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Stamping History: Stories of Social Change in Ghana's Adinkra Cloth

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Stamping History: Stories of Social Change in Ghana's Adinkra Cloth Stamping History: Stories of Social Change in Ghana’s Adinkra Cloth by Allison Joan Martino A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in The University of Michigan 2018 Doctoral Committee: Professor Raymond A. Silverman, Chair Professor Kelly M. Askew Assistant Professor Nachiket Chanchani Professor Emeritus Elisha P. Renne Allison Joan Martino [email protected] ORCID iD: 0000-0002-1252-1378 © Allison Joan Martino 2018 DEDICATION To my parents. ii ACKNOWLEDGEMENTS In the summer of 2013, I was studying photography and contemporary art in Accra, Ghana’s capital. A conversation during that trip with Professor Kwesi Yankah changed the course of my research. He suggested a potential research project on adinkra. With adinkra everywhere in Ghana today, research possibilities seemed endless. Adinkra appealed to me from my interest in studying Akan visual and verbal arts, a research area nurtured during an ethnopoetics course that Professor Yankah taught as a visiting scholar at Michigan in 2011. That conversation led to this project. Soon after that meeting with Professor Yankah, I took an exploratory research trip to Kumasi. Professor Gilbert Amegatcher, who has a wealth of knowledge about Akan arts and culture, traveled with me. He paved the way for this dissertation, making key introductions to adinkra cloth makers who I continued to work with during subsequent visits, especially the Boadum and Boakye families. My sincerest thanks are due to Professors Yankah and Amegatcher for generating that initial spark and continuing to support my work. Words cannot express my gratitude to the extended members of the Boakye and Boadum families – especially Kusi Boadum, Gabriel Boakye, David Boamah, and Paul Nyaamah – in addition to all of the other cloth makers I met. They became my teachers, dedicating so much of their time to share their wisdom with me. Their generosity and gracious spirit taught me about so much more than adinkra cloth. I could not have accomplished my research in Ghana without support from those who opened their homes and welcomed me into their families. In Accra, my deepest thanks to Raymond iii Atuguba and Pascaline Songsore for giving me a home filled with love and laughter; their daughters kept me on my toes and brought me so much joy. I also cherished the warm company of Juliet Atuguba and Gordon Yakpir, Kesia, and Amina. In Kumasi, my sincere thanks to Sheila Atugiba, as well as Dr. Kofi Agyenim-Boateng, Maame Ama Agyenim-Boateng, and Maame Gyasiwaa Agyenim- Boateng Boa-Antwi. My research assistants Sampson Korsah and Paul Nasaa provided immense support in Accra and Kumasi. They helped with introductions, translated interviews, and guided me through cultural customs. Since my first day in Accra, Sampson has been a teacher, mentor, and friend. Paul’s commitment to this project made my research more productive and enjoyable. I also extend my appreciation to my Twi instructors in the U.S. and Ghana: David Adu-Amankwah, Foster Asare Kena, Sampson Korsah, Lawrence Yeboah, and Juliana Akua Afriyie. The vibrant contemporary art scene in Accra was a powerful source of inspiration during my time in Ghana. I am most grateful to have had conversations with some extraordinary artists and photographers whose work continues to inspire me: Nana Kofi Acquah, Adwoa Amoah, Ato Annan, James Barnor, Fatric Bewong, Serge Attukwei Clottey, Francis Kokoroko, Ablade Glover, Nii Obodai, and Sam Pobee Jr. This dissertation would not have been possible without support from the people with whom I worked in Ghana, as well as in England, the Netherlands, and the U.S. While I cannot recognize each person by name, I acknowledge my gratitude for their contributions – particularly the many women and men who granted me interviews and spoke with me about this project, generously sharing so much with me that I now share with you in the following chapters. Formal and informal conversations with others were especially valuable, as they offered feedback on works-in-progress, guidance on materials to consult, and recommendations of people to speak with. I also thank staff at the museums, universities, and archives that made research materials available to study. iv In Ghana, my appreciation to: At the U.S. Embassy, Daniel Fennel and Aisha Nartey; at Kwame Nkrumah University of Science and Technology, Anthony Aidoo, Ralista Debra, Mandela Donkor, Charles Frimpong, George Kushiator, Charles Marfo, and Adam Rahman; at the Manhyia Palace Museum, Justice Brobbey and Gordon Frimpong; at the Centre for National Culture – Ashanti Region, Eric Matey, Solomon Attah, and the late Samuel Adjei; at the University of Legon, Kofi Agyekum and Kwami Labi; at the Ghana National Museum, Samuel Acquah, Raymond Agbo, Victor Matey, Nana Ocran, and Richard Ohene-Larbi. Thanks also to Stephen Badu at GTP Textiles, Emmanuel Apronti and John Amoah at ATL Textiles, Nana Baffour Gyimah, Kwame Brobbey, and Osei-Bonsu Safo-Kantanka. In England, I thank: At Oxford University, Lucy McCann at the Bodleian Library and Kathy Clough and Nicholas Crowe at the Pitt Rivers Museum; at the British Museum, Christopher Spring, Helen Wolfe, James Hamill, and Julie Hudson; Alexia Kirk at the Victoria and Albert Museum; in Manchester: David Govier and Sarah Hobbs at Manchester Central Library, Jan Hicks at the Museum of Science and Industry, Frances Pritchard and Uthra Rajgopal at the Whitworth Art Gallery, Philip Sykas and Alice Kettle at Manchester Metropolitan University, David Bradley and Rachel Wood at ABC Textiles. Special thanks to Julie Halls at The National Archives in Kew. In the Netherlands, my thanks to: Annette Schmidt and Ester de Bruin at the Museum Volkenkunde; Marja Stijkel at the Rijksmuseum, Amsterdam; Corine Bliek at the Museon Musuem; Eline Kevenaar at the Wereldmuseum Rotterdam; Ruud Sanders at Vlisco Textiles; Marc Swinkels at Het Industrieel Atrium, Helmond. I also extend my gratitude to Mary Boakye and her family. Moreover, I was fortunate to meet a welcoming group of Africanists and art historians. Our conversations, from discussing works-in-progress to the practicalities of conducting research abroad, were invaluable as I moved through each stage of my graduate work. Thanks to Lindsay Bayham, Jenny Boylan, Jen Chizek, Stephanie Beck Cohen, Rachel Flamebaum, Emily Gallagher, Candice v Grant, Jennifer Hart, Royal Hartigan, Janice Levi, Daniel Mato, Malcolm McLeod, Julia Neal, Christopher Richards, Brittany Sheldon, and Olivia Wolf. Several grants and fellowships supported research for this project, including a Fulbright- Hays Doctoral Dissertation Research Award. A Summer Foreign Language and Area Studies Fellowship, awarded during my master’s program at Indiana University, supported my early linguistic training in Twi. Grants and fellowships from the University of Michigan allowed me to complete multiple research trips and present aspects of this project at conferences, including support from the Rackham Graduate School, International Institute, African Studies Center, Department of Afroamerican and African Studies, and the History of Art department. The University of Michigan Museum of Art – History of Art Andrew W. Mellon Curatorial Fellowship provided a year of museum experience while I was also writing the dissertation. A Mellon/ACLS Dissertation Completion Fellowship allowed me to dedicate the final year of my program to dissertation writing. I began studying African art during my bachelor’s program at Denison University. Joanna Grabski taught my very first art history course that sparked my initial interest in African art and visual culture. I am appreciative of Joanna’s steadfast mentorship throughout my graduate career. She has offered invaluable support, guidance, and enthusiasm at every step along the way. At Indiana University, I am indebted to Patrick McNaughton and Diane Pelrine, my advisors during the master’s program. Diane cultivated my interests in curatorial work, and Patrick’s research motivated the attention that I give to individual narratives in the dissertation. The African Studies program, especially efforts by Maria Grosz-Ngate and Samuel Obeng, provided a stimulating interdisciplinary community that fostered my early thinking and approaches to research in Africa. At the University of Michigan, the African Studies Center and Department of Afroamerican and African Studies offered an exceptional intellectual community, particularly the African Heritage Initiative workshops and faculty who work in Ghana including Kwasi Ampene and Dr. Kofi Gyan. vi Presenting part of the text at the African History and Anthropology workshop brought a crucial eye to the project from an interdisciplinary view. Thanks also to staff at the Sweetland Writing Center and my dissertation writing group for carefully reading and providing feedback on various drafts. In the History of Art department at Michigan, I am grateful for support from many faculty who fostered my academic growth throughout the doctoral program. Thanks also to the staff for their administrative support, including Luciana Borbely, Jeff Craft, Christy Elkins, Debbie Fitch, Kim Wolf, and Jeannie Worrall, as well as Bridget Kennedy and Deirdre Spencer in the Fine Arts Library. Heartfelt thanks to my fellow graduate students, especially Alex Fraser, Jenny Gear, Ximena Gomez, Elizabeth Rauh, Kristine Ronan, Alice Sullivan, Emily Talbot, Courtney Wilder, and Bea Zengotitabengoa. Special thanks to Tina Le for her friendship, and
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