![]() Among the Fante and the Akan, high-ranking advisers to the king called linguists ( okyeame) carry gold staffs in royal processions. With 503 contributors from 201 colleges, universities, museums, and researchĬenters, Smarthistory is the most-visited art history resource in the world. Linguist (Okyeame) Staff Arts of Africa Southern and central Ghana and the Cte d’Ivoire have been ruled for several centuries by highly stratified kingdoms that use elaborate symbols of status. We believe that the brilliant histories of art belong to everyone, no matter their background. The Adinkra cloth is but one example of such inspiring assets of the Asantes that are repositories of their rich philosophy and history.At Smarthistory, the Center for Public Art History, we believe art has the power to transform lives and to build understanding across cultures. ![]() The rich artistic productions of residents in Africa are in fact a visual representation of their unadulterated histories and philosophies. The head of an animal does not get lost in soup, Akan Linguist staff, Ghana, wood and Goldleaf, 20th century. The study more importantly voiced out that though Asantes and Africans in general usually do not have written documentaries of their histories and philosophy that in anyway does not imply that these literally are absent. It was also realized that the entire Adinkra cloth process from the acquisition of the tools and materials, production processes and the symbols usually printed in the cloth was firmly rooted in an interesting and thought provoking philosophical and historical foundation which portrays the African as a wise, creative artist. There are no additives mixed with the prepared dye as purported by several writers. ![]() The study revealed that the Badie dye was locally obtained and prepared using the barks from the Badie tree. Data were solicited through personal and telephone interview as well as participant observation from respondents who were purposively sampled. This paper investigated into the philosophical and historical representations of the celebrated Adinkra cloth production using the case study approach at Ntonso in the Ashanti region of Ghana. It is recommended that stakeholders in textile education and fashion should give prominence and attention to Ghanaian fabrics and the cultural and symbolic interpretations of their names.Ĭave) art) stands) as) a) universal) artistic) heritage,) harking) to) humanity's) quest) to) proliferate)reality,)as)well)as)live)in)a)colourful)ambience.)It)is)logical)to)reason)that,) this)Palaeolithic)evidence)of)cave)painting)that)occurred)over)the)various)continents) extended) into) ancient) cultures) and) subsequent) generations) the) world) over.) Yet) in) documenting)history)of)traditional)African)art,)authors)hardly)delve)into)the)subject)of) paint.)Up)to)now,)far)too)little)attention)has)been)paid)to)paint)and)its)role)in)art)among) traditional)Ghanaian)ethnicities.)This)study)therefore)focused)on)the)two)regions)of) Ashanti) (Asante)) and) Upper) East.) Using) ethnographical,) historical) and) phenomenological) methods,) 23) respondents) were) purposively) selected) and) interviewed)by)snowball.)At)the)end)of)the)study)11)paints)and)pigments)were)found)as) integral)to)traditional)Ghanaian)art)of)ethnicities)in)these)regions.)The)study)revealed) unique) ways) in) which) these) media) were) sourced) and) employed) as) well) as) the) philosophical)meanings)that)underpinned)them.)The)significance)of)this)work)is)found) in) its) systematic) study) of) paints) and) pigments,) as) a) contribution) to) discourse) on) traditional)African)art)media.) Fabrics chosen based on the message the wearer want to send across, mood of the wearer or occasion and its significance are enormous. The study concluded that Ghanaian fabrics have unique names in relation to their composition and designs. Interviews were conducted and participant observations made at the various shops to gather data for the study. Purposive sampling technique was used to select the respondents for the study. The study made use of qualitative research methodology. These names and meanings are only known to few and therefore need some form of scholarly documentation. ![]() They therefore choose designs and wear without knowing their cultural interpretations and the kind of signals and messages they are sending across. The younger generation might lose certain key components of the culture with regards to fabrics and their names. Fabrics in Ghana are not only chosen for their aesthetic outlook but rather have certain cultural and symbolic interpretations which are in line with their names. Although Ghanaian textiles have undergone several phases of ascension and declining, they are still significant in the culture of the people.
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