chiefs etc.

Facilities such as; camcorder(video), audio tape recordings, digital cameras,

notes taken and other relevant gadgets were used to enhance the recording of

information from the events and activities observed.

Questionnaire:

Questionnaire was prepared to solicit information from respondents. Five (5)

itemized questions were designed for students and fifteen (15) other questions were

xlvi
also prepared for the general public (respondents) which includes (farmers, potters,

traders, staff of various institutions, residents and natives of Kwahu).

The researcher explains the questions on the questionnaire to respondents and

collects it back immediately they have finished answering the questions. He also used

the opportunity to explain any part that is difficult for them to understand. All

hundred and fifty copies of the questionnaire were distributed. Respondents did not

have much difficulty in answering the questions because the questions were open,

simple and respondents had the freedom to express themselves. The writer was able to

retrieve all questionnaires.

3.9 Documentation:

The researcher compiled the result of the 2000 population census from the data

gathered at the district assemblies. Also vital information about Kwahu was obtained

from written literature to support the write up especially the review of the related

literature.

Types of data:

The primary and secondary source was used to gather information. The

primary information was the first hand information such as face to face meeting of

respondents such as chiefs, elders, general public, students etc. Examples of some

tools used in gathering primary data include: interviews, observations, questionnaire,

informal discussions, taking of pictures. Raw materials from books and documents

that have not been analysed or evaluated were also assessed.

The secondary data comprise information collected from libraries source such

as books, journals, magazines, newspapers, periodicals, thesis, charts, calendars,

xlvii
Kwahu almanac, brochures, particularly books that have been analysed and evaluated.

The internet was also used to obtain information related to the study.

3.10 Pre test:

A sample of interview guides and designed questionnaire were administer to

respondents at Nkawkaw, which include residents and natives of Nkawkaw Township,

students of Nkawkaw Secondary School, Nurses at Holy Family Training College,

students of Akuamoah Junior High School.

In all fifty (50) respondents were used for the pre-test exercise. This was done

to help the writer to identify the reliability and validity of the interview guides and

questionnaire in meeting the objectives of the study (research). It was noted / found

out that the questions were clearly, simple and was easily understood. The researcher

used tape recorder, digital camera and camcorder in recording as well as notes taking

from interviewers and also relevant information observed.

3.11 Data collection procedure:

The population were categorised into three (3) main groups; category A, B and

C. Category A consist of chiefs and elders and age range is above 45. Category B

deals with the general public who are the masses which include all sort of people. This

group comprises of adults and youth and the age range is from 25 - 45 years. This

group is made up of elders, family heads, grandparents, parents, workers of various

occupations. Category C is made up of the youth mainly students age 12 – 25years.

The researcher used interviews (structured and unstructured), observations of

various events and questionnaires to gather necessary information needed. A general

xlviii
questionnaire was also designed to solicit information from the three (3) groups

(categories) of people to inquire about their knowledge on the topic “the cultural

values of Kwahus and its impact on their art”.

The writer explains the questions to respondents and gave them a week to

submit the questionnaire. Some respondents answered the questions immediately and

handed it back to the researcher.

3.12 Data analysis plan:

The chiefs and elders were able to state and describe the cultural values of

Kwahu people as well as its significances and why certain art forms were made in

Kwahu.

The result obtained from the general public who are the masses which include

family heads, staffs of traditional councils, works, farmers etc were able to provide

fairly information to the questions. Usually people refer and advice the researcher to

see the chiefs and elders of the town since they will be in a better position to provide

suitable, accurate and reliable answers to the questions.

The youth who belong to category C with the age range 12 – 25 years were not

able to give the writer enough information about the questions.

Also, the other category which consisted of elders, gave concrete information.

For instance, some elders explained the respect they have for the dead that is why

citizens thus “adehye” who die abroad are brought back home for befitting burial.

Kwahus‟ believe in life after death just like other ethnic groups. They believe that a

dead person is in transition from this world to another world. Thus a person will

therefore need certain items like clothing, sponge, money, handkerchiefs etc to enable

him continue on his journey into the next world.

xlix
 CHAPTER FOUR

4.0 PRESENTATION AND DISCUSSIONS OF FINDINGS

4.1 Introduction

l
 This chapter throws more light on the way of life of Kwahu people based on

the results and findings of the study. It discusses and analyse the data gathered in

chapter three, thus the responses from the respondents on the topic “Kwahu cultural

values: their impact on the people‟s art.”

The findings are based on the answers provided by respondents through

questionnaire, interviews and observations recorded. The writer will describe the

various components of Kwahu culture, such as language, food, agriculture, medicine,

architecture, clothing, beliefs, moral values, economic aspect, religious aspect,

education, social, Political, Customs and Traditional way of life of Kwahu people.

This will help to bring out the cultural values of Kwahus and its impact on their arts.

The descriptive and narrative approach was used to analyse and summarise the

information gathered.

4.2 Kwahus way of Life

Kwahus, whose slogan is Asase Aban, Yεnte Gyae and also Obo‫כּ‬, Obo‫כּ‬ba are

industrious in nature. Kwahus are business oriented people and they are known by

most people in terms of their trading activities, hardworking attitude, their Easter

festivity celebration which has now been accepted as part of their culture, being highly

economic in anything they have or do which generally, makes people refer to them as

pεpεe (misers). Apart from these qualities or criteria attached to Kwahu people, there

are other aspects that portray the life style of Kwahus; their cultural values which have

influenced the making of their arts. An example is the respect for the dead, where

funerals are performed by the bereaved families. Art forms such as music, dance,

textiles (clothing), sculpture (grave, coffin) and others are created.

li
 The writer will use this opportunity to deliberate and highlight on the cultural

background of typical Kwahu people as well as their values.

4.3 Language / Dialect (Language as an identity)

Languages and dialects are equally effective tools and means of

communication. It portrays cultural value such as identity. Kwahus are sometimes

noted in public by their language. Information gathered from respondents revealed that

Kwahus are Akan speaking people like Ashantis, Akuapims, Akyems and Fantis. They

speak Twi but there is a slight difference in their language as compared to Ashantes,

Akwapims and Akyems.

Opanyin Victor Ampadu Wiafe and Nana Anom Boansi of Mpraeso Kwahu

made it clear that, Kwahus are fond of using the syllabi ( La), (hunu) and the like.

Mostly they end their speech and pronounce words ending them with La for instance

Saala (that‟s it), yei ala (just this). This makes it distinctive or different from Akans,

especially Obos who pronounce words in this way; on the Kwahu language. Kottak

(2005:91) argued that the human brain contains a limited set of rules for organizing

languages, so that all languages have a common structural basis.

Another school of thought mentions that the introduction of the Presbyterian

Church in Kwahu land by Ramsyer and his men from Akuapim and Akyem

contributed to some of these changes in their language.

Some of the advantages noted were that, it has made it possible for Kwahu

people to communicate, entertain and educate each other easily. Also, the language is

used as a means of identification. It has helped to identify Kwahus among other ethnic

groups when they speak. Based on some of these activities, Kwahu people can boast of

lii
professional actors and actress like the late Bee Kissi of Osofo Dadzie fame, among

others. This has motivated the people of Kwahu in their quest for drama and concert

which they use to educate and entertain the crowd or audience as seen during Easter

festivities.

As applied to other ethnic groups, language has unified Kwahu people and has

also help in the development of Kwahu traditional area. Kwahus are able to do things

together since they understand each other because they speak one common language

as revealed by the general public. The major disadvantage from the respondents is that

Kwahu language is spoken orally, but in terms of education and examination purposes,

the people use Akuapem Twi or Asanti Twi, which is generally accepted for

examination standard in Ghana.

4.4 Influence of language on art.

In terms of the artistic expression, the graphic artists try to communicate

effectively with symbols, words, figures, pictures and other elements in a given area

with the general public. Appiah (1991:1) on his part defines graphic art as the art of

organising words and pictures into a given area to make a clear statement.

Visually Kwahu language is documented, recorded or symbolically in art

especially painting, sculpture etc as used by other ethnic groups as a source of

reference and means of communicating to the public. The use of graphic design

product has made it possible for Kwahus to express themselves effectively through

their art forms such as flags, logos, Kwahu almanac, emblems et cetera.

liii
 Nana Anom Boansi of Mpraeso, stated that the flag is one of the visual means

one can communicate with the society. It was realised that Kwahus use red, black and

white as their colours. The red represents the blood of their forefathers (ancestors) that

was shed to save Kwahuman. In view of this, red (korbene) is used during funerals.

The white in the flag signifies victory, which is normally associated to powder or

kaolin. It is also used for ceremonies like birth, marriage, funerals for the aged, and

also for festivals like adae in remembrance of their ancestors and heroes. The colour

black is also worn during funerals to mourn the dead.

Logos are adopted symbols skilfully drawn and used as an identity of a co-

operate body or group. The logo or emblem adopted by Kwahu people has the

following features: a stool, two crossed tusks of an elephant, a background that depicts

the mountains, green vegetation (forest) and a building with a cross.

The two elephant tusks that have been crossed indicate the political strength of

Kwahu people. The stool is the seat of the paramountcy which represents the soul of

the people. The mountain depicts the mountainous region where the people live. The

tree with green leaves shows the rich vegetation Kwahu people have. The house

indicates the settlement of the Kwahus. The cross on top of the building signifies

Kwahus love for the word of God.

These are symbols that are used by the four (4) district capitals in Kwahu and

they are Kwahu South District (Mpraeso), Kwahu West (Nkawkaw), Kwahu East

(Abetifi) and Kwahu North / Afram plains (Donkorkrom).

liv
 Plate 4.0: Kwahu Logo

Source: Nkansa- Kyeremanteng (2000). Kwahu Handbook

The symbol used at the royal house of the paramount chief is a stool with a

leopard resting on it. This reveals that Kwahu land is safe, well protected and nobody

can destroy it.

Plate 4.1: The symbol of the paramountcy

Source: Photograph by researcher at Abene

Orally messages are also sent in the form of drum language. This has led to the

production of drums such as: gongo , dondo, fontomfrom, atupan,et cetera. The uses of

bells and horns, like dawuro et cetera are all produced by sculptors.

lv
 Plate 4.2 Drums displayed at the Obomeng Palace

Source: Photograph taken by researcher

Respondents disclosed that symbols are also used as a means of communicating with

one another. For instance, in the Agona clan when a land is owned by the family, any

member of the family can farm on a portion of the land. To indicate that someone is

occupying portion of the land, one puts a stick with leaf stuck at the top which is

known as nkjtjj is placed in the middle of the land where one intend to farm. This form

of art gives a signal that someone has already shown interest on that piece of land.

Hence it has contributed in reducing land dispute among families.

Also adinkra symbols are used as a symbolic means of communicating to the

public. Such as gye nyame, akoma, prayɛ woyi bakoa na ebu, akoma ntoaso, adwen

mmɛn, etc.

lvi
 Plate 4.3 Relief of Adinkra symbols at the chief‟s palace at Obomeng

Source: Photograph by researcher

In Kwahu the role of verbal art as an aspect of performance has helped some of the

people to know about mpanyinsem. It has really helped some to become fluent, which

has enabled them to become announcers during important functions such as funerals.

An example is Akasanoma who is an announcer in Kwahu. They are MC‟s (master of

ceremonies) in ceremonies like naming, marriage rites, festivals, funerals and the like.

Prominent among the public announcers are the Kwahu announcer who is in the

person of Mr. I.K. Nkrumah-Dankyi, who is the president of the Ghana Union of

Public Announcers (GUPA). Others are Akasanoma, the secretary of the union,

Obocba announcer, chwεfoc Nketia, Dr. Darfour, Akos announcer, Bishop Baiden, etc.

This has help to create a source of generating income and job creation for Kwahu

citizens as described by Mr P.K Opoku Asiamah.

lvii
 Plate 4.4: Akasanoma of Abetifi (the Kwahu Announcer)

Mr P.K Opoku Asiamah

Source: photograph taken by researcher

4.5 Food (Identification/ Identity through food)

The major staple food for Kwahu people is fufu, since plantain, cassava,

cocoyam, yam and water yam are in abundance in the region. They pound fufu with

any of the crops mentioned above. Usually, the people prefer yam and cocoyam when

pounding fufu.

Respondents mentioned that Kwahus are not like Akuapims who prefer palm

nut soup to other types of soup. Kwahu people can eat fufu with any other soup since

various vegetables are available in their locality, for example groundnut, palm fruit,

vegetables such as kontomire and the like. Kwahus usually prefer green leafy

vegetable soup that is Abunabun. Other types of food for Kwahus include ampesi,

mpctcmpctc also known as mpihu or nyoma which is a favourite food for Akuapems.

lviii
The following are some the foods: nkyεkyerεwa, εfam, bamfo bese/awiesu, apapransa,

konkonte/abeteε, banku, εtε, bɔɔdedwo, aburolotoo, akakro, tatare, agau/koose, etc.

Respondents disclosed that cereals are not major food for Kwahus, but for

change and migration they now produce for sale and eat as well. Some of the food is

now obsolete, example, akam which used to be an occasional food during funeral.

During funerals the women eat this type of Yam akam. It is a type of Yam that grows

on a climbing stem unlike the tuber crops (yam). At the end of the season, its foods

akam fall on the ground from the stem. Such foods were eaten during the day by

women when mourning the dead or a relative. They do so because; they cannot go and

work on their farms during the funeral activities. Other examples of foods eaten during

such occasions are mkamfo, ɛfre.

Bat is a seasonal meat; it is a delicacy Kwahus enjoy when the season comes.

Bats (Ampan) migrate to cool places with trees caves. They have a special way of

preparing it. They sometimes cut it into pieces, remove the intestines and add spices to

it which taste nice. Other times they remove the intestines and prepare the meat, whole

when preparing the soup. Information gathered reveals that Kwahu people prefer bush

meat which includes grass cutter akranteɛ, snails, crabs especially the small ones.

4.6 Influence of meal/food on art. (identity)

According to some interviewees, the eating of fufu as a favourite food among

Kwahus have motivated or influence sculptors in Kwahu Pepease, Abene, Abetifi,

Nteso and Twenedurase in Kwahu traditional area to carve mortar, (woduro), pestle

(woma), grinder (tapole), which is a small wooden object which has been carved with

two blocks/edges used for grinding ingredients such as pepper, garden eggs, tomatoes,

lix
etc in the dish (apoɔtɔ yowa) and on flat slab. The sculptors also carve abe woduro

which is also used to pound palm fruits, dried cassava (konkonte) mazie and other food

crops as described by respondents.

The sculptors also carve flat stone slabs on which they grind vegetables for

preparing the (Abunuabun nkwan) green leafy vegetable soup.

Plate 4.5: a boy grinding pepper at Adoagyiri (Nkawkaw)

Source: Photograph taken by Researcher

The pounding of fufu is an act or technique which can be done by two people

or just one person, in cases where one person pounds the fufu and turns it at the same

time, it is referred to as awocka. The person use just one hand to pound and the other

hand to turn the fufu. Usually the pounding is done by males whiles the turning is done

by women. This is so because, the men or male are known to be physically stronger

than females. Likewise both sexes can do the pounding.

lx
 Plate 4.6: a woman pounding fufu with one hand (awocka) Plate 4.7: Two people pounding fufu

Source: Photograph taken by the Researcher at Adoagyiri (Nkawkaw)

Mortar is made from trees which are not poisonous and also durable. Some

carvers interviewed described that theirs have a broad base, not too shallow and the

edge is quite broad for the pestle to rest on when pounding.

Plate 4.8: a carver making a mortar at Pepease

Source: Photograph taken by the Researcher

lxi
 The eating of fufu has also influence the making of pottery. The dish is usually

made in semi-circular form, not too shallow so that the grinding and eating from the

ware will be easier. The Asante Ayowa is made to serve fufu for males. They

sometimes make a lid to cover the food served. The potters interviewed mentioned that

some people also request for the design, size and shape of the ware that are made in

Kwahu.

4.7 Agriculture (depicts hardworking nature of Kwahus as a cultural

value)

Kwahus are noted to be hardworking people. In terms of agriculture, they

engage themselves in farming, hunting and fishing as revealed by respondents.

Agriculture is one of the dominant occupations apart from commerce, among

Kwahu people. Respondents mentioned that the farmers had to travel quite a long

distance before they get to their farms. That is about 52.6% of the adult population are

mainly subsistent farmers (Ministry of Food and Agriculture 2006). Most of the

farmers do not use modern technology in farming. They usually use simple farm tools

such as hoes and cutlasses in their farm work as expressed by (interviewees)

respondents.

Kwahus are peasant farmers and they have fertile land which helps them to

plant various crops. Some of the crops that they grow include cash crops and food

crops such as vegetables, cocoa, cocoyam and the likes. They used to have state farms

during Nkrumah‟s regime. The forest reserve that Kwahus have has made it possible

for them to produce a lot of Timber for export. That is why NOVOTEX was

established at Nkawkaw.

lxii
 It was revealed that Kwahu is among one of the leading districts that produces

food crops in the country. Some of the leading crops include yam, maize, coffee, kola,

cocoyam, plantain, vegetables and tiger nuts.

Plate 4.9 Plantain Farm at Abetifi Plate 4.10 Maize farm at Bepong
Source: Photograph taken by Researcher

 
Plate 4.11 Agricultural products from kwahu

Source: Photograph taken by Researcher at Nkawkaw

4.8 The influence of agriculture on art

Respondents revealed that, blacksmith and Sculptors had to make simple farm

tools that helped the farmers to work in their farms. Cutlasses were made to help the

farmers clear the land at the initial stages. Tools such as cutlass, hoe, etc is known as

lxiii
practical or applied art. It was also used for planting and cutting stems, trees and other

stocks on the land.

Plate 4.12: A Blacksmith at his workshop Plate 4.13: Variety of farm tools

Source: Photograph taken by Researcher at Bepong.

After clearing the farm land with cutlasses and hoe, they gather the weeds with

the use of the rake and at the same time use the weeds as manure for the plants and

crops. Usually they use the big hoes for weeding activity and smaller hoes when the

crops are now grown and weedy.

Some of the farmers build hut or shelter in their farms so that they can rest,

cook or keep some of their farm items in the farm since the place is far from home and

also to protect them when it rains in the farm. It serves as an architecture which is an

art form.

The farmers also have an artistic way they use to scare animals as well as

human beings who try to steal from the farm. They employ the scare crow technique,

which is an abstract structure in the likeness of man, clothed in dress, wig, red band to

signify danger to look like the farmer in his farm or as a god bosom, with the prime

aim to drive intruders off the farm land.

lxiv
 Orally the farmers do not mention names when they are leaving the farm or

wants to communicate with one another. They shout on top of their voice when

communicating to the other.

 Timber and Lumbering

Due to the rich forest reserve in the region, the people indulge in saw mill business,

since the reserves contain valuable economic tree species which are used as timber

plywood and other wood products. That is why the Timber market at Nkawkaw and

Novotex were established. They transport logs to Takoradi for further export outside

Ghana. But it is unfortunate that Novotex is no longer functioning. This has promoted

wood work and carving in Kwahu.

Areas noted for timber logging activities are Kwahu Tafo, Asakraka, Adawso,

Osubeng, Aduhema, Hweehwee and Sepoa. Others are Bepong, Pepease, Abene,

Suminakese, Asuboni, Asikam and Mota. Since 1972 about 1,794 acres of trees have

been planted in the district. Among the types of trees planted are Teak, Ginelyna,

cafrella, Leauceama, cassia, Amnu and Adinam. Bush fires have destroyed majority

of Tongyas established within the forest reserves to replace the lost vegetation.

(Ghana, Forestry Department, 2006)

Plate 4.14: Some logs at the Nyame bekyere sawmill at Nkawkaw

lxv
 Source: Photograph taken by Researcher

Apart from farming most of the people engage themselves in hunting and

fishing. The hunters kill animals in the forest and sell them to raise money for their up

keep. Sometimes, some of these hunters eat it themselves or use it to feed the family.

Mostly, they use locally made tools and guns popularly known as te abɔcfre, cutlasses,

fire and sometimes make traps with canes, sticks etc, to trap the animals. Art is

employed in the design and making of the trap.

Fishing is also an aspect of agriculture that is practiced in Kwahu. Fishing is

mainly done by quite a smaller group of people from Kwahu. This form of occupation

is usually done at Kwahu North district, especially those in Afram Plains. Large scale

farming is done on the Volta Lake. Fishermen sail in canoes to carry out their day to

day activities. These canoes are been carved by the sculptor and this shows the link

and benefit art portrays in all aspect of life. The mending of the net is also an art as

well as the fishing activity.


Plate 4.15: Fishermen busy at work on the Afram Plains Plate 4.16: Removing fishes from nets

Source: Photograph taken by researcher

4.9 Pottery as a vocation in Kwahu (art and craft as a means of

identification)

lxvi
 Kwahu is considered as one of the places in Ghana where clay is predominant

this has led to the production of pottery works. Some of the towns in Ghana, where

pottery works are predominant are Lawra and Bolgatanga in the Northern Region,

Pankrono in Ashanti Region, Asankragua in the Western Region, Cape Coast,

Saltpond and Winneba in the Central Region and in the Eastern part of Ghana pottery

works are mostly done at Mpraeso.

In Kwahu clay is predominantly deposited at Mpraeso, Atibie, Aduamoa, Obo,

Aduhema, Nkawkawkuma, Kwamang, Kwahu Nsaba and Nkwanta number II.

Plate 4.17 Asantewaa moulding a dish Plate 4.18 Asantewaa burnishing her dish

Source: Photograph by Researcher at Mpraeso

One of the clay sites in Kwahu is Apaku Mountain. Among the Kwahus,

Pottery is mainly done by women and it is a taboo for men to go to the clay site or

even indulge themselves in pottery

Madam Juliana Animwaa a porter of Kwahu-Mpraeso narrated that, it was

Animapc who discovered clay in Kwahu. The spirit said to her she will die if she

discloses it or not. According to Juliana Animwaa, Animapc’s family started the art

of pottery as a vocation in Kwahu. The quality clay is referred to as Animapc, but now

they dig clay from river side. The potters further stated that amodin is also another

lxvii
type of clay discovered this time the person (spirit) the woman met at the site said it

has no name then it disappeared then the women named the clay as amodin.

Respondents (potters) mentioned that rituals are performed whenever they discover

clay sites. They do not go to clay sites on Friday‟s, Wednesdays and also dabcne.

Pregnant and women in their menstrual periods are forbidden to fetch clay at the site.

When such occurrences happen, quality clay in this regard Animapc are scare to come

by, coupled with cracks in most of their wares during drying and firing.

Sometimes the clay falls on the women when digging the clay. At this stage,

men are called to the clay site to rescue those trapped in the pit, then rituals will be

performed to cleanse the site. It includes pouring of libation which is an art.

It is believed that the clay is a male so when it sees the nakedness of the

women, the clay comes in large quantities for them to collect or dig for their pottery

wares. One of the reasons why males are not allowed to go to the clay site is to prevent

them from seeing the nakedness of the women. Also it is believed that things do not go

well with men who are into pottery as stated by the potters interviewed.

4.10 Influence of pottery as a vocation on art. (Identification)

The pounding, mixing and moulding of clay is an art. Pottery in Kwahu is

basically meant for women. They use the local method - thus their hands to mould the

wares or artefacts. Some of the tools that are commonly used in making the wares are

rags, sticks, wires et cetera. The wares are normally fired by using the open firing

technique. The essence of the firing according to the potters is to prevent the clay from

mixing with the ingredients which is being grinded. Some of the wares are blackened

lxviii
during the firing stage with others too in red state base on the demands and request of

the people to draw distinction between the Ashanti and Kwahu way of pottery.

Plate 4.19: This is where baking of the wares is done by Asantewaa

Source: Photograph by researcher at Mpraeso

In previous years the women did not use the potter‟s wheel, kiln or glaze for

their wares but due to modernization, some of the women now use some of these

methods, tools and Chemicals (glaze) for their wares. This method used by few

people.

The basic shapes of most wares the women produce are in oval, circular and

semi-circle. The earthenware has some rhythmic lines designs or patterns embedded in

and around it. The patterns in the dish make grinding easier, fast and convenient.

Examples of some of the artefacts produced in pottery are: Dish (ayowa) which is

semi-circular in shape used for grinding ingredients such as pepper, tomato and onion,

and also used for serving meals especially fufu. The Asanti ayowa is specially moulded

with a lid for serving men. Other examples of the wares are Asinwa, Kukuo, ahina,

tasa, apctcyowa, dwaresen, sempon and abusua kuruwa.

lxix
 Plate 4.20: display of ceramic wares.

Source: Photograph by researcher at Mpraeso

A (pot) Ahina is a type of container used to store water, wine, grains and

sometimes for cooking, boiling water and medicine. Drinking cups Kuruwa are used

for drinking water, wine, medicine (concoction).

The wares according to interviewees are mostly produced for utility purposes

as containers for cooking, storing water, medicine, wine and food. Some of the wares

are also used for ritual purposes. It may be used to collect offerings for the spirits,

deities, and shrines.

In Kwahu Abusua Kuruwa and (Effigy) Sempon are used in reverence of the

dead, especially Chiefs; traditional priest et cetera, as applied to Ashanti‟s, Akwapims

and Assins.

In the pottery industry in Kwahu they now use the clay to produce items like

chalk, bricks and tiles and ceramic wares. The women also use the clay for the

manufacture (kiln) foronoo, (stand for cooking ) mukyia that is moulding of fire pots.

Clay in Kwahu is also used as paint which is used for painting with some of the

colours being blue and cream.

lxx
 Plate 4.21Sample of mukyia

Source: Photograph by researcher at Nkawkaw Adoagyiri

The art of pottery has created employment for women in the region. It has also

generated income for the citizens and are also been used for manufacturing bricks for

building, utility and aesthetic purposes

Plate 4.22: Unbaked (dish) ayowa from Mpraeso Plate 4.23: Baked (dish) ayowa at Mpraeso

Source: Photograph by researcher at Mpraeso

Some of the traditional beliefs have been over looked which make the wares

crack during the preparatory and firing stages. It was disclose by the women that some

men now sell the clay for the potters. Some potters go to the site and touch clay at an

awful period. This is a breach of the custom of the land.

lxxi
 4.11 Medicinal Values (Sound health as a cultural value)

Sickness is a condition of poor health perceived by an individual. Kottak

(2005:13) further stated that various ethnic groups and cultures recognize different

illnesses, symptoms and have developed different health care systems and treatment

strategies.

Nana Ɔkyeame Ameyaw of Obomeng and Ɔkomfo Asomaniwaa of Nkawkaw-

Krakaw mentioned that some of the medicines that they use to cure diseases include

black powder, herbs, body marks, boiled herbs dudo dry and fresh leaves such as

pawpaw leaves, mango seeds, tree barks, et cetera. In almost every house they have a

pot which they use to prepare and also boil the herbs (bitters). Apart from traditional

medicine in Kwahu about 80% of the people prefer the use the orthodox medicine in

this modern era as revealed by respondents.

These are some of the specialists who use to cure diseases ɔkcmfoc (traditional

priests), dunsifoc (herbalists) and rain makers. Most of the herbalists have specialized

in low sperm count, impotence, infertility, boil, snake bite etc. The people were also

able to find measures to prevent the frequent illnesses that used to attack the people.

An example is the situation at Mpraeso where the Mpraeso people were fond of

orthodox medicine. Citizens at Kwahu are also fond of cleaning their surroundings

which has helped to reduce sickness. Probably that was why the name Mpraeso was

corrupted. Also majority of the women were trained in how to assist women when

they are in labour.

Information gathered from respondents indicates that, some of the leaves were

used for fertility purposes especially women who were infertile were treated with these

lxxii
herbs and other means through the (herbalists) dunsifuo, (priests) ]komfuo to enable

them become pregnant.

It was also noticed that some specialist were performing rituals and using herbs

for infertility purposes. Some of the herbs were also used for abortion thus to

terminate unwanted pregnancy and bone fracture. They commonly use Nkrannedua,

Sasamansan, dry pawpaw leaves, Awonwen, nunum, bark of mango tree and many

more.

4.12 Influence of healing on art. ( sound health as a cultural value.)

Respondents stated that some elements of art are being used as a means of

healing. Body art is used as a means of healing in Kwahu. Sometimes, concoctions

and other herbs (medicine) are applied on the body for protective purposes. In some

parts of Kwahu and other ethnic groups, they use grinded charcoal, red and white clay

to treat mumps.

Sometimes the traditional priest or herbalist ask sick people to wear charms,

talisman, amulets, beads shells and other ornaments to prevent certain diseases. Some

are asked to paint themselves with kaolin. Some high priests also decorate themselves

with beads, paints, kaolin and other ornament as well as raffia around their waist when

performing possessive dance. As part of their dressing, they are most often seen with

whisk. Some of these things as stated or found in some shrines; churches et cetera all

constitute art forms and their influence in healing, an aspect of cultural values among

the Kwahus.

Respondents once again mentioned that, some people are marked with sharp

objects on their body to prevent sickness and disease. The marks are made on the body

lxxiii
for various reasons such as protection, rituals, identification, healing et cetera. They

may have been marked to prevent a Born – To – Die - Child as it happens among other

ethnic groups like Akans. Names like Donko, (male) and Donkor (Female) are usually

given to such people in Kwahu. Others too are marked for healing, protective and

medicinal purposes. Some Kwahu people are marked for rituals purposes against

deities and other spirits. These are all forms of body art.

Some of the potters in Kwahu who were interviewed stated that they make

some pots and earthenware for healing purposes. Also they make pots kukuo that are

specially dedicated for boiling herbs like dodo which they drink to prevent any

sickness. Some of the herbs, leaves, tree backs among others are also grinded in ayowa

(dish), which is later applied on the body, drunk or inhaled.

Plate 4.24: old woman (Christiana) bitten by a cat at Nkawkaw Plate 4.25: grinded medicine in( dish)

Source: Photograph by researcher at Nkawkaw

Nana Omari Boateng of Obomeng Kwahu mentioned that some sicknesses are also

healed through performance (Music, dance and drumming). The (traditional priest)

ɔkomfo or (herbalist) dunsini usually perform various rites and rituals to heal the sick.

Libation is usually poured to appease the gods (gyabom). For instance, when a spell is

cast on someone, gyabom is usually placed at the entrance of a palace to ward off any

lxxiv
evil spirit or someone with bad intension. All the powers are suppress immediately the

person with an evil intension passes by.

4.13 Architectural depicting hardworking as a cultural value in Kawhu

Even though Kwahu traditional dwellings vary a great deal in style and form, many

authors have expressed their views about them. For instance Schneider (1991: xxii)

concluded that architecture is more functional or utilitarian than pictures and sculpture.

Usually the design of a building conforms to the purpose for which it was built.

This really indicates that the environment can determine the type of structure

one can build. As we are aware that Kwahus are hardworking and usually come home

frequently, they build structures (buildings) where they can get a place to stay

whenever they come home. Initially Kwahu people dwelt in caves and inside of huge

trees with holes. When the people first migrated to the Kwahu Land, life was not all

that favourable for them so they decided to seek for proper shelter.

At the initial stage the people started building with mud, fad dan or note

(noteε) that is mud houses which was popularly known to a lot of people as Atta

Kwame dan. The structure was named Atta Kwame probably Kwahus instructed the

northerners or looked upon their style to build.

Nana Anom Boansi of Mpraeso described what he learnt from tradition that

probably Kwahu people instructed the northerners to build the mud houses because of

time factors, since the people had to work hard to look for money and not that Kwahu

people cannot build but it was just to save time.

lxxv
The mud structures Atta Kwame dan are very strong, thick and last for long. The only

disadvantage is that it is very dangerous when it is about to fall because of the volume

of clay applied to the wooden structure.

Also Kwahu people were fond of building with clay. Probably because clay is

predominant in Kwahu. Where they use clay to make blocks with it but this time do

not use sticks as pillars and crossing it horizontally before applying the mud or clay.

The only disadvantage with this type of structure is that it can fall easily.

Plate 4.26: A mud house at Nkwatia Plate 4.27: A mud house at Obomeng

Source: Photograph taken by researcher

Again Kwahu people used quality wood to build houses and other structures.

This type of building is commonly found at Obomeng, Pepease, Nkwatia and Abetifi.

This type of structure does not break suddenly because of the wooden structure. The

only disadvantage is that termites can easily attack or infest the structure (wood). This

type of structure needs constant repairs.

lxxvi
 Plate 4.28: A Wooden House at Obomeng.

Source: Photograph taken by researcher

At the earlier stages those who were very rich used burnt bricks for their

buildings. A typical example is the new (chief‟s palace) Ahenfie at Obomeng. With

such structures the inside is very cool and the room is not as hot as compared to other

types. This type of building is quite similar to that of the Egyptians.

Plate 4.29: Side view of Obomeng Ahenfie Plate 4.30: Front view of Obomeng Ahenfie.

Source: Photograph taken by researcher

Roofing: They were using Brepa, leaves which are broad daha, raffia palm and

rachis used for roofing. Sometimes the people cover the top of their roofs with a

lxxvii
weaving mat made of papa, this serves as a ceiling to prevent ants and insects from

entering the rooms. The weaving skill is acquired through basketry as an art.

In the olden days the rich men used singles. This is a type of wood which is flat

but it overlaps when arranging it on top of the building/ structure. This type of roofing

takes a lot of nails. Now the people use different types of roofing sheets for the

structures that are built.

Kwahu people have now advanced in terms of building probably because they

travel a lot to seek for greener pastures. Most people have now been able to put up

magnificent mansions in their towns and villages especially at Obo, Abetifi, Obomeng,

Nkwatia and others. Visitors say that Obo is a small London because of the

magnificent structures which are put up there.

This time they use cement, bricks, iron rods, glass, slide doors and windows, tiles,

roofing sheets of all kinds and other quality building materials for their structures. One

can now see different kinds of magnificent buildings (structures) like storey buildings,

compound houses, etc.

Kwahu people build wherever they live especially in their home towns, since

they have been coming home to visit their relatives, for funerals, festivals particularly

during Easter festivity. Most people become surprised when they visit Kwahu Towns

and when they see the type of structures the people have put up even in their villages.

Kwahus are hardworking people and also because of the relations they have in

their families - thus the matrilineal system. They just want to leave a legacy such as

buildings as a properties for their nephews in future so that people would see that they

are hardworking people but not lazy.

lxxviii
 Due to the nature of their buildings most people usually say that Kwahu people

are interested in blood money (sika aduro). Others say Kwahus use Nziema Bayie that

is referring to them as witches and wizards because of their money.

As we can see samples of the pictures showing the development of structures

(shelter) in Kwahu? It is believed that man progressed from living on trees, to caves

and finally learnt the art of building shelters such as huts for protection. The new

structures now built include grass-roofed swish buildings and mud buildings roofed

with corrugated iron sheet.

Plate 4.31: A Mansion at Obo.

Source: Picture taken by researcher

4.14 Influence of architectural design on art (promoting

hardworking)

Through observation it was detected that most of the houses in Kwahu were in

rectangular shape, also it was a compound house. This brings to mind that probably

Kwahus are social being, loving, caring and are each brother‟s keeper. In almost all the

houses that the researcher visited had a porch known as potom. Respondents stated

lxxix
that it is used for meetings, religious purposes (morning devotion), and importantly for

funeral (lying in state of the dead) probably because they venerate their dead it could

be seen in their architectural design which is an aspect of art.

Clay was also used as paint for painting their houses (structure). Usually it was

in red, black, cream and brown. The floor was usually painted with red paint obtained

from the clay which was sticky in nature. They used it to prevent dust and probably to

kill or prevent termite invading the rooms. Their doors were nicely designed by:

(sculptors, carvers and carpenters). They used to carve different designs of wooden

doors to make it look very attractive. Also durable woods are preferably used by the

artisan.

The blacksmith tomfo also made steel burns which were used as a frame pillar

for building. The sculptors also mould blocks from clay for building their houses.

4.15 Clothing as an identity, beauty; a cultural value in Kwahu

Opayin Kwesi Mireku of Mpraeso mentioned Clothing as an integral aspect of

culture which portrays the life of the people of Kwahu. Kwahus by nature are fond of

dressing like any ordinary Akan group. The women usually put on Kaba, Kente and

the likes. Men wear danta, twakoto, lamp cloth just to cover the private part; it is worn

in a special style.

Respondent made mention that Married women put on kaba, slit and another

piece. This was referred to as Esoro ne fam kaba. Women who were not married in

this case young girls also used to put on kaba and slit and it was also known as (baako

ne kaba). These women usually wear the other piece by putting it around the neck.

lxxx
 Kwahus have now adopted some aspect of other people‟s culture. They now

put on clothing which includes fugu, batakari commonly used by the chief priest. Suit

and various types of clothing are now used because of foreign influence and other

modernization.

Plate 4.32: Samples of Clothing Plate 4.33: Samples of Clothing

Source: photograph was taken by researcher at Abetifi.

4.16 Influence of clothing on other art forms.

Clothing which is an aspect of visual art (Textiles) is used to cover human

body for protection against bad weather, for identification (helps to distinguish

between male and female). Also, it prevents us from seeing ones nakedness.

Initially bark of trees were beaten and woven in making clothing. The clothing

or materials made were also dye. Nana Anom Boansi gave an example that hunters

dye their clothing to look brown which serve as a camouflage.

Kwahu people were able to use special plant such as Kuntukuni to dye the cloth

to make it black and korbene cloth dyed red. Probably that is why the cloth bears such

names, dying of cloth might have been learn from such a skill. This type of cloth is

used for funerals. Other colours that were dye for funeral activities are red, black,

lxxxi
brown and blue- black. White is usually used for marriage, naming ceremonies,

puberty rites, thanksgiving and also funerals for the aged.

Orally, symbols, styles and colours are used to communicate to the general

public. Nana Anom Boansi said that Kwahus who are traders, name some of the

clothing‟s as: obo nkwatia, dua koro gyɛ mframa ebu etc.

Small percentage of the people of Kwahu engages themselves in textiles business

(design of cloth). Few of the people weave kente with the ordinary loom, particularly,

the people of Kwahu Fodua and Nkawkaw. It also serves as a means of income to the

very few individuals. Majority of the women and young girls have taken sewing as

their vocation. Some after their basic education enter into apprenticeship and learn the

art of sewing. Probably, because of the various activities that goes on at Kwahu, such

as funerals, festivals, ceremonies like marriage, naming ceremony and the likes has

promoted the art of sewing.

Some NGO‟s have also taken the opportunity of teaching the people especially

the young ones how to make batik, tie and dye, weaving et cetera. This act has

contributed to a reduction of unemployment within the Kwahu traditional area. Some

of the designs depict an adinkra symbol which carries and express proverbial sayings.

4.17 Beliefs revealing Worship as a cultural value In Kwahu.

Beliefs generally deal with religious ideas. Beliefs are handed down from

generation to generation as mentioned by Mbiti, sometimes with modification. Kwahu

lxxxii
people believe in Traditional African religion and Christianity as well. They started

with African Traditional religion which helped them to celebrate festivals.

Since Kwahus are hardworking people, they do not want to waste much of

their time. Due to that, Easter festivity (Yesu amane hu) which is a public holiday for

the world, the entire citizens of Kwahu come home during this period. This has let the

celebration of Easter festivity taken over from the traditional festival that they used to

celebrate most in some years past.

Since Beliefs are essential part of religion, Kwahus believe in God, lesser gods,

ancestors and other spirits. Beliefs have a lot of influences on people‟s culture, some

beliefs can be true and others false yet some people stick to them firmly and act

accordingly.

Kwahus believe in the Supreme Being (God). They call him Nyame, Onyame

kokroko. A lot of names and appellations have been assigned to him such as

Omnipotent ,Onyame kokroko (Almighty God), Omniscient Ahuntahunu Nyame (The

All-Knowing God and the All seeing God), Omnipresent (God is everywhere),

Onyankopon (Great Friend). He is the creator and sustainer of the universe. As a

creator they call him Obcadae. God is invisible therefore the people worship him

indirectly through the lesser gods and other spirits and this led to the introduction of

traditional religion in Kwahu Land.

 Belief in Spiritual Beings

In traditional religion, there is a strong belief in the existence of divinities and lesser

gods. They are called abosom by the people of Kwahu. Some of the gods and shrines

that we talk of in Kwahu Land include:

lxxxiii
  Bruku Shrine

Bruku is a mountain that is located at Kwahu Tafo and Kotoso. Because of its

peculiar nature some of the Kwahu people worship the spirit believed to reside in it. It

is a high rock projection which looks like a spine of volcanic eruption.

Bruku kcmfo stands on the shoulders of men when performing possessive

dance. This attracts people to visit the site. Apart from that, people go there to seek for

spiritual assistance for them to be cured when they are sick. It has a priest whom he

interacts with people. It is belief that a spirit resides in Bruku shrine. The chief-priest

also consults it on important occasions. Bruku does not like (water yam) Afase.

Plate 4.34: The Bruku Shrine between Kwahu Tafo and Kotoso

Source: Photograph taken by Researcher

 Tigare Shrine

A lot of people go to Tigare for assistance and protection. This shrine is

located at Pepease near Nkwantanan (Nkeneku). Because of Christianity people do not

patronize it as compared to the previous year‟s around 1940s. Apart from Kwahu most

ethnic groups also have shrine in their locality.

lxxxiv
  Atia Yaw Shrine

Nana Anom Boansi confirmed that this shrine which is a mountain is at

Nkwatia and it is for a powerful priest called Atia Yaw. Atia Yaw is a god in Kwahu

land, whiles Ɔkomfo Anokye was alive Atia Yaw was also in existence performing

wonders in Kwahu land. As elders say he is an invisible spirit. When he goes to town

people felt his presence with a gunshot. Also an umbrella will be seen moving without

anybody holding it. If something is about to happen he warn the chiefs and elders to

take guard and perform the necessary sacrifice for example if there should be an

outbreak of epidemic. According to history something happened and this super natural

being left and somebody tried to pose as Atia Yaw and he was arrested.

Another important feature of traditional religion is the belief in ancestors.

Kwahus are like Egyptians, they regard the dead. Because of that they bring the corpse

of their citizens who die outside for befitting burial.

Mr. Victor Ampadu Wiafe, of Mpraeso stated that the Adowa River which is at

Atibie is believed to be a habitat of a (god) bosom. Kwahu people believe in it. They

drink from it but do not fetch for others to drink. Also they do not wash nor eat from

it.

Mr. P.K. Opoku Asiamah, of Abetifi, who is also known as Akasanoma added

that its only Fridays that corpse or dead bodies are not allowed to cross the Adowa

River. Due to that corpses are delayed at the Atibie hospital till 6pm before they can

cross the river. Nana Anom Boansi confirmed that it is believe that the day ends at

6pm therefore one can now cross the Adowa River with the corpse.

4.18 The influence of worship on art

lxxxv
 Information gathered from respondents reveals that the belief Kwahu peoples

have has promoted the worship of the Supreme Being, lesser gods, ancestral worship

and other spirit.

Because the super natural being (God, lesser gods, ancestors and other forms of

spirits are in spiritual realms that is invisible). The artist use images and other art

forms to represent the spirit: lesser gods, ancestors. These images which are artifacts

created by the artist have highly promoted worship in Kwahu society. In Kwahu and

other ethnic group‟s sculptors carve items such as stools, drums, images of objects and

the likes. For example the sculptor carves a stool which is later blackened to represent

the soul of the chief who is belief to have gone to the ancestral or spiritual world.

It is noted or identified that images are sometimes carved , assembled, moulded

or created to represent charms, amulets, talisman, shrines and gods abosom used by

the traditionalist such as priest, herbalist, rain makers who posses these shrines. An

example is gyabom which can be found at the chief palace at Obomeng Kwahu. This

image is placed at the entrance of the palace to protect the palace, the chief, elders as

well as the citizens. The writer was told that it drives away evil powers and forces. If

someone has evil or bad intentions it is suppressed or weakened immediately the

victim by pass gyabom which is placed at the entrance of the palace. In front of every

palace in kwahu, trees are planted and a short wall is built around it; this serves as a

god and protects the town. It is believed that anyone who sits on the wall will become

infertile. Usually sacrifices, rituals and pouring of libations are performed beside the

tree during festivals (adae) and other important occasion. For example, when someone

is cursed, a sheep or fowl is slaughtered and part of the meat is placed on gyabom

which is also a god (bosom) as narrated by ɔkyeame Ameyaw of obomeng and

Opanyin Omari Boateng, who is the caretaker of Obomeng palace.

lxxxvi
 Plate 4.35:Image of gyabom at Obomeng palace.

Source: Photograph taken by Researcher

In terms of performing art, drumming, dancing and music are performed to

help posses the priest and also to entertain the public to take active part in the activity.

Also libation which is a form of verbal art is performed as well as animal sacrifice to

ward away evil forces for instance if someone is cursed from the public.

The writer was also informed that during festive occasion or if the community

is at war with an enemy the image(god) or the ɔbosom is carried and parade through

the street with drumming, dancing and firing of musketry which help posses the

person carrying the object ɔbosom.

4.19 Moral Values promotes humility, respect, honesty, kindness as a

cultural value in Kwahu

Nana Kwesi Abankwa of Obo reveals that Kwahus believe it is godly to be kind,

respectful, good, generous, loving and sympathetic to one another. Kwahus travel a lot

and are careful not to offend anyone. They are humble and respect other people‟s

views.

lxxxvii
 He further stated that Kwahu people by nature don‟t want litigation which will

waste their time in court hence they turn to forgive and forget others. Probably because

of their business / trading activities they also dislike cheating.

The kinship system in Kwahu shows that in any local group an individual is a

brother or a sister. This has really helped to show a high sense of respect and tolerance

especially in their family. Relatives, especially, uncles look up to some of these good

qualities before they provide for their nephews and nieces.

Through (Anansesem) Ananse stories, folktales, myths, proverbs, art forms

such as paintings and sculpture, people are introduced to moral values. For instance,

an Ananse story says that, Ananse, because of his bad intensions to eat food crops

alone in a farm, got stuck to a gum in a farm and the next day was found glued to the

gum with harvested food crops near to him. This means that we should not cheat and

be sincere to ourselves and others, so do all Kwahus.

Hide and seek (atetεatetε) and moon light songs are played among the people

to release sexual desire, for instance they play by saying that one should look for his or

her husband Hwehwε mu na yi wo mpena. This is to release tension for children to get

to some level.

Children are taught not to parasite, that is to eat from other people‟s houses.

Vulgar language or speech is also not allowed. Anybody who uses it brings disrespect

to his or her family. People learnt cultured language and polite words from elders and

from the palace. An example of such polite word is sεbe.

4.20 Influence of moral values on art among kwahus.

lxxxviii
 The moral values has really enable Kwahu citizens to be respectful, kind,

generous and to have all the qualities that one deserves in life.

Moral values portrayed through verbal art. In this sense, elders and aged that is

grandparents and parents tell their children folklore/Ananse stories which project the

moral values of the society. In the story Ananse (spider) may be humiliated for being

disrespectful, greedy and craftiness. Sometimes, Ananse or a character will be

honoured for being hardworking, kind, loving, caring etc. Children are able to pick the

good aspects from the story to help them lead a moral life. While bad characters are

usually discouraged

Plate 4.36: Children listening to stories at Nkawkukuma

Source: Photograph taken by researcher

Proverbs in Kwahu traditional life are short, witty statements that express

collective ideas, truth, feelings, wisdom, or moral values, Proverbs are oral sources

which are kept in memory and passed on from generation to generation by word of

mouth. It can be composed into songs for singing or even played with an instrument

like a drum. Proverbs can also be expressed in visual form which could be in a

sculptural form on a spokesman‟s staff and umbrella tops and this can be done through

lxxxix
carving. This symbol is displayed on the spokesman staff: apɛsɛ yɛ kɛsea oyɛ ma

dufokyeɛ.

Plate 4.37: Picture of a spokesman staff at Obomeng palace

Source: Photograph taken by researcher

In Kwahu, elders, grandparents and adults educate the youth by talking or

communicating with them in proverbs, which improve their moral life. Some

examples of the proverbs state that, “if you want to talk to God, talk to the wind”. It

shows that God is omnipresent, all-hearing, a spirit and invisible. It is God who drives

away flies for the tailless animal and it is God who pounds fufu for the one armed

man. These proverbs show that God is good, kind, sympathetic and living. He protects

and cares for the needy and the down trodden.

Some of the proverbs reveal the people‟s beliefs in ancestors, death and life

after death. For instance, the tongue never rots Tekyerema mprc (it all that one does in

life). It shows the existence of the “living-dead” and that even though they are dead

their deeds and words are never forgotten. This enables people to lead a good way of

life. Even the dead want an increase in their number how much more the living, Awufo

mpo pε wɔn dodow na ateasefo. These proverbs help individuals who hear them to

lead good moral lives.

xc
 Incantations and poetry recitals are all verbal art forms which are recited

during ceremonies like funerals, festivals, marriage, etc. Dirges are usually recited at

funerals where women sing, weep and recite some form of words about the person

who is dead. Usually all the good qualities one did when he or she was a life.

This form of art takes place or appears in the pouring of libation, incantations,

act of speaking, recitals, proverbs, poetry and folklore sayings. This is a means of

communicating with spirits. It is a form of prayer which is used to thank the gods for

the love, kindness, and protection shown to the community. The spokesman Ɔkyeame

and elders Abusua mpanyinfoc usually pour libation to appease the spirits of the land

and gods.

When pouring the libation the person, usually the spokesman pulls his cloth to

the chest and holds the bottle that contains the drink/wine on to the ground. He starts

by saying, Asase Yaa (mother earth) come for a drink or Nananom nsamanfoc

(Ancestors) come for a drink; they will say all that they want to say as they pour the

drink. The rest left in the bottle or calabash is then shared among the chief and his

elders to drink.

Plate 4.38: Pouring of Libation Mpraeso palace

xci
 Source: Picture taken by the researcher at Mpraeso

 Dance

This is the movement of the body in an orderly and pleasing manner to the tune to

follow a meaningful sound. Dancing takes place when people swing parts of their

bodies such as the hand and head, and when they tap the foot or even move the whole

body.

The facial expressions and gestures of the dancer can determine the mood of

the person. At joyous occasion an individual use to put up a cheerful smile. But when

one is sad or in a sorrowful mood one uses to swing the arms, put the arms on their

heads and cries whiles dancing.

The indigenous dance forms in Kwahu include; Kete, Adankum, Ashuwa,

Aboma and Adowa (indigenous dance form). Like the performance of music, dancing

is usually performed in ceremonies involving birth, puberty, marriage, death, festivals,

durbars and other social gathering. The people sometimes put on costumes when

dancing and others dance bare footed. In Kwahu people dance to entertain the crowd,

help to relax and for people to express their appreciation to loved ones.

When an important guest/personality gets to the floor to dance, people raise

their hands and stretch the second and third fingers upon the person or guest who is on

the floor dancing.

xcii
 Plate 4.39: People dancing during the coronation of a Chief at Mpraeso

Source: Photograph taken by researcher

Plate 4.40: A picture of People Dancing Adowa at Atibie

Source: Photograph taken by researcher
 Drama

Drama is an aspect of performing art which is normally used to express an idea of

social life in a story form to an audience. Drama is often accompanied with drumming,

singing and dancing. The actor or actress sometimes puts on ordinary clothing or

special costume for the performance especially,traditional priests akomfoc, and hunters

abcmcfoc. Other forms of drama are dance drama, narrative drama and ceremonial

drama.

xciii
 In dance drama the person who is acting or dancing portrays the actions in the

dance for the audience to understand. An example is where a chief dances and

expresses his intention to the public that the area or land he is ruling belongs to him.

He does this by using the state sword and places it on his chest. The narrative dance

drama is also used to express emotions, actions, in war, love and dance displayed by

traditional priest. In narrative drama sound and actions are combined to help

communicate effectively to the audience.

The ceremonial drama is often associated with ceremonies like rituals, out-

dooring (enstoolment and de-stoolment of chiefs), marriage, durbars, funerals et

cetera.

4.21 Economic Aspect (Hardworking seen as cultural values in

economic activity)

Kwahus are regarded as Ghanaian Jews. They are highly industrious, very active in

trading activities, commerce traditional catering services, etc. They are interested in

activities that bring money.

Respondents made mention that Kwahus are generally mean; they usually do

not use everything that they have. They can really economise anything that they have.

This enables them to make a lot of savings and also Kwahu people do not show off as

compared to Asantes. A Kwahu man will not usually portray that he has much money.

xciv
 The aged usually tie their money in their cloth. They also put it in containers

and place the containers under their beds or places where one would not expect

anything. They call it waboapotoo.

In the past, as part of their trading activities the men and women started by

carrying cocoa and other crops such as palm fruits, kola and the likes to Accra for sale

by means of walking. Others also sell palm wine. They used to buy salt when

returning from the market place or where the items were sold. Some travel as far as

Salaga, which they pronounce as sahala on foot to sell their wares/products.

Plate 4.41: Some Stores at Nkawkaw

Source: Photograph taken by researcher

4.22 Influence of trading activities on art (economic life of kwahus)

Kwahus by nature are noted to be hardworking, faithful, trustworthy and

reliable people in their business. This made it possible for people across the length and

breadth of the country to trade with them, even the white traders also established a

relationship in business with them and this has improved their trading activities.

xcv
 The main vocation of the women is pottery, catering and sewing as well as

farming. The women make various artifacts out of pottery for sale. Such items include

pots, dish (ayowa), Ashanti (ayowa) that is use by men, Tasa, ebusuakuruwa,

dwaresen among others.

Plate 4.42: Some artifact Stores at Nkawkaw

Source: Photograph taken by researcher

xcvi
 Plate 4.43: Some simple farm tools made for sale

Source: Photograph taken by researcher at Nkwakaw

Apart from these, many Kwahu people are good petty traders and successful

business men and women. Some few examples of such personalities in Kwahu area in

terms of commerce are: the Late Anim Addo established Pepsi Cola and Calico firm.

Also he had a lot of shares in Ghana Commercial Bank. The late Ajakwa Saka (Oda

sawmills, contractor, builder, Pusher company. Mr. Seth Baah popularly known as

“SHABA”, SIKEENS and other important personalities.

 Minerals

The region can also boast of mineral resources such as gold, diamond and

bauxite (Granite Stones). Some of the sites where such minerals are deposited are

Ohulobon, Odwenanoma, Apesika, Monsie Kwahu, Jejeti and the like. These minerals

are used for items like swords, umbrella tops, jewelleries etc.

Around 1940s some Portuguese and other white people settled at Nkawkaw

and established some mining firms like Amalgamated Banquet Areas (ABA) mines

and NEWMONT GOLD CONCESSION. This enabled ABA mines to construct road

from Atibie to Nkawkaw which was a private road that passed through Obomeng.

There are other indigenous people in Kwahu who use the man power to dig and search

for gold and diamond underground.

The construction of the roads and railway lines enabled the whites to come to

Kwahu to settle and start selling and also set up companies like U.T.C, UAC, and the

like. Kwahus being faithful and trust worthy, the whites helped them to set up their

own businesses.Kwahu people were able to move to other places to set up their firms.

xcvii
Most of them went to Accra, Tema, Nsawam, Aboso, Tarkwa, Swedru, Takoradi, and

Asamankese. They do not like staying in Kumasi to set up businesses. They have the

notion that they would not prosper or get money when they settle in Kumasi.

 Clay Minerals

There is a high deposit of clay and sand in Kwahu. This has helped individuals,

groups and companies to set up industries for the production of ceramic wares

(pottery), tiles, bricks, chalk, coolers, drinking cups etc. Majority of the women in the

locality have used that opportunity by using the ancient method for the production of

their ceramic wares for sale. This has made it possible to create employment and also

generate income for the people.

 Hunting And Fishing

Apart from farming activities, the people engage themselves in hunting and

fishing. Hunters kill animals in the forest and sell them for money.

Apart from farming, those at Afram Plains are mainly fishermen and farmers.

They do the fishing in the Volta Lake with the help of canoes, and nets.

 

 Traditional Catering Services

They have also specialized in traditional catering services where they prepare

various meals for sale which include their favorite fufu and soup. The women

especially own small bars and traditional restaurants where they get their income aside

their pottery.

xcviii
 Plate 4.44: Traditional cater at Nkawkaw

Source: Photograph taken by researcher

Kwahu women are known to be good cooks and have been able to improve on

their catering as a vocation to a high class commercial restaurant such Kit Kat, (Also

traditional catering services), Ecowas Point, Bogar King Spot and bar etc.

4.23 Education (wealth, respect, knowledge)

Respondents gave some cultural values seen in education as wealth, respect

and knowledge. Kwahus were used to traditional education, which is simply the

process of communicating the culture to a child as described by Aboagye (1978:96).

This is where the child goes through the process of socialization by observing and

finally participating in the various activities.

Moumouni, (1968:29) states that traditional education was and still is an

integrated training combining not only physical with intellectual training. This form of

education is a comprehensive approach to the development of the whole man, for the

service of his community. Through the process the child is given the necessary

guidance to conform to laid down values of the community.

xcix
 The sons and daughters of Kwahu are traditionally introduced to some

occupations such as trading, farming, hunting, fishing pottery and the like. Usually

most people pick up the trade their parents do, for instance if one‟s father or mother is

a trader, the child is likely to become a trader since they team up in the occupation

right from infancy. Due to that, most people did not see the need to be enrolled into

school, which is the formal education system. Boys are introduced to some trade like

masonry, roofing, smithing, hunting, farming, trading as well as household work.

Some also learn the trade through apprenticeship. They are sent to some people

whom we usually call “masters” for them to assist their wards or children to learn the

skill. The master assists the child, sends and also allows him to participate in the jobs

that they are doing. This enables the people to acquire the skill and also become

perfect or masters on the job.

In Kwahu men or boys usually do the difficult task. They are taught to be

hardworking, brave and defensive. Females are also given training on jobs that do not

demand a lot of energy as compared to that of the men. They learn trading, cleanliness;

house-keeping (home management), cooking, hygiene and also how to prepare herbs

(medicine).

 Formal Education

At first Kwahu people thought formal education was just a waste of time, effort and

money. Their main target was how to get money; because of that majority of them did

not spend much time on formal education and also did not enrol their children in

schools especially the girl child.

c
 Kwahu people have now realized the importance of education. That is formal

education gives rise to the shift in the occupational distribution and ordering in a

country. The Basel mission now known as the Presbyterian Church of Ghana also

contributed a lot in education especially in the lives of Kwahu people.

The Basel mission set up Junior and Senior Schools at Abetifi which were known as

Presbyterian Junior and Senior Schools. The Basel mission also established Abetifi

Teacher Training College to enable them train quality teachers. Kwahu people are now

interested in education and boast of quality schools in their locality from the basic

level up to the University level. They now utilize their money to give their children

quality education.

Though they started late, they can now boast of top ranking officials in various

institutions like Very Rev. D.A Koranteng (Moderator of Synod), the late Dr. R.I.D

Dankyi (Medical Doctor), Justice S.A Wiredu (Lawyer), etc. Now there are a lot of

Government and private schools in Kwahu. Below is a table showing a list of schools

in Kwahu:

Table 4.0 A list of schools in Kwahu

SECOND CYCLE SCHOOLS TOWN

St. Peter‟s Secondary School Nkwatia

Abetifi Presby Secondary School Abetifi

Mpraeso Secondary School Mpraeso

Nkawkaw Secondary School Nkawkaw

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TERTIARY INSTITUTION

Presbyterian University College Abetifi

Plate 4.45: Mpraeso Senior High School, Mpraeso

Source: Photograph taken by researcher

Plate 4.46: Abetifi Presbyterian Senior High School, Abetifi

Source: Photograph taken by researcher

4.24 Influence of education on art

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 Some of the cultural values disclosed by respondents were wealth, respect, and

knowledge. Respondents made mention that Kwahus also learned various trade and

vocation through the traditional system as apprentices.

Majority of the people learned various trade and vocation from their relatives,

friends and some from an expert (master), especially when one‟s family notices the

potentials of their ward then they guide or send them to an expert who is well vest in

the field to assist. Some of the activities they indulge in include farming, hunting,

cooking, trading, pottery, masonry, carpentry (sculpture) among others. They usually

practice for a period of time which enable them to become perfect and can work on

their own without any assistance. They are able to produce items like pots, stools,

mortar, clothing, and the likes from what they specialised in.

Due to the introduction of formal education, various vocations and professions

are taught in schools, such as visual art, science, business study and general art. This

has enable students to be employed after their formal education based on the

knowledge gained.

It was observed that, most of the secondary schools in Kwahu District that

offer visual art as a program offer ceramics which is an aspect of visual art subject.

Probably because of the abundance of clay in the area (Kwahu); the study of

the Senior Secondary School Certificate Examination (SSSCE) final results organised

by West African Examination Council for the schools revealed that, students perform

quite well in ceramics.

4.25 Social Life of the People

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 Kwahu people are generally sociable, accommodative and also have respect for

other ethnic group. They are able to associate themselves with anyone who comes

their way. This might have probably generated from their movements or migration

from one place to the other to seek for greener pasture. Kwahus migrate a lot due to

the nature of their work. This has made it possible for them to marry (outsiders) from

other ethnic group. They find it easy to interact with people from ethnic group.

 Birth: blessing as a cultural value in birth

The concept of man among Kwahus is that human being (man) is made up of

components such as blood mogya, spirit sunsum and soul okra and body (nipa dua). In

this case one can say that human beings are made up of a composition of both

biological and spiritual elements.

It is the biological element that decays when one dies and the spiritual element

leaves the body. Information gathered on Kwahu reveals that parents or couples who

are infertile use herbs and other parts of plants as medicines which help them become

pregnant. Some people also consult traditional priests, chief priests, shrines and

abosom to help them become pregnant and also give birth.

When the woman is able to become pregnant it is believed that the blood

(mogya) is from the mother that forms the child or baby. The child is considered to be

part of the mother‟s family (Abusua). This blood relation enables the baby to be part of

the mother‟s clan. This explains why Kwahus accept the matrilineal inheritance. At

death the physical part (body) is buried and it decays.

The soul (Okra) which is a spiritual component is believed to be given by God

(Nyame). The soul links man directly to God. The soul is sometimes referred to as

civ
Tiboa that is conscience which influences man‟s actions. It is sometimes attributed to

be Good and Bad (ill) Luck.

Souls have been given names Kradin. This is the day on which one was born.

For example if a child is born on a Sunday he or she is called Kwasi or Akosua

respectfully.

The soul also determines one‟s destiny (nkrabea) or hyebea since it comes

from God. It is believed that it can be changed through magico-religious means and

other forces such as witchcraft and the like. The soul is believed to be immortal and

therefore supports the concept of reincarnation. That is why some children are given

marks when they are born. Especially to mothers whose babies die frequently or often

when they are born.

The spirit sunsum is believed to originate from the father. Spirits can be strong

duru or weak ha. This is what is thought to be involved in dreams and it is believed to

operate at night. It is thought that witchcraft and devil spirits can easily attack weak

spirits.

Kwahus believe that when a woman is pregnant she needs not insult others,

and also commit adultery with other man. These can make it difficult for the woman to

deliver during labour. Respondents disclosed that it is also believe that if a pregnant

woman watches horrible pictures it is likely she can give birth to the likeness of the

image she observed.

4.26 The influence of birth on art

The cultural values seen in birth include blessing, respect, and love among

others. It has several influences on the art forms that promote child birth when couples

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have difficulty in having children. It is believed that human being is composed of

biological and spiritual element.

The priest, traditionalist, herbalist, and other specialist give or prepare herbs

prepare in pots for couples to use to enable them have their own child. The type of pot

used is known as kukuo which is made by the potter. The pot is made in an oval or

cylindrical shape to contain any liquid substance, herb or medicine.

Sculptors have also contributed to help couples have their own children, by

carving a wooden doll akuaba for the woman to treat it as her baby. In the process

they become pregnant, probably because of believe and trust they have in the object as

well as the priest, herbalist or traditionalist. Respondent agree that the baby is from the

Supreme Being. Also, prayers and rituals are performed to ward away evil forces such

as witch craft and wizards that prevent couples from having children.

Libation is poured as a sign of prayers to the Supreme Being (God, lesser gods,

ancestor and other spirits) to bless the couples to give birth. Libations are also poured

to pacify the gods for any wrong doings committed by couples. Respondent believe in

magic - religious means as well as reincarnation because the newly born babies are

marked on the body. This form of body art is to prevent spirits and evil forces from

harming the baby. The newly born baby is also decorated with ornaments such as

beads which is worn around the hands, waist and legs. This represents a sign of body

development. It helps parents to monitor the growth of the child

 Naming Ceremony (Abadin To)

When a child is born Kwahu people believe that names can be given to a child

a week after his birth, from the eight day going. The waiting period indicates whether

the baby has come to stay or not. It is also believed that ghosts and other spirits can

cvi
easily kill the new born child when exposed at that tender stage. The baby is then

considered as chchoc (stranger) who can easily go back to the world of the dead.

Parents debate on a name that will be given to the child when he or she is born.

The names given to children depend on so many things. It could be due to certain

situations. For example Donkor: when one‟s children die often or immediately the

babies are born. It could also be the period in which the child was born, for instance,

Christmas bronya is sometimes adopted.

Respondent stated that the child is named after the person whose life is worthy

of emulation. Some people name their children after grand-parents, themselves,

relatives and friends as well. Naming ceremonies are usually performed at dawn or

early in the morning when the weather is cool. This is meant to usher the baby into a

new dawn or beginning in life on earth. Relatives and close friends gather to grace the

occasion. The baby is placed on the person whose name the baby is about to take or

any elderly person in the absence of the person whose name the child is to be named

after.

Plate 4.47: A father holding a baby at a naming ceremony at Obo

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 Source: Photograph taken by researcher

Libation is poured to thank the gods, ancestors and other spirits for the gift of

the child. Water and wine are poured in a container (calabash) for the person who is to

perform the rite. The person dips his forefinger into the wine and water respectively

and drops it on the Childs tongue three times signifying truthfulness and

trustworthiness.

For instance: Emmanuel Nana Yaw Adonten when you see water, it must be

water and when you see wine, it must be wine. Emmanuel Nana Yaw Adonteng woaba

tena ase literally meaning, once you have come, take a seat. It means you are welcome

to stay.

Libation is then poured to ask for protection, prosperity, wealth, respect from

the abosom, asase yaa (Mother Earth) and other spirits for the child. The wine is then

passed round for those gathered to sip to serve as a witness.

Gifts are presented to the parents and it serves as seed money for the Childs

upkeep. Also, prayers are said to God Almighty and some people even conduct the

ceremony at the Church for God‟s blessing. Music is played and people dance to grace

the occasion.

Table 4.1: Some Kwahu Names and Their Attributions “Sabranne”

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NAMES ATTRIBUTIONS NAMES ATTRIBUTIONS

Abuaku Omani Debrah

Addo Kwaata Dwamena Akεntεn

Owusu Aduomire, Akyeaw Gyamfi Amonu

Adonteng Koranteng Amanin Ampong

Affum Adae Kwakye Adeεyεfε

Agyapong Osenfuo Mireku Ohwim

Agyei/waa Okodeε (Bresiam) Ntiamoah Amankuo

Okores

Akomea Nyarko/a Aboronoma

Akoto Nyampong Asante/Asantewaa

Akuamoah Mosi/e Obeng Akrofi

Ameyaw Oduro

Ampadu Daaduam Ofori Amanfo, Kontonti

Amponsah Ofosu/a Aduanwoma

Anim Kodua/ Abadee Omari Dɔtɔ

Ankomah Ayε Opoku/a Ahweneε, Antεm

Asante Krobea Oppong Kyekyeku

Asare Baafuo Osafo Kantanka

Asiedu Osei Brakatu, Bonsu

Bamfo/waa Kune Oware

4.27 Influence of naming ceremonies on art

cix
 The cultural values seen through naming ceremonies include identity,

truthfulness and worthiness. The whole event is a role play. Art play an effective way

during this occasion. During the celebration, the parents, child, relative and friends put

on white clothing which is an aspect of textile. Since white signifies victory, obviously

tells that the people present at the occasion are in a joyful mood. Ornament jewellery

such as necklace, earring, bangles etc are also worn by the people as a form of

decoration and beautification.

Gift items made of various art forms such as clothing, dolls, containers,

jewellery, and money are presented to the child. The pouring of libation is an art

which is done as a means of thanksgiving to the gods for providing them with a child.

As part of the function, another form of art which is music is not left out. It is

performed to grace the occasion for people to dance to the tunes.

 Puberty Rites among Kwahus

The details of puberty rites change from one society to another. However the

basic meaning and significance of the rite are generally similar. According to Asare

Opoku (1978:112), puberty rite is initiation to make one a fully developed person and

capable of discharging his duties as a full member of society. Amenuke et al (1991:30)

also state that, it is the passage from childhood into adolescence and adulthood. It is

accompanied by rites, rituals and initiation. On the whole puberty rite is done to usher

one from a youthful stage to adulthood. This indicates that the person is now a fully

grown person.

 Puberty for Girls

Kwahus also perform Bragoro (puberty rites) like other Akan societies. It is an

offence for a girl to become pregnant without going through the initiation rites known

cx
as Bragoro. Those who are not able to pass through the initiation rite and get pregnant

perform purification rites known as Kyiribra after which she is expelled from the

town.

In Kwahu the puberty rite is performed for girls after their first menstruation/

menstrual period. The girl is examined physically to check if she is not pregnant. She

is taken care of by an elderly woman who has not experienced death of a child before,

to educate her on personal hygiene, home management, sex education, cooking and the

like. The girl is made aware that she is now matured.

The girl is quarantined for some days. They bath her and pomade is smeared

on her body. The girl is given mashed yam (εto) and some eggs. After the initiation

she is sent home and moves from house to house to greet friends and love ones who

also give her gifts.

4.28 Influence of puberty for girls on art (respect)

Respondents stated the cultural values derived from puberty rite for girls as a

sign of respect, trustworthiness, obedience, humility as well as unify the young girls.

The girls are decorated with kaolin white clay on their bodies which is an aspect of

body art and at times the designs are made out of combs, circular shapes or fingers.

Also they are richly decorated with various ornaments such as beads which are

worn around their necks, hands, waist and legs. The girls are also dressed in a nice

kente cloth which is a textile product showing great reverence and honour brought

onto the family by the girl. They are gorgeously dressed to look like queens. The

earthenware which is made by the potter is used for preparing the mash yam jtc with

the aid of the grinder tapole.

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 The participants are given gift items such as clothing, jewellery, doll, stool,

cooking utensils as well as various artefacts. They were taught various vocations like

cooking, farming, home management et cetera where art forms are employed.

Examples of items of farming include hoes, cutlass and other sculptural forms.

The whole episode or activity is dramatic and it is usually accompanied with

music, dance and drama. Orally, the girls are been advised and educated, using

proverbial sayings and other means of communication. Libation is poured as a sign of

prayers for the girls, to appease the spirits and ancestors to bless them with more

children.

 Marriage (Togetherness, unity, love, Trustworthy, Respect)

Kottak (2205:168), marriage is a union between a man and a woman such that

the children born to the woman are recognized as legitimate offspring of both parents.

After initiation rites, a girl is ready to marry; marriage is a very important stage in the

life of the Ghanaian. The main aim of getting married is to have children. This is why

child-bearing is stressed throughout the initiation rites.

In the past, most parents betrothed their daughters before they were old enough

to marry. Nowadays, parents who choose partners for their children seek the children‟s

consent first. In some cases too, the young people make their own choices and inform

their parents. It is the customary practice for a man to seek the hands of a woman in

marriage. In most communities it is a taboo for a woman to propose love and marriage

to a man.

In our traditional set-up, marriage involves the man and the woman concerned

as well as their families. Before the marriage, most families try to investigate each

other‟s family background. They do this to find out if there is anything that will

cxii
prevent a successful marriage. They investigate to find out answers to questions such

as these:

a) Are they not relatives or from the same clan.

b) Are there any communicable or hereditary diseases like tuberculosis (T.B.),

leprosy, insanity or epilepsy in the family?

c) Had there been any criminal record, e.g. murder or stealing?

d) Is the family quarrelsome?

e) Is the woman lazy?

f) Can the man look after a wife?

It is only after both families are satisfied with their investigations that the marriage

can be allowed. In all communities in Kwahu, there is the custom of giving gifts to the

bride‟s family, especially the girl‟s mother. There is also a presentation of drinks and

an amount of money, but the money involved differs from community to community.

The gifts to the bride‟s family by the bridegroom show his gratitude for allowing their

daughter to be part of his, the bridegroom‟s family. The customary drink, the ti-nsa

(head wine) of the Akan which is presented by the bridegroom seals the marriage.

When there is a divorce, arbitration decides whether a bride-wealth paid by the

bridegroom should be returned to him or not.

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 Plate 4.48: Presentation of gift at a marriage ceremony at Atibie

Source: Photograph taken by researcher

A man, who wishes to marry, first discusses his intentions with the girl

concerned. He has to make sure the girl will agree to marry him before he informs his

parents. Finding out through secret meetings if they will marry is known as kasasie.

The man then tells his mother or an elderly person about his intentions. His mother or

the elderly person will in turn inform his father. If the mother feels that the marriage

will not be possible for some reasons, she will discourage him. When the father

agrees, an investigation will immediately start into the girl‟s conduct and family

background.

The respondent revealed that, when the boy‟s parents are satisfied, the father

through a delegation, informs the girl‟s parents about his son‟s intention. It is the boy‟s

father who contracts the marriage. This information is known as kckckc (knocking

ceremony). The announcement is made with a pot of palm wine or a bottle of

schnapps. Some amount of money is added to the drink. The amount paid differs from

community to community. The man may add some extra money to whatever custom

cxiv
demands. This is usually to impress his-in-laws that he can really look after their

daughter. In some communities, this money is regarded as a (token gift) for the girl‟s

mother.

The girl‟s parents ask them to go back and come later for an answer. This

enables them to find out if their daughter agrees to the marriage. They also investigate

the boy‟s conduct and family background. When they are satisfied, a word is sent to

the man‟s family to come forward. It is the custom for a father to pay for the marriage

expenses of a son. But these days, most young men give the money to their fathers for

the marriage rites.

The father sends a message to the girl‟s parents to inform their maternal

relatives to send their representative to the ceremony. On the appointed date, the man‟s

father sends a delegation to perform the rites. The important part of the ceremony is

the offering of drinks known as tiri nsa (head drinks). In the past, it used to be palm

wine, but now it is schnapps. The tiri nsa traditionally seals the marriage. Some

money is added to the drink. The amount of money given differs from community to

community. There is also a customary fee charged to be given to the girl‟s mother. Her

brothers too are given some money known as akontagye sekan. Before the payment of

the customary drinks and the fee, the girls formally called before the gathering to give

her final consent to the marriage.

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 Plate 4.49: Picture of a marriage ceremony at Nkwakaw

Source: Photograph taken by researcher

After accepting everything as custom demands, the head of the girl‟s family

pours libation asking for protection an d blessings for the new couple. He also prays

that the marriage should be blessed with children. The rest of the drink is shared

among all the people present to signify that they all witnesses to the marriage. Pieces

of advice are then given to the couple. The man can then fix a day to take his wife into

his house.

There is another important rite which can be performed on the same day or at

any time in their married life. It is an amount of money which is known as ti-aseda or

ti-ade paid to the girls family. This is what might be showing the man‟s appreciation

to the girl‟s family for giving their daughter to him. In the past, the girl‟s family used

this amount to pay any debt in the family. They believed that using that money to pay

such a family debt would give her the peace of mind to enjoy her married life. Where

there was no such debt, it was used to buy some property, e.g., a land or a farm for her

and her future children. If there was divorce, the husband could claim the ti-aseda or

ti-ade from the wife‟s family.

The bridegroom sends a pot of palm wine or a bottle of schnapps to the bride‟s

father for permission to take away his wife. The head of family pours libation with it

and blesses the couple again. On reaching her husband‟s home, the husband provides

her with food items to prepare a special meal for relatives, friends and other dignitries

present. This special meal is known as csεnka or aduane kεse (wedding feast). It is a

cxvi
marriage feast which is followed by jubilation. Traditionally, the csεnka was prepared

in the bride‟s home and sent to the bridegroom‟s house where it was shared among

relations and friends.

4.29 Changes in Traditional Marriages among the Kwahus

Nowadays, most of the customs connected with traditional marriages are

disappearing. Formal education, Christianity, Islam and other religions have

influenced the marriage ceremony. For instance, most parents no longer wait for the

husband to provide a trunk full of the wife‟s clothing before they allow her to join her

husband. Another change is that since most young people now work outside their

hometowns and villages, the bride is not sent to the bridegroom‟s house by her aunts

or relatives.

Instead, the man arranges for his wife to join him at his station. Some Christian

and other religious groups as well as some educated people, after the customary rites,

have the western form of weddings. Nowadays, a Bible and a ring are added to the

items presented to a Christian or an educated woman at the (knocking) ceremony. The

engagement ring is supposed to keep away other suitors. If for any reason the marriage

does not take place, the engagement ring and the Bible are returned to him.

cxvii
 Plate 4.50: Married couple dancing

Source: Photograph taken by researcher at Nkawkaw

 Divorce

When one wants to divorce one need to sit down with the elders of both

families and say the reason why that person wants to break/stop that marriage. The

elders of both families meet to find if it is necessary for them to settle the issue that

brought the misunderstanding in the marriage. When it fails the person who will refuse

to marry will pay compensation. But mostly the men do not allow the women to pay;

rather, they say let her go if she wants to go.

Grounds for divorce are adultery, fighting, quarrel and accusation of being

witches. The person who breaks the marriage will provide the Kεtεasehyε (money)

then the male representative will collect sand or ash and throw it on the feet of the

woman. This is locally known as wagu no hyire.

 Types of Marriage

Traditionally Recognised Marriage (Adehyeware)

cxviii
 This is a type of marriage that is mostly recognised by Akans. Here, the man

goes through the proper channel and performs the customary rites to get a woman as

his wife. In this type of marriage, if one goes outside the marriage to have sex with

other people, the other partner can claim compensation for such an act. This is known

as ayefare.

Suitor/Courting (Mpena Warε)

This is also a type of marriage where a man has not gone to see the family of a

lady to perform the necessary customary rites but lives with her as his wife. This is not

endorsed by Akans but some couples in this category go to the extent of having

children. If a partner dies, the other will not be made to go through a rite known as

Kuna (widowhood rite).

Next Of Kin’s Marriage (Kuna Aware)

This is a situation where a next of kin (the dead person‟s relative) marries a

woman whose husband has died. The next of kin can marry his brother‟s wife and take

responsibility of the woman and her children if he so wishes. If the widow has already

gone through such a thing twice, the man (next of kin) would not be permitted to

perform the customary rite. The next of kin can only marry the widow after she has

mourned her husband for a year, but if the widow does not want to marry again, it is

permitted. If the widow agrees to marry, the next of kin performs fresh customary rites

to nullify the old marriage and seal the new one.

Slave Marriage (Afena Aware)

This is a type of marriage that takes place between a rich person or a chief and

his slave or house-help. In this marriage, the man does not perform any customary rite

cxix
to the slave‟s family but they continue to have children and they are called ofie nnipa

among Akans. Such children are sometimes used for sacrifices if the need arises. If the

lady/slave goes outside the marriage to have sex with another man, the chief /the

husband may claim compensation from the slave but if the man does the opposite, the

slave cannot claim any compensation.

Awowa Aware

If a family owes somebody heavily and cannot pay the money, they can give

their daughter to such a creditor to marry till they are able to pay all the money. If it

happens that the man finds this servant attractive, he can marry her without performing

the customary rites. But if her family is able to pay off the debt, the man may be asked

to perform the customary rites to make it a proper marriage. The lady can leave the

man if she does not love him and takes the children with her.

Bethrotal Marriage (Asiwa Aware)

This is a type of marriage where a grown up man proposes to a young lady or a

child (girl). Here, the man spends his time and resources on the girl. He buys clothes,

gives her money and virtually does everything for her. When the lady comes of age,

the man goes ahead to perform the necessary rites and takes the lady as his wife.

 Ayεtε/Nsiananmu

It is also a type of marriage where a lady from the deceased wife‟s family is

given to a man to marry as a replacement if his wife dies. This may happen if the

family of the lady finds some special qualities in the man. This normally takes place if

cxx
the wife of a chief or a paramount chief of Kwahu dies. Another situation that can

warrant this type of marriage is where the wife of a chief becomes an old lady.

Polygamy

The word polygamy according to Kwabena Amponsah is used to apply to

marrying many wives or husbands. The term has been used by many scholars to apply

to a husband with many wives. This is polygyny and where one woman has two or

more husbands, this is referred to as polyandry. Polygamy therefore as a technical

term which includes both polygany and polyandry. Here, the man performs the

necessary customary rites on each of the women. He tries to have children with all of

the women.

4.30 Influence of marriage on art (blessing)

Respondents disclosed that married couples as well as witnesses which include

both relatives and friends put on white clothing or something colourful (kente) and

other ornaments such as rings of all kinds, bracelets as well as sandals which are all

artefacts for the function.

Libation is also poured as a sign of blessing which is an oral or verbal art. A

relative from each family will act as a spokes person (ckyeame). Items such as

cutlasses, clothing, gun and the likes are provided as gifts for the married couples to

enable them cater for themselves. Potters make a special ware known as Asanti ayowa

with a lid in which the food: fufu is served for the bridegroom. Generally the bride

prepares food aduane Kɛsse and serves her husband, friends and relatives when she is

cxxi
sent to the husband‟s house. Finally music and dance are performed to grace the

occasion.

 Death and Funeral Ceremony (as a sign of respect)

Death concludes the life cycle. It is considered a change from a physical life to

a spiritual life. It is believed that the dead person leaves the physical world for the

spiritual world. Therefore, when a person dies, the traditional Kwahu person, like

other Ghanaian believes that he is making a journey to the next world, where he may

live as an ancestor. Death is said to be a bridge between the world of human beings

and that of the spirits. Therefore, when a person dies, it is believed that he continues to

have contact with the living. Thus, the ceremonies and rituals performed for the corpse

emphasize the unbroken family relationship between the living and the dead.

Rituals for the Dead (Respect/ Togetherness)

When a person dies, relatives perform funeral rites. They give the dead a fitting

burial and later give offerings of food and drinks to the spirits of the dead. The dead on

their part are believed to play an important role in the lives of their families. Their role

is to guide and protect them. They are also thought to serve in the spirit world as the

elders of the family. Wherever there is death there are carefully planned ceremonies

and rituals. For example, there are rituals for the burial, funeral and the dead. The

traditional Kwahu person believes that unless the proper rites are performed the spirit

of the dead will not be able to join the spirits of their ancestors. But if the proper rites

are performed they would be welcomed.

When death comes, it concerns everybody in the community. Although there

are differences in the ceremonies and the rituals performed for the dead, communities

cxxii
in Kwahu treat the corpses according to sex, age and status. For instance, among most

communities, the funeral of a child is different from that of an adult. There are few

rites and little weeping. Funerals of chiefs and queen mothers are different from those

of ordinary people. Among some communities, when a person dies through an

accident, child birth, or suicide it is considered to be (a bad death). People who die in

any of these ways are not given the usual burial and their funeral rites are not

performed. When these are done it is believed that such incidents will occur again in

the dead person‟s family.

Kwahus observe funeral anniversaries as important ceremonies for the dead.

They are considered memorial days on which rituals are performed. Such memorial

days are observed at different intervals. Some celebrate it there, four, eight, fifteen,

forty or even eighty days after death. Others observe it six weeks or a year after death.

There are stages in a funeral celebration. Each stage involves special performances of

rights.

Preparation of the Corpse

When a person dies, the corpse is washed and then dressed according to the

age, sex and status of the person. The body is then laid in state for mourning. The

washing, dressing and laying in state of the deceased are mostly the duty of the elderly

women in the family. The public is not allowed to see them washing corpse they are

believed to be sacred.

The corpse is dressed in a rich kente cloth with a gold chain. However, they

remove and replace them with a simple dress before the corpse is put into the coffin.

i. Pre-Burial Mourning

cxxiii
 There is pre-burial mourning when the body is laid in state. The body is laid in

state in the family head‟s house, the father‟s house or the deceased‟s own house. Some

people lay the body in state in an open porch in the house or in the sitting (living)

room.

Whilst the body is lying in state, relatives, friends and other sympathizers come

to mourn with the bereaved family and to pay the last respect to the deceased person.

The arrival of mourners to the funeral grounds mostly involves wailing. The women in

particular sing dirges that tell how sad it is that the deceased is no more. Usually, a

close relative is selected to sit at the bedside to receive sympathizers.

It is the custom in most communities to present gifts while the body is lying is

state. Gifts such as coins, handkerchiefs, cloths, rings and a calabash are (presented) to

the dead person. It is believed that since the deceased is traveling to the spirit world,

he needs money for his or her fare and other expenses. The calabash, for example, will

be used for drinking water.

ii. Burial

The time of burial is the most dramatic and sorrowful period. There is much

wailing and singing of more dirges. All this is because the people feel they will not see

the deceased person again. Some Kwahus pour libation to Asase Yaa (Mother Earth) to

ask for permission to dig a grave for the burial. The grave diggers are given drinks

such as schnapps, money, fowls or sheep depending on what custom demands in the

community.

Putting the corpse in a coffin is seen by only a few relatives. In some

communities, it is this time that special parting rites are performed to break the

cxxiv
relationship between the deceased person and the immediate relations: widower,

widows and children in particular.

The coffin is usually provided by the widower/widow or the children of the

deceased person, or any other persons as custom demands. Gifts presented are put in

the coffin. In some communities, the last person to present a gift is the widow or

widower. Gifts such as coins, calabashes, small piece of cloth and rings are put in the

coffin before it is covered.

In some communities among the Kwahus, widows or widowers of the deceased

are not allowed to join the funeral procession to the cemetery. They only do so up to

some distance and return. At the grave-side, a relative of the dead person pours

libation before the coffin is lowered into the grave. Among the people of Kwahu, any

mourner returning from the grave-side is expected to wash his hands. For this purpose

a container filled with water in put at the entrance to the house. It is believed that if

this is not done the person might bring some bad luck from the cemetery.

Plate 4.51: A coffin in a grave at Atiebie

Source: Photograph taken by researcher

iii. Mourning after Burial

cxxv
In most communities, mourning goes on for at least eight days after burial. During this

period, very close relatives fast. They stay away from the main food of the

communities and may live on drinks, eggs, kola, porridge and so on.

iv. The Funeral Day

Formerly, the funeral day was different from the day of burial. It was a day

usually set aside by the family to mourn and remember the dead. This day was a great

social occasion. The day was announced to all relatives and friends. Nowadays, the

funeral takes place in the day of the burial of the corpse. During preparation for the

funeral, people hire chairs and canopies, invite band groups, provide drinks and food

for visitors and mourners. On the night before the funeral day, wake is kept. During

this time, there is singing of traditional songs, dancing and firing of musketry. On the

funeral day close relatives sit together at a particular place where they can be easily

recognized. They wear black, red, any dark-brown or adinkra cloth. Some Akan

widows and widowers wear raffia around their elbows. This signifies that since the

spouse is dead there is nobody to depend on. In fact the widower is compared to the

raffia which is light. Mourners in other communities may put leaves between their lips

to signify that with the death of their partners they have nothing to eat. In other

communities, sympathizers do not shake hands with the widow or widower. In the

past, some close relatives like children, widows and widowers were shaved.

On the funeral day, when sympathizers arrive, they go round to shake hands

with members of the bereaved family who are seated at one place. All sympathizers

give donations to help to pay for some of the funeral expenses. Such donations are

announced to the public. Death is the inevitable end of a man, but it is believed a

cxxvi
transition from this present earthly life to another life in the spirits or the spiritual

word Asamando.

Kwahus are like Egyptians who believe in life after death and pay attention to

the dead. They call the deceased person because of that Kwahu people give a befitting

burial to the dead. They try as much as possible to bring the dead person body home

for burial. It is difficult for them to bury their citizens outside Kwahu.

Plate 4.52: People at a funeral ground at Atibie

Source: Photograph taken by researcher

Types of Death

i. Natural Death (Owupa)

This is a type of death where an individual grows to a considerable age before

dying. The person may die of some sickness.

cxxvii
 ii. Accidental Death

This is a kind of death that occurs as a result of accidents. The following may

be some of the causes of accidental death: motor accidents, snake bites, trees falling on

an individual, etc.

iii. Suicidal Death

This is a type of death where an individual intentionally commits suicide. Here,

a person uses a knife, poison, etc to kill himself / herself.

4.31 How Kwahu People Handle the Dead

When someone is at the point of death, it is the custom of Kwahu people to give water

to the person. Because they believed that the person will be thristy since he will travel

a long distance to reach the underworld.

In Kwahu when one finally dies, the body will be kept in-door for the

necessary planning to be done by the elders and abusua panyin. They would use that

opportunity to go round and inform the relatives abusuafuo and friends. Normally, if

the death occurred in the morning or afternoon the body would be sent to the cemetery

amusie for burial. Also if the person died at night or in the evening the people would

keep wake, inform relatives the next day and bury the body.

On the other hand the body could be kept for three to four days after which

they would bury the person. They used to embalm the body. Some years past, they

used schnapps, cement, corn doe and also special herbs which helped them to preserve

the body. They smeared it all over the dead body. Sometimes they put the dead person

cxxviii
on a bucket or chamber pot which served as container to store the fluid that would

drain or come out from the dead person.

This was done to enable them go round to inform the elders, chief mourners,

abusua panyin, relatives and friends of the deceased person. They use to give people

drink (pito) when they were going to inform them about the issue at hand.

First and foremost, the lineage head, Abusua Panyin is immediately informed

about the dead and then the father of the deceased person is also informed.

The elders of the family of the deceased person have to take drinks and money

to the Chief‟s Palace Ahenfie to inform the chief and his elders.

 Minor / Children

It is the duty of the father to make the necessary arrangement with the elder for

burial. If the person is the first child of the parent to die, they do not need to make any

big funeral. It should be something simple just to mark the ceremony. Also, it is a

custom for them to wear white clothing adinkra instead of black (birisi) that they

normally use for funerals. This is usually done just to prevent frequent death of

children in the family. It is believed that when you make it big then death would

always knock at one‟s door. It is the duty of the abusua panyin and his elders to bury a

person in a family who is not yet married.

 Death of a Wife

It is the responsibility of the husband to defray the cost of burial rite when his

wife dies. The husband has to buy the coffin, unless he did not marry her properly.

Even that, the (husband) will perform the marriage rite before the woman will be

cxxix
buried. The husband has to bring the wife‟s body home for burial if it occurred outside

her hometown. That is why elders sometimes encourage people to marry from home.

 Death of Husband

The situation here is quite different when the husband dies. It is the children

who buy the coffin only if they are grown. Other than that, the man‟s clan will take up

the responsibility to bury their relative (dehyeε).

 Burial and Funeral

In Kwahu when one dies the body is normally laid in state on Friday in the

evening. This is known as wake keeping and it depends on one‟s religion. Adventists

have their wake keeping on Thursdays or Saturday evenings. One is not permitted to

cross the river Adowa at Atibie with a corpse if it is not passed six in the evening to

the mountains. Usually relatives wait at Nkawkaw or at the Atibie Government

hospital until 6.00pm before they cross the river with the corpse.

Now, in Kwahu they have set a period in which they have their funerals. The

people call it ayida and usually the period is one month with the exception of Obo that

celebrate funerals frequently. This is to help Kwahu people not to travel every

weekend for funerals. Also the elders assume that during that period or the ayida other

friends, relatives and sympathizers would be able to attend the funeral. But if families

have the means they can have the funeral on any day that they want. Some people

prefer to have it alone.

Those who do not have the means and cannot keep the body for long can bury

the corpse on any day but can wait to perform the funeral rite during the ayida where

they will have the opportunity to have a lot of people to mourn with them.

cxxx
 On Saturday a religious service takes place when prayers are said for the

deceased person if he or she was a Christian. Tributes about the deceased are read by

relatives and friends on Saturday in the morning. It is the children of the deceased

person who dig the grave for burial. They take the coffin with the body to the cemetery

for burial. On their return from the cemetery water is placed at the entrance of the

house for people who went to the cemetery to wash their hands.

 Funeral: (Ayieyε)

After the burial which usually occurs on Saturday, people pay their last respect

to the dead person. People get to the funeral grounds with wine or drinks as a token for

the bereaved family. The wine nsawa would be put in a gourd and shared for the

people.

Still some people donate drinks – soft and strong together with money to the

deceased person‟s family instead of wine. Probably the dead person left relatives that

need to be taken care of.

During the funeral the bereaved family serves food and drinks of all kinds for

the relatives and friends since they have sat long and might be hungry. There is always

a master of the funeral ceremony nea cte ayipaso. Now it has been modified, there is

an announcer who keeps people informed about what goes on at the funeral grounds.

People then listen to music and dance till they close.

In Kwahu the funeral ceremony comes to an end exactly six o‟clock in the

evening. On Monday, the Abusua Panyin, elders, relatives, children and family

members of the deceased person sit down and deliberate on issues about the funeral.

The elders look for a successor to replace the deceased so that he/she will be

able to take care of the things the deceased has left behind. The heir (odiadefo) can be

cxxxi
selected from the same lineage, the same house or from another house of the same

lineage. For example if the husband dies, the eldest brother in his house or other clan

of another house can be selected to replace the deceased and take over his property.

If he left behind a wife/wives or children, his brother can marry the wife or

wives and care for the children as his own. Also his brother can decide not to marry

his brother‟s wife or wives. They also calculate the cost that was incurred during the

funeral celebration. If there was any loss they will share it among the family, and the

children. After the funeral rite the family members or relatives, go round and thank

friends and sympathizers who came to assist or mourn with them.

The family members finally go to their respective places where they came from. After

forty (40) days the relatives open the deceased trunk or box (adaka).

Plate 4.53: People at a funeral ground at Atibie

Source: Photograph taken by researcher

The influence of funeral on art (respect for the dead)

Information gathered from respondents revealed that because of the respect

Kwahus have for the dead almost all the houses they build have (porches) created

cxxxii
where the dead is laid in state. This is seen in their architectural design which is as

aspect of art.

The sculptures also play an important role in funeral celebration. They use to

make coffin and the graves where the body is laid to rest as other ethnic groups.The

body is placed in the coffin for burial. The grave is also made by the sculptor,it helps

relatives to identify where the body was laid in future to perform any rite.

Families, relatives and well wishes mourn the dead, dress in black, red, brown

and blue black clothing such as (Kuntukuni) as well as adinkra. Normally they put on

white clothing with the adinkra symbols for thanks giving.

Plate 4.54: Picture of people in white for thanksgiving service (white clothing)

Source: Photograph taken by researcher at Obomeng

cxxxiii
 Plate 4.55: Picture of people mourning in black /red attire

Source: Photograph taken by researcher at Abetifi

Gift items such as handkerchief, clothing, rings, money, et cetera are placed in

the coffin. It is believed that that the dead person is embarking on a journey and will

use it in the ancestral world.

Now graphic design products such as posters, T-shirts, brochures et cetera are

made to inform the public about the funeral arrangement and other activities. Initially,

relatives and friends were informed orally as disclosed by respondents.

Funerals are accompanied with music dance and drama for people to express

their respect and love to the dead. Libation is poured at the grave side to evoke the

ancestors to warmly accept the soul of the departed. Finally, it was noticed that when

one dies at a tender age, an egg is given to the ancestors and libation is also poured to

the ancestors in other to find out what caused the death of the person.

 Festival Celebration (Togetherness/ Unity)

Festivals are annual occasions for large public celebrations during which the

entire community remember, honour, think about the progress of the community,

thank God, ancestors, gods and other spirit of the land for their help and protection

cxxxiv
throughout the year. Mbiti (1973:136) stated that “there are many occasions when

festivals add to the grandeur of both personal and communal rituals”.

Kwahus are second to Fantis when it comes to festival celebration. Kwahu

people are noted all over the country about the celebration of Easter festivity (Yesu

amanehu) and funeral (ayieyo).

 Adae

Kwahu people also have a calendar a sacred day, For instance, Adae. This is a

period for ancestral veneration. At this time prayers (libation) are offered to appease

the ancestors, the gods and other spirits of the land and the people as well. People

come together to seek favour from the gods and ancestors. The chief priest and his

people offer food, meat and drinks for the spirits of the land.

Kwahus have some important days that they remember most on the kwahu

calendar. The sacred days on the calendar are termed as ADAE (dabcne) which is a

state of rest. Kwahus have selected few of the days which they use to appease the gods

and the numerous spirits of the land and their fore fathers (ancestors) every forty-

second (42nd) day.

The days found on the Kwahu calendar are: Fcdwoc, Efidamu, Benadapa,

Awukudae, Ayawadae, Fida, Fofie, Benada Kwabena, Memenda Dapaa and

Akwasidae.

Kwahus have selected few of these days from the Akan calendar. Since

Kwahus are noted to be hard-working and business oriented people they do not want

obstructions to affect their business activities.

cxxxv
 Nana Anom Boansi of Mpreso disclosed that Kwahu people have replaced

Adae Kɛse especially afahy[ with Easter (Yesu amanehu) and funeral (ayieyo) because

of social and financial challenges. They come home to meet friends, relatives and also

use that period as an opportunity to rest.

Most Kwahu citizens come home on Thursday the day before Easter Friday to

meet with their family. On Friday they go to church and take part in church activities.

In the evening they come out to the street to meet friends.

On Saturday the whole community meets with the chief and elders of the

towns in front of the chief‟s palace or community centre. They discuss the welfare of

the towns. If there is any project the people come together and contribute money

towards it. They also organise communal labour to clean the town.

There is also life band music which is played and meant to entertain the crowd

till daybreak. People use that opportunity to introduce new product and sell different

items to the public.

Plate 4.56: Kwao Kese and a backing musician on stage performing at Abetifi during

Easter

cxxxvi
 Source: Photograph taken by researcher

Plate 4.57: Some products being exhibited on stage at Mpraeso during Easter

Source: Photograph taken by researcher

They have been able to modify the programme by showing films to educate the youth

about HIV, moral values, Girls child education and the like.

Paragliding now forms part of the Easter festivities. This is where a lot of

people visit the tourist site at Odwen Anoma for the paragliding. This is a project that

was initiated by the ministry of tourism by Honourable Jake Obetsebi Lamptey and the

late Samuel Ayim who had a fatal accident on Accra to Nkawkaw road.

This project was introduced by some white men. They use the opportunity to

exhibit and sell some items at Odwen Anoma Mountain in collaboration with Rockia.

cxxxvii
Plate 4.58: Getting ready to take off with a parachute at the paragliding site at

Odwenanoma

Source: Photograph taken by researcher

Plate 4.59: Flying in the air with the parachute

Source: Photograph taken by researcher

cxxxviii
 The paramount chief Omanhene of Kwahu Daasebrε Akuamoah Boateng II

organise a durbar to meet the citizens of Kwahu where the President of Ghana and his

Ministers attend the function.

Plate 4.60: Picture of Daasebree and President Kuffour at a durbar ground at Abetifi

Source: Photograph taken by researcher

4.32 Influences of Adae Afahye and Easter celebration on art

The celebrating of Adae Afahyj festival in Kwahu, has promoted or influenced

the production of certain artifacts as revealed by respondent.It has contributed to the

development in Kawku, promote unity, settling of dispute among families,and the

likes which are aspect of cultural value. During Adae Afahye, the chief, elders and the

public put on white and colourful kente clothing which is a product of textile. They do

not ware mourning cloths. It is believed that the past chiefs are not dead but rather

gone to the village and are using this great opportunity to wake them up from their

sleeping place. Some of the clothing they wear during such occasions have names like

Obo nkwatia Aso bayirɛ dɔtɔ yede nam n’ayi nam dua koro gye mframa ebu.

cxxxix
 Ornaments such as earrings, rings bracelet, necklaces, etc are worn or

possessed because they are thought to be beautiful more than their usefulness.

Ornaments are used on the body for various reasons like protection, beautification, sex

differentiation, as a decorative measure, rank or status in the society.

Ornaments are usually worn during occasions like social gatherings such a

durbars, funeral festivals (Adea, Easter which has now been accepted as Kwahu

culture). Kwahu chiefs also appear at durbars with a lot of artifacts which show his

wealth, power and protection in the society. The chief is therefore regard as a walking

gallery since he is decorated with a lot of artifacts i.e. his clothing which is worn on

the body, indigenous, sandals, jewellery, amulet, talisman, headgear, such as (aduasa,

apim) hat.

Plate 4.61: Picture of a gathering at a Durbar at Abene

Source: Photograph taken by researcher

cxl
 Nana Anom boansi once again mentioned that the dressing can create conflict

therefore the chief and elders go along with extra ornaments and clothing. Hence a

delegation is sent to inquire what the superior chiefs would be wearing during the

occasion. For example, one cannot attend a function where their superiors are wearing

cloth with designs like ɔkɔre. The sculptors also carve stools, asipm chair, palanquin,

and spokesman staff for the chiefs to use or sit on during important occasions such as

afahyj festival, durbar, funerals ayieyɔ. Sometimes it is the paramountcy that decides

whether the chiefs should sit in a palanquin when coming for the durbar. Any chief

who wants to use the palanquin must first seek permission from the paramountcy

before doing so.

The spokesman staff which is also made by the sculptor has got some

proverbial meanings such as apɛsɛ ye kɛsɛaa ɔye ma dufɔkyeɛ. A staff with tortoise,

snail, and a hunter in the middle with a gun between them signifies peace. It portrays

that if it is left with the tortoise and snail in the forest there will always be peace in the

forest. For instance when a chief is attending a fund raising ceremony, the sculptor can

also carve a staff with a man climbing a tree and someone pushing him. Which simply

means that one would be supported during a worthy course which literally means

woforo dua pa na ye peiawo. Again the sculptor can carve a spokesman‟s staff bearing

the symbol of the clan. For instance, a crow as a symbol for the people of Mpraeso or

Nkwatia, can use such staff for any function.

cxli
 Plate 4.62: Picture of linguist with a staff at Obomeng

Source: Photograph taken by researcher

Festive occasions such as afahyj et cetera, promotes body paintings this is

where marks and pattern with pigments found or made of the body. Also one can

decorate the skin with kaolin or powder when one emerges a winner in an activity.

Body paintings may be done for social functions like festivals (Easter ceremony)

where participants and audience paint themselves with various pigments to entertain

the crowd.

cxlii
 Plate 4.63: Picture body painting during Easter festivity at Abetifi

Source: Photograph taken by researcher

Respondent contributed that performing art consist of music dance and drama

in our daily activities. People practice such art forms without being aware of what they

have done. Performing art mostly takes place during social gathering in Kwahu.

Music refers to an organized sound that may be accompanied with musical instrument.

It could be done by clapping, tapping the foot, drumming, singing humming, ringing

bells, blowing of wind instruments such as flute, trumpet etc. Music sometimes forms

part of everyday life activity. In Kwahu, music can be organized and sung during

occasions such as festivals, durbars, birth, marriages, funeral et cetera. Kwahus are

known to be gifted in music such as highlife and ordinary music.

Music refers to an organized sound that may be accompanied with musical instruments

or without any instrument. It could be done by clapping, tapping the foot, drumming,

singing, humming, ringing of bells, blowing of wind instruments such as flutes,

trumpets and the like.

cxliii
 Other instruments they use for their music are bamboo, rattle, bells,

apirempirensua, afrikyiwa, apirede, etc. Their music is arranged to suit the occasion or

the period especially joyous music are arranges during festive occasions. Some

important musicians found in Kwahu are E.K Nyame (E.K‟s), A.K Adofo, Nana

Ampadu, Obomeng Mireku, Ahima, Kwasi Ayaah and the like. Their music is meant

for entertainment, religious worship, healing, listening for pleasure, relaxation,

attraction and inspiration.

Dancing is also an aspect of performing art that brings people together. It is the

movement of the body in an orderly and pleasing manner to the tune to follow a

meaningful sound. Dancing takes place when people swing parts of their bodies such

as the hand and head, and when they tap the foot or even move the whole body.

The facial expressions and gestures of the dancer can determine the mood of

the person. At joyous occasion an individual use to put up a cheerful smile. But when

one is sad or in a sorrowful mood one uses to swing the arms, put the arms on the head

and cries while dancing.

The indigenous dance forms in Kwahu include Kete, Adankum, Ashuwa,

Aboma and Adowa (indigenous dance form). Like the performance of music, dancing

is usually performed in ceremonies involving birth, puberty, marriage, death, festivals,

durbars and other social gathering. The people sometimes put on costumes when

dancing and others dance bare footed. In Kwahu people dance to entertain the crowd,

help to relax and for people to express their appreciation to loved ones.

When an important guest/personality gets to the floor to dance, people raise

their hands and stretch the second and third fingers upon the person or guest who is on

the floor dancing.

cxliv
 Plate 4.64: A relief of people dancing at Atibie

Source: Photograph taken by researcher

Drama is an aspect of performing art which is normally used to express an idea

and social life in a story form to the audience. Other forms of drama are dance drama,

narrative drama and ceremonial drama.

In dance drama the person who is acting or dancing portrays the actions in the

dance for the audience to understand. An example is where a chief dances and

expresses his intention to the public that the area or land he is ruling belongs to him.

He does this by using the state sword and places it on his chest. The narrative dance

drama is also used to express emotions, actions, in war, love and dance displayed by

traditional priest. In narrative drama sound and actions are combined to help

communicate effectively to the audience.

The ceremonial drama is often associated with ceremonies like rituals,

outdooring (enstoolment and destoolment of chiefs), marriage, durbars, funerals etc.

Drama is a form of role played to help the public to understand one‟s idea. Drama is

often accompanied with drumming, singing and dancing. The actor or actress

cxlv
sometimes puts on ordinary clothing or special costume for the performance

especially, traditional priests (akomfoc), and hunters (abcmcfoc).

4.33 Political Life of Kwahu People (Political promote, respect,

authority, togetherness, humility as cultural value)

Chiefdoms developed in several parts of the world as described by Kottak (2005:146)

which Kwahu traditional land is not exempted.

According to Amenuke et al (1991:20)

Egypt, which became the first great centre of civilisation on the African continent roughly

about 5000 BC, had powerful kings called Pharaohs. This helped the nation to develop since

they were able to organise great armies to protect the nation and also organised men to do

communal work.

The numerous townships in Kwahu have chiefs who govern or rule the people

in their localities. The paramount stool is at Abene, which is the Tena/Bretuo lineage

monitor who is currently in the person of Daasebrε Akuamoah Boateng II is the

paramount chief. His mother, Nana Gyamfuah is the queen mother of the Kwahu

traditional area. She is the longest and youngest queen mother ever known in the

history of Kwahu and entire Ghana. There are other wing, palanquin chiefs and

queenmothers in Kwahu. They have been able to ensure peace and development in the

locality.

Kwahus in general do not take keen interest in party politics as compared to

other ethnic groups in Ghana. They are known to support any government who comes

to power. They know that if they oppose the government in power their businesses are

likely to collapse, since they engage in all sorts of businesses.

cxlvi
 For example during President Nkrumah‟s regime they were in favour of his

administration. The same thing applies to the previous and present governments. They

will not do anything that will affect their businesses.

 Chieftaincy in Kwahu

Enstoolment

The occupant of the Kwahu stool must come from the (Tena/Bretu) clan. The

person who is to become a chief must come from the royal home. It is the elders of the

royal family (abusua mpanyinfoc) and the queen mother who nominate the one who is

to become a chief in Kwahu land. Yet the nomination is to be approved by the citizens

of the Abene Town.

Plate 4.65: Picture of swearing in ceremony of Nana Anom Boansi as Asfohehe of

Mpraeso

Source: Photograph taken by researcher

Such a person must have good character, but knowledgeable, respectful and all

the good qualities a chief or king must possess. Kwahu chiefs sit on stools and the title

of the paramountcy is Daasebrε.

cxlvii
 After the choice of a suitable royal person, the chief is quarantined where he is

educated on the customs and traditions of the land. He is also taught how to speak in

public, dance and walk majestically.

The chiefs are blindfolded and are allowed to go to the stool room where all

the past chiefs‟ stools have been kept. The one that he touches becomes his stool

name. For example if he picks a stool bearing the name Daasebrε Nana Akuamoah

Boateng II, he uses it as his stool name.

In some cases the chief can marry the wives of the dead chief. It is the chief

who decides who to marry. He only has to inform the elders and the queen

mother. During durbars and functions, the chiefs dress nicely in Kente cloths and

regalia.

 Destoolment

A chief is destooled if he misbehaves or disobeys the laws of the land. For

example if he sells stool lands. The chief‟s sandals are removed when he is being

destooled. This is announced to the public. Destoolment can be done by the queen

mother.

 Funerals for Chiefs

When a chief dies they do not announce it in public. It is the wing chiefs who

are first informed. Later they send drinks to inform the other chiefs and elders. Later, a

date will be fixed for his burial ceremony. Nobody will be permitted to have a funeral

until the chief is buried. This picture shows a chief at another chief‟s funeral with a

gun. The firing of a musketry with a grass or leave in his mouth, it signifies that we are

in a bad mood therefore we do not speak with one another. His appearance depict that

cxlviii
if death was like a war to be fought they would have fight for him to prevent his death.

This event is so dramatic which is an aspect of art.

Plate 4.66: Picture of a chief with a gun at a sub chief’s funeral ground at Mpreaso

Source: Photograph taken by researcher

A goat is slaughtered and shared among those who are closer to the stool to

cleanse them. For two (2) weeks all the citizens mourn the chief and put on black

cloths (Kuntukuni). The wives and children, cousins or relatives close to the stool are

shaved and their shaved hair is used as a pillow. Anybody at all can do the shaving. It

will be placed under his bed where he will be laid in state. It signifies that if death

could be fought by men all the people who shaved would have gone to war with daed

to save the dead chief.

At the last day of the burial a shed will be erected in front of the palace then

there will be firing of musketry (firing of gun). The special place where the chief who

is the occupant of the stool is laid to rest is known as Kwayε Kεsim (virgin forest).

cxlix
 The wing chiefs, paramount chief and elders will be informed about the burial.

A day before the burial, at 12.00am (mid-night), no commoner or an ordinary person

should be seen around. They then pay or swear an Oath of allegiance at the place

where the chief is buried.

After the burial the new chief that has been elected is kept in a room. If

everybody agrees and there is no dispute surrounding the chieftaincy they can install

the new chief immediately.

He is then carried on shoulders and then placed on the stool three times.

Powder is then poured on him. His real changes to the stool name and one cannot call

him by his former name or insult him. He is then addressed with the stool name.

4.34 The influences of political structure (chieftancy) on the art (respect,

humility, authority, togetherness)

The art form as seen in the political life of kwahus involves the installation,

destoolment, festivals, durbars and funerals lf chiefs. The political structure in Kwahu

is embedded with a lot of activities that makes use of art forms in terms of visual and

performing arts. The cultural value in the political structure shows humility, respect,

authority, togetherness as stated by respondents. During the installation period the

chief is made to sit on the skin of a sheep in the presence of his elders. It signifies that

he should humble himself like the sheep so that he can cope on well with the elders

and the public. After this stage he is placed on a stool or made to sit on asipim chair

with his feet on the sheep skin. The skin used in here is as aspect of the visual art

(leatherwork).

cl
 The white powder poured on him is a form of body art, it depicts the victory he

has won during the vetting stage.

Plate 4.67: Picture of installation of a Chief at Mpraeso

Source: Photograph taken by researcher

The paramount seat in Kwahu land is a stool and it is made by the sculptor.

The sculptors carve stools and assemble various parts of wood and other materials like

brass, leather etc to make a chair for the chief and his elders. An example is the

(asipim chair), (don stool) among others.

Plate 4.68: Picture of a Stool at Obomeng Palace

cli
 Source: Photograph taken by researcher

The sculptor also carves drums that are played during the political and

installation activities that go on in the palace and the community. Such activities

include durbars, funeral for chiefs, festivals, de-stoolment etc. Examples of such

drums are fontomfrom, ahipan, etc.

The sculptors also make palanquins, spokesman staff, umbrella tops, dawuro

etc. The palanquin is used to carry the chiefs and sub chiefs. The umbrella is placed on

the chief when they are in state. While the spokes man staff is used by the linguists.

He usually uses it when the chief is in state, gatherings or when he is sent by the chief.

The skin of sheep is also used which is an aspect of leather work, that signifies

humbleness or humility. The chiefs put their feet on it, some are used as the seat and

decorating the chief with some leather works. During installation the chief sits on the

animal skin before later given a stool or chair to sit on. Other aspect of leather used

includes the native sandals, charms and amulets used by the chiefs as body art.

It is no wonder the chief of Kwahu and other ethnic groups are termed as

walking gallery, since from their head to toe are decorated with artefacts such as rich

kente clothing, head band, ahenema sandal, body arts as stated by respondents.

The chief usually put on kuntukuni black or red kɔbene clothing during funeral or

mourning the dead. Also during installation the chiefs and the sub chiefs put on dark

/mourning clothing.

Generally at adae afahyj the chief put on white clothing which is dominated

with adinkra symbols for these textile products. The white is worn to celebrate the

waking up of their dead chiefs whom they believe is asleep.

clii
The influence of pottery as an art in the political structure of Kwahus is very vital.

Maame Juliana Mirekua a potter at Mpraeso disclosed that when a chief or traditional

priest dies they (potters) are commissioned to make effigy sempon and abusua kuruwa

to be used to represent the dead chief who is believed to have gone to the village.

The women use the soboɔ or animapoo boɔ and not any ordinary clay used for

the pot or ware(sempon or abusua kuruwa). This time before they dig the clay from

the pit side rituals sheep is slaughtered, libation is poured to pacify the gods. They will

then drum and play kete when going to the river side where the clay is located. A gun

is fired whiles the possession is still in progress.

The clay is covered with nsa or kente it is then sent to the potter. The potter who is

going to make the ware must not be her menstrual period and also should not sleep

with her husband or any one. This time the clay which is to be used for the sampon is

mixed with gold and libation is poured whiles the clay is being prepared. The potter

who is going to make the ware is well fed, bathed and nicely dressed when moulding

the figure. She then applies nice incense pɛperɛ on her body the figure sempon or

abusua kuruwa the relatives abusua will come for it during the funeral day after which

the body of the chief or traditional priest has been buried.

They will come with a palanquin, carry it and send to the funeral ground. The

image will be then be removed from the palanquin and placed in the head pan yawa

and finally put it on the asipim chair. The crown or red band which the chief use to

wear when he was alive is placed on the head of the image and the red band around the

neck. Then the abusua/ relatives and citizens will keep wake to mourn the dead chief

infront of the image which is in the „likeness‟ of the chief or priest, since the body has

already been buried.

cliii
 The effigy sempon is the „likeness‟ of the dead chief which is made up to the

bust/portrait. The abusua kuruwa which is also made in the „likeness‟ of the image of

the dead person is made up from the bust. It is then surrounded with other images to

assist the chief in the ancestral world.

In terms of the political structure of the Kwahus, performing art plays a very

essential role in promoting chieftaincy in Kwahu land as stated by a respondent. Once

again sculptors carve drums and cast other musical instrument that are used to promote

drumming, dancing and music during their political seasons and functions. Such

musical instrument made include: Membranophones, drum – Atumpan, fontomfrom,

dondo, twenetia, agyegyewa etc. Aerophones (wind instruments) – horns, flutes,

(made of bamboo).

Other instruments they use are from bamboo, rattle, bells apire mpirensua,

afrikyiwa, apirde etc. The music is arranged to suit the occasion they then dance

according to the tune of the drum for example Kete, adowa, adoma and fromtomfrom

dance. The music is highly entertaining as well as teaching about some of the moral

and historical lessons for the present generation.

Another dramatic aspect is where the paramount chief or sub chief is carried in

a palanquin holding a sword which is made by an artisan the sculptor or the

blacksmith. During funerals dirge which is an aspect of oral art is sung to mourn the

dead. These activities help portray the cultural values seen in the political structure to

the public.

4.35 Customs and Tradition (Respect, unity, togetherness, identity)

 The Family (Abusua)

cliv
 Respondents noted that the clan abusua help to bring out the cultural values

such as identity, respect, unity, togetherness through the clan system. The family

system in Kwahu is quite different from that of Europeans who use the nuclear system

in Kwahu. The family system is very wide, that is the extended traced through blood

relation. It includes the living, the dead and those who are yet to be born. This usually

forms the family genealogy. This has made it possible for an individual to become a

social being. The family system among Kwahus include: children (mma), parents

(awofo), grandparents (nananom) and great grandchildren nanakansua, uncles

(wofanom) and aunties (nakuma), napayin and nephews (wofaasenom). The family

system in Kwahu controls societal relations between people in a given society. It does

not allow one to marry a close relative.

The head of the family in Kwahu is called Abusuapanyin and his spokesperson

is called Abusua Kyeame. Fathers are known to be heads of families when it comes to

the nuclear system.

In Kwahu one‟s father‟s brother is also considered as his or her father. The

children call their father‟s sisters as sewaa, on the other hand the mother‟s brothers are

known as uncles wofa. The mother‟s sisters are known as napayin. Napayin is the

eldest mother and Nakuma, youngest mother.

When one gets married to a person in a particularly family, the parents of the

spouse then become in-laws (nsew). The man‟s brothers call their brothers‟ wives as

their wives and call the wife‟s brother as akonta. The sisters call their brothers‟ wives

as nkuma.

The system has made it possible for a person to literally have many fathers,

mothers, sons, daughters, brothers and sisters. The kinship systems even extend to

cover the “living–dead” and the yet to be born children.

clv
 The family/kinship system has made it possible for the prevention and solution

of conflicts, disputes between members of the same family which is usually presided

over by the family head. The family acts as an insurance system to support/assist the

individual in times of need. When one suffers one does not suffer alone but with the

entire family. When he rejoices he or she rejoices with his kinsmen.

 The Clan (Unity)

O Inheritance

Kwahu people use the matrilineal system. In Kwahu an individual is bound to

his mother‟s family. It is believed that the blood comes from the mother. The people

inherit the uncle‟s property (wofa adeε). Most people rely on their uncles‟ wealth.

o Totemism

The clan system in Kwahu has some common features like any other ethnic

groups.

The family has a vertical system which stretches vertically to include the

totemic spirits, family spirit and the likes. In this way the family performs rituals to

maintain the relationship with their deities (spirits).

The clan has some animals or plants which are regarded as having special

relationship with the clan. The totem is a visual symbol that mostly unifies the clan.

Members of the clan usually regard these totems.

Kottak (2005:217) contends that “Totemism is rituals that serve the social

function of creating temporary or permanent solidarity among people forming a social

community”.

clvi
 He further explains that totems could be animals, plants, or geographical

features. In each ethnic group, groups of people had particular totems. Members of

each totemic group believe themselves to be descendants of the totem. They

customarily neither killed nor ate it but this taboo was lifted once a year, when people

assembled for ceremonies dedicated to the totem. These annual rites were believed to

be necessary for the totem‟s survival and reproduction. The clan system has been able

to unite the entire life of Kwahu people and even extends its wings to cover animals,

plants and other non-living objects through the totemic system.

This really shows that every individual is his or her brother‟s keeper. This has

contributed to the social relationship among Kwahu people. An individual is therefore

a social being.

 The Totem of the Bretuo Clan

The leopard is a visual symbol that is used to represent the Bretuo clan. It is

believed that a leopard once turned to a man and got married to a woman. According

to D.A. Koranteng, a native of Kwahu Pepease, the leopard did not settle permanently

with the woman. The woman then complained of frequent movements (mabrε ne

otuo). This was corrupted to Bretuo. Another saying was that, the name originated as a

result of people who were fond of picking mushrooms which became mire tufuo which

was also corrupted to Bretuo.

According D. K Koranteng, leader of the Bretuo family were Akusiase

Agosum and his sister Asiama Nyame. Other elders include Tutu Kwa and Antwi

Kurufa Daaduam. The Tena siblings later joined this family at Kububiase (Ahensan in

the Ashanti Region).

clvii
 Initially they settled at Pra, Ofe, Oda river Basins, Ayaase and later settled at

Mampong and Seniagya. In Kwahu, the Bretuo clan settled at the following areas:

Abetifi, Twenedurase, Pepease and Nteso.

Plate 4.69: The Totem of Bretuo clan

Source: Photograph taken by researcher

O The Totem of the Aduana Clan

The totem for the Aduana clan is a dog, with fire in its mouth or emitting fire

from its mouth. It was this animal (dog) which led them to their settlement. They

highly regard the dog, and anything that they say often comes to pass. It is believed

that their mouth is supposed to carry fire (won ano yε gya).

The following are curses when it is performed or done by an Aduana. That is

when they go naked before an ant hill and also when an Aduana squats and sneezes

three times against an ant hill.

In Kwahu the Aduana settled at Obomeng, Pitiko, Obo and Bepong. The

Aduana hold the office of Fotosanfoc hene in the Kwahu traditional area.

clviii
 Plate 4.70: The Totem of Aduana clan

Source: Photograph taken by researcher

O The Totem of the Asona Clan

The totem for Asona is the crow (kwaakwaadabi) or (Anene). It was mentioned

that a gongong was beaten to announce the death of Nana Onyankopcn and they

needed someone or a clan to go and wake him up. The crow went to where Nana

Onyankopon was and started shouting Kwame, Kwaame! (God‟s name). Another clan

said to the crow, let ears rest (momma or ma aso nna) which was corrupted to Asona.

It is claimed that part of the Asona came from the Buno kingdom, Adanse

Ayaase, Mankessim and Abuakwa (Akyem Ahwenease). In Kwahu, they settled at

Mpraeso and Pepease. The Kyidom stool has been in favour of the Asona clan that is

the post of the chief spokesman of the Asona clan. This has always been to the Asona

clan from Pepease.

clix
 Plate 4.71: The Totem of Asona clan

Source: Photograph taken by researcher

O The Totem of the Asakyiri Clan

The vulture (cpεtε) is the totem for the Asakyiri. It is claimed that Asakyiri and

Asona were brothers and sisters siblings and were known as Asona ne Akyiri which

was corrupted to Asakyiri. Asakyiri followed Asona and settled at Bono Manso.

The women adopted the vulture as their totem and the males (men) also

adopted the vulture as their totem as they were calm, peace-loving. Later they accepted

the vulture as a symbol for the whole clan.

The Asakyiri is said to have migrated from around Lake Chad to the Bono

state, and then founded Akyerεkyerε state with the capital at Fomate. The leader was

Asone Nyansa. He made his people learn craft. They were defeated and annexed by

Dankyira.

clx
 Plate 4.72: The Totem of Asakyiri clan

Source: Photograph taken by researcher

o The Totem of the Agona Clan

The totem with which the Asona clan is associated is the parrot (Ako) which is

noted for its fluency. Probably that might be the reason why Agonas are fluent in their

speech. It is highly difficult to see an Agona who is dumb/ cannot talk.

It is noted that Agonas hailed from Dankyira during the reign of Ntim Gyakari

and also from the Ayokoc of Asante. There was a war between Agonas of Dankyira

and Ayokoc of Asante as a result of Osei Tutu who was the Ayokohene, cut off an ear

each of the toll- collectors of Dankyira.

Kofi Agyei, who was popularly known as Okomfo Anokye, was then the chief

priest (traditional) who commanded Ntim Gyakari to sacrifice a fair lady as a sign of

victory over the Asantehene (the King of Asantes). Unfortunately the woman (fair

lady) that they sacrificed was later discovered to be ckomfo Anokye‟s own mother who

was used for the ritual.

Okomfo Anokye then turned against Dankyiras and supported the Asante state.

This time he said a leader or a general should offer himself to be shot as a sacrifice.

clxi
The man who offered himself was Tweneboa Kodua. Because of the sacrifice, there is

a saying that Kodua de ne ti agye Asante-man.

Ntim Gyakari was unaware and thought victory was almost his so he was

released and was playing a draft (oware) with his wife Gyamea when some slaves

used to entertain them. These slaves had part of their bodies chopped off particularly

their noses, eyes, ears, flesh of their arms and their haunch backs removed. They

played music and danced to entertain the King.

It was there that the King was attacked and beheaded. The head was taken to

Kumasi as a sign of victory. The Asante king stepped on the head as a footstool. This

saw the decline of the Dankyira state and the consequent rise of the Asante Kingdom.

The Agonas are the occupants of the Banmu stool. Through marriage some

Agonas of Asantes and other ethnic groups and Bukuruwa, which is now a state at

Kwahu came to settle at Kwahu.

Plate 4.73: The Totem of Agona clan

Source: Photograph taken by researcher

o The Totem of the Asene / Asenie Clan

The totem associated with the Asene clan is Apan (the bat) which is their

totem. According to Koranteng (1997:45), the Aseneε clan was founded at Amakom.

They were the next second group that got settled at Kwahu after the Aduana.

clxii
 As warriors their appellation is Aseneε kodi Adcnten. In times of wars the

Aseneεs are the scouts, they follow the Twafo group. They are always at the left and

right wings at wars.

Information gathered reviews that Aseneε migrated from the Northern part of

Burkina Faso and built Peminiase and other part founded Amakom. Some of the

Aseneε clan in Kwahu first settled at Kεsepcn, Tutuso and Abetifi. Others went to

settle at Abocso, Baman and Agona. But through marriage and migration the Aseneε

clan can now be found in other parts of Kwahu.

Plate 4.74: The Totem of Asene clan

Source: Photograph taken by researcher

o The Totem of the Ayokuo/Oyoko Clan

The totem that is associated with the Ayokoc clan is the Hawk (csansa) which is noted

for its rapacity. There is an adage which says that Osansa fa adeε a ‫כּ‬de kyerε

amansan. It tries to exhibit its braveness by showing whatever it picks to the public by

lifting it high.

clxiii
 The Ayokoc clan is forbidden to eat Buffalo (εkoc) but in the past, during a

severe famine, they were compelled to eat it. They were been laughed at for eating

buffalo, which they were not supposed to eat. The people used to say Awe-εkocfo

which has been corrupted to Ayokofoc

The Ayokuo clan from Kuntunasi in Kumasi during the war were the first to

settle at Atibie Kwahu.

Koranteng (1997:45), further stated that another group from Kumasi also

migrated from Juaso to Pepease in Kwahu. There was a misunderstanding between the

then Asante King Nana Opoku Ware I and Nana Frimpong Manso of Dampon who

ruled part of Kwahu, Akyem and Asante. The people got married and also migrated to

other parts of Kwahu. In Kwahu the Ayokuo hold the office of Gyaase.

Plate 4.75: The Totem of Oyoko clan

Source: Photograph taken by researcher

o The Totem of the Jkuona Clan

clxiv
 The totem for Jkuona clan is Buffalo εkoc. It simply means Massiveness. Once

again Koranteng (1997:47) wrote that „it was a hunter who discovered a herd of

buffalo εkoc which turned themselves into human beings‟.

The hunter became interested in one of the female buffalos and took its hide.

When they were about to return, one of the females could never discover her hide. The

hunter finally came out from his hide-out when the animals left, and took the animal-

woman for a wife. The descendants therefore called themselves Εkocnafo

It is believed that the Εkocna clan originated near Libya and also Kokofu at

Bugyeikrom. The Εkocna clan founded Fomena during the reign of Nana Ntim Apau

and Bantua who was then the queen mother of Fomena.

The Εkocna clan founded Asckcre, Otikrom, Kwaaman, Faabaware, Sekyerε

and Mampcnten. Amoakoa who was the ancestress of Εkocna arrived at Pepease from

Fomena. The rest from the Tena Bretuo family at Kwahu and other members migrated

and got married to other Kwahu citizens.

Totems are sacred emblems symbolizing common identities. Totems which are

visual symbols that represent plants, animals and sometimes natural items are carved

or sculptured on a monument as a representative of a particular image of told stories

about ancestors, animals and spirits. These are also associated with ceremonies.

In totemic rites, people gather together to honour their totem. In so doing they

use rituals to maintain the social oneness that the totem symbolizes

clxv
 Plate 4.76: The Totem of Jkocna clan

Source: Photograph taken by researcher

4.36 Influence of the clan (family) on art

Identity as a cultural value in the clan system has really help to bring the art

forms in the clan system. The clan system observed/practice in Kwahu has made it

possible to unite the people. It has also made it easier in terms of inheritance. The art

has contributed effectively in the clan system in Kwahu. Usually most of the

inheritances are in visual form which is represented through an art product such as

properties like stools (sculpture), clothing (textile), ornaments (Jewelry), building

(Architectural) as well as all the other discipline in art.

In terms of kinship the paramount seat in Kwahu is from the Etene Bretuo clan

who is in a person of Daasebre Akuma Boateng is the Omanhene of Kwahu. The same

thing applies to wing chiefs, sub – chiefs, elders as well as citizens of Kwahu. Apart

from the Bretuo clan which form the paramouncy (Omanhene of Kwahu) the rest of

the clan are Aduna clan, Agona, Asona, Asakyiri, Asene, Oyoko/Ayokuo, ekuona and

each clan has it own Totem which has already been discussed above.

clxvi
 The sculptor has been able to carve the stool, asipim chair which signify the

soul of the land on which the Omanhene sit. It gives him power and authority to rule

the people of Kwahu land. Also, the stool is a symbol of power which makes it

possible for the chief to lead Kwahuman.

Plate 4.77: Asipim chair

Source: Photograph taken by researcher
The sword which the Omanhene uses has a symbol of the leopard on it. It

shows that he is from the Bretuo family. Other sub-chiefs have their own symbols

example the Aduna is represented with a dog, while asona clan uses the totem of the

crow as their symbol. The sword signifies their authority; it is also used when

swearing an oath to the elders and the public.

For example other regalia used by the Omanhene of Kwahu Traditional area

have the symbol of a leopard representing the Bretuo clan. The design of the leopard

(symbol) designed by the artist (dwmfo help to portray ones identity. Other examples

include spokesman staff, umbrella tops, palanquin etc.

The images or totems are sometimes painted or designed as a logo or emblem

to help bring out the identity of the group example: shown as the (Asona) clan symbol

which is display in front of the chief plane at Mpraeso, and Nkwatia.

clxvii
 Plate4. 78: Painting depiting Asona clan displayed at Nkwatia, chiefs palace.

Source: Photograph taken by the researcher

Other groups also use the symbol that is their symbol to design a cloth which

helps people to identify them easily. Respondents disclose that the symbols are orally

used by the groups when they are at a function as a way of introducing themselves or

making the public to know who they are. Particularly when they are at wants to

introduce themselves to the public.

Greetings

In Kwahu societies, greetings are one of the most important etiquettes that are

expected from an individual. An individual or a social group is obliged to greet or

show respect, failure to comply shows: disrespect, offence, disregard, disappointment

or embarrassment.

Rules of etiquette may vary from place to place. In Europe there is nothing

wrong if one does not greet or follow the appropriate direction. Actually there are

certain periods that one needs to greet and also when one need not to greet.

Greetings from Kwahu people may differ slightly from other groups of people

from Ghana.

clxviii
 Plate 4.79: Greeting by handshake

Source: Photograph taken by researcher

An individual or any social group that fails to greet or pay compliment to the

chief and his elders, Abusua Panyin, parents, sisters and brothers and the like in

Kwahu is usually described as being disrespectful, arrogant and many others.

In Kwahu the period that a person cannot greet is the time that he is going to toilet

(private) or when is going to throw refuse away at the refuse dump (bola) or when he

wakes up early in the morning when he has no washed his face and has not pasted his

teeth.

Usually when a Kwahu person is going to defecate, he may say that I am going

to see the chief, visit the chief (mere kc ahenfie), mere kc hunu nananom, mere kc kyea

nana aba, mere kc yε meho yie aba.

It is an insult when one greets, when going to such places mentioned above. But rather

one can greet after returning from the toilet or after emptying the bin at the refuse

dump (bola or sumena).

These are some of the ways Kwahu people greet and how they respond.

clxix
Morning

In the morning, they usually say good morning (maakye) , me ma mo akye when they

are many and some of the responses are: yaa, yaa oba (child), yaa nua (siblings or for

age group), yaa agya (father), yaa εna (mother), yaa cdc, yaa ascn, yaa amu etc. The

respondents sometimes add this after responding to the greetings due ne awc.

Afternoon

In the afternoon they greet maa aha (good afternoon). For instance, when

greeting fathers they normally say: agya maa aha oo, mothers; εnanom me ma mo aha,

friends; anuanom me ma mo aha and family members; abusua or abusuafo me ma mo

aha.

Response: Yaa, yaa cba, yaa agya, yaa εna, yaa cdc, yaa ascn, yaa krontc, yaa

obogya, yaa ahenewa, yaa abraw etc. The respondent can further say “due ne awia”.

Evening

Greetings in the evening: Good evening (ma adwo) for one person and when

they are many, me ma mo adwo, Father; agya me ma wo adwo, mother; εna me ma wo

adwo and family members; abusua me ma mo adwo. Some responses for evening:

Yaa, yaa egya, yaa εna, yaa mu, yaa ahenewa, yaa cdc, yaa cba etc. The respondent

then says, Due ne enwinu.

Seasonal Greetings

clxx
 Seasonal greetings during Christmas, Easter, New Year, festivals and the likes:

Kwahus normally greet like any of the Akan speaking people that is, Afehyiapa, me

ma wo afehyiapa oo, yε ma mo afehyiapaoo etc. The response is that afe nkc mmε to

yεn, afe sesεε na yεte ase.

Birth

Greetings when one gives birth: Tirinkwa, one person is me ma wo tirinkwa”

and for many people yε ma mo tirinkwa. The response is then mi ti daase for one

person and yε ti daase for many people. Also they greet afiremu, ye ma mo afirimu or

me ma wo afirimu.

Marriage

On an occasion like marriage they usually greet awaresc oo or me ma wo awaresc or

yε ma mo awaresc oo. They sometimes greet tirinkwa.

Success

When one comes out successfully in a programme, Kwahus do greet by saying

Tirinkwa.

Funeral

How to greet when one looses a relative: hyε den, me ma wo hyε den, yε ma mo hyε

den, yaa kc, me ma wo yaa kc, ye ma mo yaa kc, due ne wo ba, due ne wo kunu or due

ne wo yere. The response is usually yaa.

clxxi
Working

Greetings when one is working: The people usually greet by saying Adwuma

Adwuma or adwuma oo. The response is Adwuma yε! yaa ayei. Greetings: Kitamu, the

response is yaa or yaa nua and another greeting is mo ne adwuma, and the response is

me da ase.

Returning From Work or Journey

Greetings that are usually said by Kwahu people when one is returning from

work, function, journey and the like are: Akwaaba, Akwaaba oo, yε ma wo Akwaaba,

me ma wo akwaaba. The response is Yaa, yaa anua, yaa cdc, yaa ekunu, yaa εyere or

yaa obi adeε etc.

When one takes a lead in anything, in a function, at work, programme and

eating they greet: Adikan, me ma wo adikan, yε ma mo adikan. The response is

normally yaa, yaa cdc, wato me, yaa nua etc.

Eating – words of invitation

Also when one is eating, to invite the person one may say “wato me” or “wato

meoo” literally meaning you have met me. The response is mesa wom (my hand is in

the food), ma ne nko(let it go), koso (go on) or me da ase (thank you). Also they

invite by saying Afriyie, wa firi yie, wo nim nante or wo nim nanteε you know how to

walk. Also the person who meets the one eating can say adikan.

When a person is going to eat, he/she usually says: merekc yi me nsa aba, mere

kc ka me nsa akyi aba or “mere kc ka mano aba. When one sends another to go and

call someone to come and eat they normally say: bε hwε adeε, mama sε bεhwε adeε

that is, come and look at something.

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Sleeping – some common words used

The people say: mere kc da, mere kc yi mani so, this simply means I am going

to sleep. The response is da yie, sleep well.

Greeting chiefs/elders – some common words used

When chiefs, elders and other groups are seated, the greeting is: me ma mo

atenase, Nana, agya ne εna me ma mo atenase or mpanyinfo me ma mo atenase. When

they are many they greet: Nananom, mpanyinfo, Agyanom, εnanom ne anuanom me

ma mo atenase. One needs to bend or bow to the chief in a gathering when greeting.

Children or teenagers or even adults are not supposed to wave their hands in greeting a

chief for it does not show a sign of respect.

Women can put their hands on their laps, go on their knees and also wave their

hands to the elders. Men can greet chiefs and elders at a gathering by lowering their

cloth to their chest, bow and wave the hands to the chief and elders.

The most important thing to note is that the people greet from the right hand

side. This is the procedure Kwahu people follow to welcome and listen to people.

 Superstitious Beliefs

We cannot exempt Kwahu people from their superstitious beliefs. This has

really helped to control bad habits in the communities and to some extent, improve the

quality of life of the people. For instance, the people have the notion that one should

not shout on top of one‟s voice when mentioning somebody‟s name in the night. It is

believed that ghosts and other spirits might hear the name and can spiritually

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manipulate the said person spiritually. In actual sense, it is to stop people from making

noise or cause unnecessary distraction night.

It is also believed that, one should not sing whiles bathing. It is said that one

who fall prey to this act will die. The prime aim was to prevent lather and other

chemicals from entering one‟s mouth while bathing.

Another superstitious belief among Kwahu people is that one should not sweep

at night. Parents say that one will sweep away his / her success. The idea behind this

superstitious belief is to protect people from losing their valuable items since, vision or

visibility is impaired at night.

Kwahu people are well known in their trading or economic activities. At night

they do not sell items like palm oil, charcoal and other products. Also they put pepper

and charcoal in the containers in which they put their money after sales. Failure to do

this, the poeple presum that evil spirits can take some of the money or some people

can spiritually take back their money after using it to buy whatever they want.

Also some people even have to tear small part of the money that one uses to

purchase an item. At times they do not immediately add the money to theirs or the

money that they have already collected. These things are done to prevent people from

snatching the money that they have used to buy items back. Some of the superstitious

beliefs have also contributed a lot to check the moral values of Kwahu people.

4.37 Recreational Activities in Kwahu and its impact on art promotes

togetherness and sound health

In Kwahu the people entertain themselves by playing games like Oware, Asoba

by women, Agyako, Ndwomkro, etc. Respondent contributed that the cultural values

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has promoted togetherness and sound health in the society. The games serves as a

source of entertainment and also people acquire knowledge and increases one

creativity level. Some games like draft (dammy) and oware are indoor games these are

made by the sculptor with wood.

 Oware

The people play the Oware game which is a sculptural object that has been

carved or incised with twelve holes. It is usually played by two or more people. At the

initial stage one needs to arrange four (4) marbles each in one hole where the players

go round and pick any marbles that the person will arrive at. He/she ends a point

where there is nothing or no marble there. The winner becomes the person who gets a

lot of marbles after re-arranging the marbles got.

Plate 4.80: People Playing Oware

Source: Photograph taken by researcher

 Draft (Dammy)

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 Another innovative game played in Kwahu is draft (dammy) which is also a

sculptural piece. It is usually played by two people. In all forty (40) marbles are used

in playing the game. Each player uses twenty (20) marble which is made of two

different shapes, mostly it‟s circular and square in shape. The winner of the game is

the person who is left with enough marbles.

Picture of people playing draft at Nkawkaw

Source: Photograph taken by the researcher

At Obomeng on 31st December night, draft competition is organised here the

chief and elders show maximum interest in the game. They award the competitor who

emerges as a winner. The marbles are sometimes arranged into nice models such as

cars, toys etc.

 Ampe or Agyarekc

Ampe or Agyareko is a female game and it is played between two or more

females. The person who loses in the game Ampe is automatically out of the game.

This game is in the form of role play, performing art, it is usually accompanied with

music, clapping and jumping.

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 Plate 4.81: Children Playing Ampe at Nkawkaw

Source: Photograph taken by researcher

Another innovative game played at Kawku is usually performed at Obomeng-

Kwahu. This game requires participants to produce some art work. It is a highly

competitive game for both young and old, it is seasonal and by the end of the year that

is 31st of December each participant should finish with his or her model. The items are

displayed at the chief‟s palace at Obomeng for inspection by the chief and his elders.

The event starts on the eve of 31st night where participants gathered play with their

model through the principal streets of Obomeng till the 1st of January, which is the

New Year.

People are awarded for showing high sense of creativity. After the event some

of the best works are collected and displayed at the chief‟s palace. The objects are

usually made of wooden structure which is classified as a sculptural product. The

artifacts are sometimes painted or decorated using different technique as disclosed by

respondents. Some of the models made are in the form of cars, aeroplane and the likes.

It‟s highly entertaining and brings people together.

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 Plate 4.82: Picture of the products displayed at the chief’s palace at Obomeng

Source: Photograph taken by researcher

CHAPTER FIVE

5.0 SUMMARY, CONCLUSIONS AND RECOMMENDATIONS

5.1 Introduction

This section gives a brief chronological account of Kwahu cultural values; how it

started and what it is today.

The narrative and descriptive methods were employed by the researcher in

conducting the research. Findings were made during the exercise and conclusions were

drawn. Again, suitable recommendations are made as to how to maintain and improve the

high standard of Kwahu cultural values among the people especially, the younger

generation and those who have no knowledge about their culture.

5.2 Summary

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 The main objective of the study was to identify the rich cultural values of

Kwahu people and also to examine Kwahu cultural values and how they influence the

art of the people.

It is obvious that Kwahus have important cultural values that have great impact

on their art. Identity is one of the cultural values revealed by respondents which are

seen through their language, food, naming, the clan system (family) as well as their

vocation. This has enabled one to identify someone who is from Kwahu and art has

really play an effective role.For instance, it was noted that Kwahus favourite food is

fufu which has led to the production of motar and pestle by sculptors as well as the

production of earthernware by the potters (women) from which they eat their favourite

food fufu with soup.

Kwahus are hardworking people who engage themselves in pottery, farming,

hunting, trading, traditional catering and fishing activities especially those who reside

close to the Volta Lake.Their hardworking nature can also be seen in their

architectural designs.The various art forms have contributed a lot in promoting the

activities stated. Items like hoes, cutlasses, traps, canoes are made by sculptors for

their agricultural activities whilst products like pots, ayowa (dishes) are used by

traditional caterers and also sold by traders as well as textile products and the likes.

Kwahu people are highly religious. Information gathered from respondents

revealed that their belief have also promoted their worship as a cultural value. Because

they believe in super natural being (Supreme being, lesser gods abosom ancestors and

other spirits) images, temples and items like talisman, amulets and charms, stools,

clothing, body art are made by artist to promote their worshipping activites. Also

performing art such as music, dance, drama and verbal arts are used to enhance the

worship. These super natural powers are worshiped.

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 The social activities such as festivals, rites of passage (birth, marriage, puberty,

death, funerals) political way of life (chieftancy) of Kwahus, have really enhanced

their cultural values such as respect for the dead, respect for the elderly, promotion of

togetherness as well as an authority (power) for the chiefs.These are made possible

through the various art forms (visual arts and performing arts). For example because of

the respect and love they have for the dead people travel from far and near to mourn

the dead, during the funeral activities clothings like kuntukuni korbene, adinkra are

worn to mourn the dead. Gift items such as handkerchiefs, rings, clothing, money and

the likes are provided for the dead to use in the ancestral world. The activities are also

accompanied with music, dance and drama. Particularly in their home towns Kwahus

use to construct all sorts of comfortable buildings where they live and also to receive

visitors during events such as funeral. They use to create a space “porch” where they

lay people in state when they die.

Initially Kwahus did not show much interest in education. They rather spent

much time in agricultural and trading activities. Kwahus have now seen the

importance of education and now send their wards to school. Because of that majority

of Kwahus hold key positions at their work places. A lot of them own their own

businesses probably due to the various vocations that are taught in schools. There is

now a university in the locality that is, Presbyterian University College, PUC located

at Abetifi. Education has helped Kwahus to acquie knowledge, wealth and respect

which are some of the cultural values they cherish.

5.3 Conclusions

clxxx
 Kwahu Cultural values have mainly been preserved through the various art forms

such as visual arts and performing arts which have influenced Kwahus way of life.

For instance the emblem used by Kwahuman is an adopted symbol skillfully

drawn and used as an identity in their social settings; an examples is the use of stool which

is an aspect of the the emblem.The use of the totem by various clans and families potray

one‟s identity. An example is the etena- bretuo clan where the Omanhene of Kwahu

Daasebreɛ Akuoamoah Boateng belongs.

Oral messages are also sent to the people in the form of language. This has led to

the production of drums such as, dondo, gong, fontomfrom, atupan which are all aspects

of sculptural products.

The role of verbal art which is also an aspect of performance has helped some

Kwahu people to know about mpanyinsem. This have made it possible for some Kwahu

people to be fluent and are able to talk in public during functions as announcers; this is

also a way of creating job for people. An example is Mr. P.K Opoku Asiamah well known

as Akasanoma.

Kwahus are noted to be highy sociable; they engage themselves in social activities

such as rites of passes, funerals and festivals. These activities have also contributed

towards the development in Kwahu traditional area, united Kwahu people when they come

together, helped them to settle dispute and see to family matters. The celebration has also

promoted the production of various art forms like textiles, (clothing), sculpture (drums),

body art, music as well as dance. Due to acculturation Easter festivity has now been

accepted as as Kwahu culture which is highly educative, promote trade and tourisim in

Kwahu as well as their cultural values.

It was realised that the older folks which constituted category C, age 45(forty-

five) years and above understand and know more about the culture and cultural values

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more than the youth which comprises of categories A and B, with the age range

12(twelve) to 45 (forty-five) years. Based on these findings it is important to document or

pass on the knowledge to Kwahu citizens in other to preserve the rich culture of the

people.

In a nut shell such cultures should be better exploited to benefit the present and

posterity.

5.4 Recommendations

After a careful analysis of the study, the researcher has come up with a few

recommendations as to how to maintain, improve and also learn more about the Kwahu

culture. The following are the recommendations:

 The Ghana Education Service should lay more emphasis on courses like citizenship

education in the syllabus of schools‟ in Ghana to enable people learn more about

the Ghanaian culture, including that of Kwahu as it is done in the United Kingdom.

 Organizations like NGOs, Old Students Association of schools located in Kwahu,

PTA, clubs, individuals and other bodies should organize activities to help people

learn more about Kwahu culture.

 The elders ought to educate the youth about their culture.

 The Kwahu district assemblies should establish special galleries in Kwahu whereby

historical, philosophical and proverbial sayings, social, moral values, religious,

cultural and traditions of the people are documented. Other art and craft works from

people especially pupils and students should be displayed for sales to the general

public.

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 The preservation of visual art forms regalia ancient sites and property are very

necessary. These help us to remind ourselves of our values and identity for posterity,

this should be implemented by the Kwahu traditional council.

 The researcher is of the view that at home or in schools, parents, elders and teachers

should lay emphasis on the moral training of their children.

 The Omanhene, organizations and other bodies must organize trade fairs in Kwahu

traditional area to attract more people to know more about Kwahu culture. Activities

and events such as expos, bazaars, exhibitions, should be organized to motivate

people to come home regularly.

 Daasebre Akuamoah-Boateng and his elders ought to organize open days in Kwahu,

at least every quarter of the year or during Easter, Akwasidae, etc where people will

be taught the customs and traditions of Kwahu.

 If possible, chiefs and the four district assemblies should build exhibition halls or

galleries at the palaces of various towns where items of cultural and historical

importance could be displayed, for example the regalia.

 The traditional council and other stakeholders should encourage teaching and

learning through festivals by the use of artifacts such as posters, calendars,

paintings, textiles, sculpture, etc to educate the community.

 It is my humble suggestion that thousands of books on Kwahu culture be published

for the youth and the general public to acquire knowledge of their culture. This

ought to be done by writers, educationalist etc.

 More so, both the print and the electronic media should create columns for articles

on culture.

 The assemblies must also develop a website for Kwahu traditional area, showcasing

their culture, tourist sites, and other activities to educate and inform all and sundry

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 both distant and locals and also to promote their culture at the international scene

thereby meeting the current trend of technological and economic advancement.

 Events such as funerals, birth, festivals, Easter, enstoolment and destoolment of

chiefs, queen mothers and other activities if possible must be recorded for future

reference by the Kwahu traditional council as well as the district assemblies.

 The Members of Parliament, district chief executives and other bodies should

organized Seminars, workshops, symposia on culture in schools, functions and other

places to promote this kind of education. Projectors should be supplied to

institutions to be used to educate the public.

 The paramount chief and other chiefs should make it as part of their programme to

open the palace museums to public regularly to enable the masses to learn more

about their cultural values.

 Again stakeholder of Kwahu should help organize programmes like „Home Coming‟

during Easter or any other day to encourage citizens and others to come and learn

Kwahu culture and Ghana as a whole.

 The Omanhene, chiefs and other institutions must organize quizzes, debates,

competitions, essay writing, painting and drawing about culture for Kwahu citizens.

 The Government, Omanhene, Chiefs, elders and other bodies can help to provide or

establish/build a craft village or cottage industry in Kwahu where people would be

taught how to make artifacts, learn the historical, philosophical, cultural, religious,

moral values, psychological aspects attached to the people.

 The Omanhene and chiefs of Kwahu should select some of their elders or

spokespersons to serve as curators at the chiefs‟ palaces, the proposed gallery,

museum exhibition hall or centers and the like to educate or explain things to

citizens and the public about the historical and cultural aspects in Kwahu.

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 Individuals, NGO‟s, the district assemblies and other bodies must develop Various

tourist areas or sites to attract investors, outsiders as well as Kwahu citizens and the

general public to Kwahu in order to learn about their culture, customs and traditions.

REFERENCES

1. Amenuke, S.K., Dogbe B.K, Asare F.D.K, Ayiku R.K, Baffour A. (1991).

General Knowledge in Art for Senior Secondary Schools, Accra, Ministry of

Education

2. Appiah, S. (1997). A complete guide to Graphic Design. Accra: Pentecost

Press Ltd,

3. Asare KO, TITLE Fellow Institute of African Studies, University of Ghana-

Legon (1978). Singapore. FEP International private limited,

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4. Charles, Bredu A. (1996). Analysis of wood carvings based on oral tradition of

Begoro. KNUST Library. June 1996, Page 22, as cited in Roy Fiebe

5. Conrad, P.K. (2004). Mirror for Humanity, a concise Introduction to cultural

Anthropology. New York: McGraw- Hill Companies Inc. Page 210

6. Ezineklu, P. K., (1992): West African traditional religion. Tema: Division of

Folie Ent.

7. Grimshaw, C. (1996). Connections Art, United States: World Book, Inc. In

association with Two- Can publishing Ltd.

8. Image (May, 2003). Journal of the College of Art. College of Art, Kumasi,

KNUST

9. Marquardt J, Eskilson S. (2005). Frames of Reference art, history and the

world, New York: McGraw- Hill Companies Inc. Page 64, 65.

10. Manser, M. et al, (1997). Chambers combined Dictionary Thesaurus” Harrap

publisher Ltd Edinburgh. Page 309.

11. Marshall Word Mount. (1972). African Art. Page 95

12. National Commission on Culture (0ctober 2004), Culture policy of Ghana,

Accra: National Commission on Culture,.

13. Konrad F, (1952). Art and industry. New York: Sterling Publishing.

14. Kwahu West District Assembly (2008). Synopsis of investment potentials.

Nkawkaw: Unik Image Limited. Pages 1, 2, 3, 9, 11, 13.

15. Kwahu West District, (1992). The gateway to Kwahuman, Maks Publication

and Media Services.

16. Odame Owusu, G. (2206, 2007, 2008). Okwawu Almanac Accra:, compiled by

George Odame Owusu, Accra.

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17. Otabil, Isaac K. (July, 1996). West African Traditional Religion, Questions &

Answers

18. Schaefer, R.T. (2004). Sociology a brief introduction. Mc Graw-Hill

Companies Inc. New York, Pages 5, 51.

APPENDIX A

A MAP OF KWAHU SOUTH DISTRICT

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 APPENDIX B

A MAP OF KWAHU NORTH DISTRICT

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 APPENDIX C

A MAP OF KWAHU WEST DISTRICT

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 QUESTIONNAIRE DESIGN FOR THE YOUTH AND THE GENERAL

PUBLIC

Underline your age range (12 – 25), (26 – 45) (46 and above)

Q1. Briefly narrate the historical background of the Kwahus.

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Q2. List two (2) components of cultural practice in Kwahu.

Q3. Identify any two (2) culturals values of Kwahus

Q4. Do Kwahu cultural values have any effect on their art Yes ( ) or No ( )

Q5. If yes give two examples of how the cultural values influence the art of the

people in the following ways:

 Food : -----------, ------------ Economic : ---------, ---------

 Language: -----------, ------------ Political : ----------, ----------

 Beliefs: -----------, ------------ Agricultural: ------, ----------

 Medical: -----------, ------------ Social Aspect: Funeral: ----, ----

 Architectural: ---------, ------------ Festival : ----,

 Moral Values: ----------, ----------- Marriage : ----

 Vocation (Pottery): -------, ------- Puberty : ------

 Recreational Activities: ----, ----- Naming : ------

INTERVIEW GUIDE QUESTIONS FOR CHIEFS AND ELDERS

Q1. Describe the historical background of Kwahus (Migration, Towns, and

Districts)

Q2. How can the Kwahus be identified?

Q3. What language do the Kwahus speak?

Q4. What is their favorite food?

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Q5. Narrate their medical values?

Q6. What are the beliefs of Kwahus?

Q7. What are their moral values?

Q8. Describe the economic nature of Kwahus.

Q9. Describe their political structure with regards to the following: Paramouncy,

wing chief, role of the queen mother, destoolment, enstoolment, qualities of a

chief.

Q10. What are the recreational activities?

Q11. Highlight on their architectural structure.

Q12. Explain their agricultural way of life.

Q13. Highlight on the educational aspect of Kwahus.

Q14. Identify Kwahu cultural values and how they influence their arts.

Q15. How do Kwahu cultural values influence their arts?

APPENDIX D

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Kente weaving at Nkawkaw Adoagyir Some coffins ar Obomeng
Source: Photograph taken by researcher Source: Photograph taken by researcher

sculpture pieces at the cemetery at mpraeso Sculpture pieces at Mpraeso in front of Ohene Nana Hotel
Source: Photograph taken by researcher Source: Photograph taken by researcher

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