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CLOTHING and ADORNMENT in the GA CULTURE: by Regina

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CLOTHING and ADORNMENT in the GA CULTURE: by Regina CLOTHING AND ADORNMENT IN THE GA CULTURE: SEVENTEENTH TO TWENTY-FIRST CENTURY BY Regina Kwakye-Opong, MFA (Theatre Arts) A thesis submitted to the School of Graduate Studies Kwame Nkrumah University of Science and Technology, Kumasi, in partial fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY IN AFRICAN ART AND CULTURE Faculty of Art College of Art and Social Sciences DECEMBER, 2011 © 2011 Department of General Art Studies i DECLARATION I hereby declare that this submission is my own work towards the PhD degree and that to the best of my knowledge, it contains no material previously published by another person nor material which has been accepted for the award of any other degree of the University, except where due acknowledgement has been made in the text. Student‟s Name Regina Kwakye-Opong ............................. .............................. Signature Date Certified by (1st Supervisor) Dr. Opamshen Osei Agyeman ............................ .............................. Signature Date Certified by (2nd Supervisor) Dr. B.K. Dogbe ............................... ................................... Signature Date Certified by (Head of Department) Mrs.Nana Afia Opoku-Asare ................................... .............................. Signature Date i ABSTRACT This thesis is on the clothing components associated with Gas in the context of their socio- cultural functions from the seventeenth to the twenty-first century. The great number of literature on Ghanaian art indicates that Ghanaians including the Ga people uphold their culture and its significance. Yet in spite of the relevance and indispensable nature of clothing and adornment in the culture, researchers and scholars have given it minimal attention. The Ga people‟s desire to combine their traditional costumes with foreign fashion has also resulted in the misuse of the former, within ceremonial and ritual contexts. Another probable reason for this attitude might be the fact that most Gas are not familiar with the appropriate uses and meanings of Ga costumes. This research then investigates the aesthetic qualities, meanings, functions, symbolisms and significance of Ga costumes alongside foreign clothes, by assessing (1) the knowledge level of Gas on their costumes; (2) If the norms and values related to adornments are appreciated by the people and (3) the extent to which foreign clothing fashion has affected Ga traditional costumes. The study is examined under six chapters: chapter one, two and three deal with an introduction to the study, review of related literature and methodology respectively. While the fourth, fifth and sixth chapters, in that order, cover the data sourced from the field study, analysis of the questionnaire and the summary, conclusion and recommendation. By means of the introduction in chapter one, the meaning, role and significance of costumes, as well as the research questions, objectives, importance and the ethnographic background of the study are presented. Since some literary works have already discussed the origin, uses, cultural symbolisms and acculturation of costumes on a global spectrum, such works are consulted in chapter two, to achieve a comparatively standard work. The methodology in chapter three expanded both qualitative and quantitative approaches employed by means of interviews, questionnaire, observations, participations, oral tradition, photograph taking and collection; all of which are statistically ii analyzed, interpreted and described in line with the research questions. The population interviewed covers a sample size of about fifty three (53) people, and for fair coverage this group included traditional leaders, beauticians, educationalist, „ordinary‟ Ghanaians and youths. Discussions on the data revealed in chapter four that, archaeologist and historians have been able to prove through excavations and artistic impressions respectively, that as early as the seventeenth century Gas had existing forms of clothing that have transcended and transformed into the present ones. And that these fashion trends had in them artistic, historical and cultural revelations that distinguished gender, occupation and status. Other th contemporary costumes, mostly of foreign tradition, and also patronized by Gas from the 19 century to the present time are further assembled in the study, revealing some adulterations and the indecent mode of dressing common with some of the people. Clothing and adornments are also impressively inter-twined with, and inseparable from the social, political, and economic lives of Gas, sending information on the philosophies, virtues, and the cultural milieu of the people. As such, these ideals are analyzed and discussed in line with the names, meanings, symbolisms, figures and plates, which establish why, how and when costumes are worn. Chapter five deals with respondents views on a variety of questions in which by means of the Statistical Package for Social Sciences (SPSS), the over 100 questionnaires administered are critically analyzed and interpreted. The study concludes in the sixth chapter, noting how some traditional clothes are unaltered whilst others have been affected by modernization and acculturation. In order to preserve and conserve this great historic heritage (Ga clothing and adornment) the study finally recommends further research, documentation, scientific means of preservation, as well as more efforts by the Ghana government, educational institutions, religious organizations and traditional leaders in sensitizing the people through seminars, workshops and durbars. iii ACKNOWLEDGEMENTS Scholarship is a cooperative endeavour, and no single person even with a lifetime of research can be enlightened in all aspect of Ga costumes. Undoubtedly then this study will have faced numerous challenges but for the massive support from some personalities. I am therefore indebted to all the people who helped to strengthen the research through interviews and responding to the questionnaire. Especially Ga traditional leaders like Nii Adjei Kwei Dzamansah III (chief of Otinibi), Nii Fianku VI (chief of Awutu Fianku), Nii Ayikai III (chief of Akumagay, Ga Mashie), Nuumo Ayiku (wul4m4 of the Ayiku family, Teshie) and Nuumo Yemotey VI (Former wul4m4 of La). To my supervisors and lecturers Dr. Opamshen Osei Agyeman and Dr. B.K. Dogbe, I extend my warmest appreciation for your excellent tutelage throughout the course work and the immense contributions through suggestions, advice, and corrections that brought this research to this level. And to you my former Head of Department, Dr. J Adu Agyem, you really proved a friend and „father‟ because your personal interest in this work built in me the confidence and zeal to move on by all means. Also, the enormous contributions from Dr. Eric Apau Asante, and the encouragement and support from Mrs Nana Afia Opoku-Asare (present Head of Department), were among the pivots of this study. To you lovely children; Gene, Robert, Crystabel and Rene Suapim, mum is saying „thank you‟ for being there for me when I lost most of my data at a very crucial moment. You worked tirelessly and made sure all went well. I thank God for having you as part of my family and pray you keep same devoted spirit in all your endeavours. My appreciation also goes to some lovely friends and colleagues of the University of Ghana who were indispensable in this pursuit; Dr Edem Dzrigah, Mrs Olive Adjah, Messrs Daniel iv Appial-Adjei, Samuel Attah, David Odjeawo, Emmanuel Mills-Adjetey Adjei, Benjamin Mills Lamptey, Richard Ossom and Selina Manu. Others include; Solomon Ampadu- Frimpong, Benedicta Oppong, Maud Korsah, Regina Obuobi, Godsway Dordzi, Kwesi Buemi, Suleman Abdul-Razak, Regina Donkor (Cultural officer, Ghana Education Service, Accra Metro), staffs of the Balme (Africana Section) and the Institute of African Studies libraries, Legon, as well as my friends Mrs Doris Gyam and Mary Asare whose prompt services resulted in documenting this thesis. Special commendation is extended to my course mates; Mrs Peggy Fenning, Mrs Asamoah- hassan H.R, and Rev. Kwame Ansong, whose warm affection, concerns, support and encouragement sent me on my toes to work within time. Peggy, I don‟t anticipate this work could have succeeded without knowing you, God bless you! I really cherish our friendship. I will especially like to thank my colleagues and sisters, Grace Adinku and Mrs Beatrice Tetteh, and my former Teaching Assistant, Silvia Tetteyfio, for accompanying me on several occasions to the research community and also attending to numerous responsibilities during my absence. Special attention was provided by Nuumo Ahungua, (a priestess) who was very instrumental in arranging for the interviews and my participation in all the ceremonies. And the effort of this research was also driven by the families of Mr Darkwah, Mr. Robert Myers (a King Maker), Madam Victoria Naaki Tetteh, (a priestess and traditional birth attendance). Others include; Madam Silvia Tettelyfio, Bernice Adjeley Mensah and John D‟Angelo, Head of Circulation, University Libraries Fordham University, Bronx, USA. To my parents Mr. J.C. Kwakye-Opong and Madam Beatrice Adjei, I say thanks for the prayers said on my behalf. And to all those who donated photographs as well as the number v of anonymous people who responded to the questionnaires, the researcher is saying a big Thank you. The overall THANKS, however, goes to Jehovah God for the peace and guidance I enjoyed throughout this pursuit. This project would not have happened
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