International Journal of Research in Humanities and Social Studies Volume 4, Issue 5, 2017, PP 8-16 ISSN 2394-6288 (Print) & ISSN 2394-6296 (Online) http://dx.doi.org/10.22259/ijrhss.0405002

Aberration of Cultures: A Study of Distortion of Akan Cultures in Kumawood Movies in Ghana

Kquofi, Steve (PhD) Department of General Art Studies, Faculty of Art Kwame Nkrumah University of Science and Technology, Kumasi, Ghana Croffie, Godfred Kojo (PhD) Department of General Art Studies, Faculty of Art Kwame Nkrumah University of Science and Technology, Kumasi, Ghana *Corresponding Author: Kquofi, Steve (PhD), Department of General Art Studies, Faculty of Art Kwame Nkrumah University of Science and Technology, Kumasi, Ghana Received Date: 14-06-2017 Accepted Date: 23-06-2017 Published Date: 28-06-2017

ABSTRACT

Kumawood movies are very popular in Ghana now with the decline of films produced in the English language, which patrons have tagged ‘Glamour’ films, to show contrast to those produced in Kumasi to satisfy the ‘film taste’ of the masses, which mostly are disconnected from the ‘Glamour’ films. Despite their popularity because of their production in the local language, Akan Twi, these movies aberrate Ghanaian cultures, especially the arts, customs, lifestyles, background, and habits that characterize the traditional Akan society, which the movies largely portray. Based on qualitative research approach, six Kumawood movies were selected for critical review. The study sought to ascertain how Kumawood movies presented the cultural values of the people. The results indicated that Kumawood movies showcased diverse Akan cultural elements such as proverbs used for ensuring positive moral conducts, welfare, and acquisition of wisdom; rich traditional body adornments; Akan traditional festivals, folksongs, drumming and dancing, games; as well as sense of communal welfare, hospitality and traditional courtesies. However, these rich traditional cultural values of the people were largely distorted with foreign cultural elements such as Western banquet-like hall decorations, Hip-pop music, and mode of dressing, public romantic scenes, continental food and many others. These distortions have implications on the preservation, conservation and perpetuation of the rich Ghanaian cultural heritage for sustainable development. Keywords: Cultural elements, distortion, Ghanaian cultures, Kumawood movies, proverbs.

INTRODUCTION its roots may thrive for a while on its own momentum but eventually it will wither like Movies are cultural artifacts created by specific flowers cut in a vase” (Ugbam et al., 2014). cultures, which reflect those cultures, articulate social consciousness and in turn affect them Undoubtedly, films are important art forms, a (Ogunleye, 2014; Ugbam et al., 2014; Crane, source of popular entertainment and a powerful 2014). However, African films remain method for educating and or indoctrinating “foreigners in their own countries” where the citizens of which its visual elements in motion makers of popular movies have never been pictures serve as a universal power of principally concerned with authenticity, cultural communication (Ogunleye, 2014). Ryan (2009) revival, or cultural preservation (Garritano, notes the important roles films play in the 2008). Implicit of these phenomena is for transmission of culture by indicating that films African filmmakers to intensify efforts in are both culturally rich and complex; and exploiting their own cultural resources, rather constitute a form of entertainment that reflects than importing the “valueless” aspects of some daily lives, which often emphasizes on romance, “foreign” cultures. As argued by Ugbam et al. humor and violent elements as well as fantasies, (2014), “to lose one's culture is tantamount to dreams and imagination through which losing one's identity” and “a society cut off from individuals escape from the realities of daily

International Journal of Research in Humanities and Social Studies V4 ● I5 ● 2017 8 Aberration of Cultures: A Study of Distortion of Akan Cultures in Kumawood Movies in Ghana existence. In his view, the fact that governments time the word ‘culture’ is mentioned, the first spend large sums to maintain a presence in the thing that comes to mind is a people’s way of film industry indicates that films are perceived life. Many sociologists and historians define as having considerable symbolic and cultural culture as the complex whole of man’s values. acquisitions of knowledge, morals, beliefs, arts, customs, technology and values which are Ultimately, there has been a long-standing transmitted from generation to generation concern since the last four decades as to what (Amayo et al, 2012). As a concept, Amayo et al. form African films should look like in order to agree with Anyanwu (2011) that, when viewed be different from Western cinema. The African from a broader perspective, culture could be major conferences on cultural industries notably, “perceived as a way of life, which encompasses the Federation of African filmmakers (FEPACI) all human efforts, achievements and attitudes”. in Algiers in 1975, emphasised this commitment Also, culture manifests in religion, language, to this development, that African films should philosophy, music, dance, drama, architecture, represent Africa from an African point of view. political organization, technology, education, It also advocated for the rejection of the values, knowledge system, social system, commercial and the Western film codes. The judicial or legal organization, and morality. Dakar Plan of Action on Cultural Industries in Culture therefore constitutes “what is natural” in 1992 and Plan of Action for Cultural and the understanding of the tradition of a people Creative Industries in October 2008 by African (Nwala, 1985). Union Ministers of Culture recognized further the potential role of cultural industries in driving In a similar view, Oni (2005) and Ogechukwu et economic and social development of the al. (2014) all contend that the concept of culture continent (Kwanashie et al., 2009). Conversely, consists of the values the members of a given many African directors have retreated somewhat group hold, the norms they follow, and the from such radical calls over the past two material goods they create. Adeleke (2003) decades, worrying far more about the problems argues that virtually all these varied definitions of forging a popular African cinema and creating of ‘culture’ would seem to anchor on a viable African film industry and in trying to anthropological definition given by Tylor position the African cinema in the global scene. (1871). According to him, culture is that Movie or Film Concept complex whole which includes knowledge, brief, law, art, morals, customs and any other Conceptually, movie or film denotes a work of capabilities and habits acquired by man as a art on celluloid (from the evolution of the member of a society. Adeleke further posits that motion picture) and (in modern times) on video culture is both ‘shared’ and ‘learnt’ in a and now digital single lens reflex (DSLR) community or a given linguistic group; points formats. Film, as a communicative medium, has out that in essence, culture is a communal till date been used to entertain, instruct, property as it reflects the being of an individual subjugate, persuade and propagate the overall in its totality. In the light of all the attempts to social, political, economic and educational needs of the inhabitants of the contemporary world that define culture, it is obvious that movies (films) are deeply dependent on communication in its produced by any group of people should be an various forms, including film as a mass medium embodiment of the characteristics, beliefs, (Akashoro, 2010). Film is, therefore, considered values, symbols and every aspects of the to be an important art form, a source of popular people’s culture. entertainment and a powerful method for The Akan People and Their Language educating or indoctrinating citizens. The Akans belong to the Kwa group of Cultural Aspects of Movies languages found in West Africa. The Akan Movie in a broader sense falls under culture, language is the indigenous language with the which defines the holistic content and identity of largest number of speakers in Ghana. About what is showcased for viewers’ appreciation. 49.1% of the national population of Ghana is Culture here, is generally the arts and other Akan, based on the Ghana National 2010 manifestations of human intellectual activities Census. Akan has the largest percentages of both and achievements regarded collectively, with Legislative Instrument 1 and Legislative elements such as ideas, customs, legends, Instrument 2 speakers in Ghana. According to folktales, traditional stories, etc. and social Gedzi (2014), the Akan comprise sub-ethnic behaviour of a particular people or society. Each groups such as Akwamu, Guan, Fante, Denkyira,

9 International Journal of Research in Humanities and Social Studies V4 ● I5 ● 2017 Aberration of Cultures: A Study of Distortion of Akan Cultures in Kumawood Movies in Ghana

Brong, Akyem, Kwahu, Sefwi, Wassa, Akwapim, According to Adjei (2014), the dominance of Assin and Asante. Geographically, the Akan “Akan” films is a direct carry-over from the occupy the Western, Central and Ashanti Concert Party tradition where the Akan language regions, as well as parts of the Brong-Ahafo, is more or less the lingua franca, to the extent Eastern regions of Ghana and the eastern part of that even non-Akan actors and actresses are the Cote D’Ivoire. There is consensus based on forced to function in the Akan medium. They research that Akan groups, migrated from indicate that in most productions, there is a long- ancient Mesopotamia to sub-Saharan Africa. standing tradition of poking fun at Ewes and Northerners who are projected as incompetent Movies in Akan Language users of the Akan language. Indeed, they make it “Akan” language films or movies tell the explicit that, films in the Twi language are far everyday life of the Ghanaian, particularly in more popular than those in English simply Kumasi. Kumasi Yonkor, for example, is a Twi because they are a carry-over from popular language movie hailed for depicting the daily theatre, targeted at that massive constituency of struggles of the low income Ghanaians who live patrons which includes peasants, market women, in ‘compound houses’. The story lines easily semi-literates and children for whom an resonate with the audiences, compared with indigenous language in any narrative context is some of the movies in English, which have been closer to them linguistically. criticized for telling stories that do not tell the Importance of Culture in Akan Movies Ghanaian story. The Akan (Twi) language is the largest spoken language in Ghana (Yamoah, Ghana, like most countries in Africa, has taken 2014), spoken by about 44% of Ghanaians some necessary action needed to put the creative (Ghana Statistical Service, 2012). economy at the forefront of the development process (Meyer, 2003). Indeed, it is stressed in The surge of films in the Akan language has the National Cultural Policy of Ghana (2004) created a niche, adopting the production that in the era of globalization and contemporary strategies by some production groups such as technological challenges, the people of Ghana ‘Kumawood’ (films produced using the Akan must recognize their culture as the basis of, and language, regardless of where they were the most important factor in the nation’s human produced in Ghana). Therefore, “Akan” Films and material development. And accordingly are also known as Kumawood films. Kumawood requires creative and cultural industries such as films are very popular in Ghana now, with the the local film industry to continue to exercise a decline of films produced in the English deep influence on the history, cultural values, language, which patrons have tagged ‘Glamour’ and the nation’s destiny as well as national life films, to show contrast to those produced in (National Commission on Culture, 2004). Kumasi to satisfy the ‘film taste’ of the masses, which mostly are disconnected from the Garritano (2008) indicates that the inexpensive, ‘Glamour’ films (Yamoah, 2014). The widely available and easy-to-use technology for dominance of the Akan video film industry in the production and duplication of the movies Ghana like the Kumawood, is suppressing the have transformed movie production on the dominance of Ghanaian films in English and African cultural landscape. The birth of the the Nollywood (Nigerian) films marketed and video format in the 1990s commenced the distributed in Ghana. Currently, of the ten paradigm shift in cinema in Ghana, which also movies released in Ghana weekly, seven are has led to new trends and genres in the Ghanaian from Kumawood. The Kumawood shows two cinema (Tamakloe, 2013). This shows that the main categories of filmmaking namely, the number of popular local movies produced in “Twi” and the “Twinglish” movies. The Twi Ghana is becoming astounding and it is therefore movies are the type of films where the lingua important to analyse their socio-cultural impact franca is Asante Twi and other Akan languages, regarding transformation and acculturation of the Ghanaian culture. Ghanaians cherish, love, whereas the Twinglish movies are the types of practice and preserve their culture and tradition films where the lingua franca is a combination through songs, Anansesɛm (folktales), folklores, of English language and the other Akan names and manner of dressing despite their languages. Nationally, Ghallywood movies exposure to Western culture (Wiredu, 2005). make use of the English language, Vollywood movies use the Ewe language so do Nodrafilm Nevertheless, in this era of acculturation of movies make use of the Northern Regional culture through globalization of the media, languages in Ghana. limited studies can be found on the cultural

International Journal of Research in Humanities and Social Studies V4 ● I5 ● 2017 10 Aberration of Cultures: A Study of Distortion of Akan Cultures in Kumawood Movies in Ghana analysis of Ghanaian films. Some studies into in Akan films which required ethnographic the aspects of Ghanaian films have focused on interpretation. This approach enabled the “Traditional costumes and their relevance as researchers to gain insight into the people's cultural symbols to film making in Ghana: attitudes, behaviours, value systems, concerns, Asante Case Study” (Akwetey, 2007); motivations, aspirations, culture or lifestyles as “Assessing Brand Ghallywood: A study of the attached to proverbs and symbols. The study elements that constitute and characterize the employed descriptive technique, based on Ghanaian Film Industry” (Akrofi, 2013). Indeed, content analysis of their cultural elements it is only Adeleke (2003) who has tasked specified in this study. Primary data were African filmmakers to adopt genres that suit collected from the Akan video films in the form African culture. of observation guide in obtaining information on It is becoming very difficult to understand the Akan proverbs and wise-saying, moral conducts, true significance of the Ghanaian philosophical foreign cultures and misrepresentation of and moral values in these films. These foreign Ghanaian cultural elements portrayed in culture inclusions in Ghanaian films contradict Kumawood movies. Sampling was based on with the authentic indigenous Ghanaian culture some key elements that the researchers believe and tradition which are still very much alive and contribute to the popularity of Ghanaian films cherished, valued, practiced and treasured (the subject matter of the films, the language and despite western cultural infiltration (Boadou, cultural aspect of the films). The following six 2011). Schultz (2012), however, posits that movies were selected for the study: Menko Nollywood films prosper by satisfying M’Abusua (The Family I Have), Time Changes, preference for material that speaks to Nigerians: Ama Ghana, Okomfo Anokye, the Bearer and expression of a point of view – the values, Praba. The instrument used in collecting the desires, and fears of their popular audience. video data was a designed film observation Indeed, it is a truism that Nollywood films have guide. In line with the study objectives, the data gained very wide acceptance among the African collection guide was designed into two sections Diasporas within the rest of the Region in Africa namely, foreign cultural elements, and culture and African Diasporas in Europe, America, and misrepresentations. Indeed, the instrument the Asian countries as they touch on Africans guided the researchers as to what scenes, words, experience in everyday life, communal mode of dressing, attitudes, performances, etc. mutuality in village festivals, traditional dancing to critically observe and note in the selected tunes and steps, religious worships and socio- films during the watching. cultural cooperation in works. This experience The data collections were undertaken by seven may be identical except the language use assistants who were well versed in Akan (Fayomi, 2015). Hence, it is the objective of this traditions. These people were selected by virtue paper to present an intellectual discourse on of their rich knowledge and familiarity in Akan misrepresentation of Ghanaian cultural elements culture. The video data collection involved in films that are produced using Akan (Twi) multiple viewings of the selected films and language. playing back of scenes considered important for More importantly, the cultural concept in this clarifications. study is relevant in addressing questions on the The first viewing of each film was geared production of African films, about how they towards enjoying the film without worrying should be constructed to make it perform better about the argument to be eventually cultivated in the global market, and attempt to provide and to establish familiarity with the video data information that would correct the (Jewitt, 2012). However, it was during the misrepresentation of the Ghanaian cultures in second viewing that focuses were given to the the Akan films and the Ghana film industry in interesting elements of the films that the study general. This has become necessary, as Western highlighted to explore. Nevertheless, it became scholars using Western mode of thinking, doing irrelevant to watch the film after the second things and concerning reality have dominated watching since the panel could recollect most of the production, reproduction and dissemination the events and scenes observed for of knowledge in Africa. documentation and analysis. It was during the METHODOLOGY second viewing that the relevant video data were The qualitative research method was adopted to transcribed. The video data transcribed from text enable the researchers study the social and to words were analysed with Qualitative Content cultural phenomena of Akan people as depicted Analysis techniques to offer a framework to

11 International Journal of Research in Humanities and Social Studies V4 ● I5 ● 2017 Aberration of Cultures: A Study of Distortion of Akan Cultures in Kumawood Movies in Ghana account for transcripts as artifacts, treating them known when the king, one day, foretells the heir as empirical material. The anonymity of the apparent to his thrown in his absence that the video data was ensured through the use of coded ancestors through the king’s dream have identification. revealed that the son of Adwoa, becomes the next king when he is no more. The families are Findings called to the palace to discuss the issue and in The findings, which were based on the watching order for her eldest son to win. Akosua Dompo, of six sampled Kumawood movies (video CDs), through consultation with the god of Atwea via present the critical analysis of distortion of juju, cripples her sister’s son, Nkansah and Ghanaian cultural elements in Akan language makes her daughter Noami, blind. films. Akosua Dompo’s son and another person are set Synopsis of the Six Sampled Movies on the throne and are both rejected by the gods. It is here that the crown leaves the throne by Menko M’abusua (The Family I Have) itself and finds Nkansah in the forest. Nkansah, This movie is set in the present-days in a Naomi and Adwoa are transported to the village Ghanaian Akan community. The movie tells the square where the chieftaincy activity is presupposed everyday stories whereby family happening. All of the sudden, Nkansah could members liaise with others to bewitch the well- stand and walk, Naomi could see again. Nkansah is made king and Akosua Dompo goes blind; the to-do members of the family, bringing them truth comes to light through the confession of from grace to grass. The narration tells of two her deeds, bringing about poetic justice. sisters namely Benewaa and Ama Foriwaa Everyone gets to know the evil machinations of whose main aim is to destroy their younger Akosua Dompo. brothers Akosah and Nkrumah. Through witchcraft, they disable Akosah, make him Ama Ghana jobless and mentally deranged. Through this The movie tells the story of Kaakaku and his same diabolic and mischievous behaviour of wife Araba, a poor couple whose main aim or spirituality, they try to prevent Mina, Nkrumah’s motive is to find a very wealthy man to give wife, from getting pregnant. They vilify anyone their beautiful daughter, Ewura Ama’s hand in who tries to help these brothers and eventually marriage. This couple extorts money from prevent any good from coming their brothers’ would-be suitors and people who come to seek way. Through witchcraft they make life very her hand in marriage. unbearable for Mina, Nkrumah’s wife, prior to Ewura Ama, who happens to be a very beautiful and during their marriage. They take Nkrumah’s girl in her prime, faces a lot of pressure from her household and saturate it with witchcraft. peers and parents alike to marry a rich man per Through the same diabolic and mischievous her parents’ wish. Whilst she in turn battles behaviour of spirituality through witchcraft, they them, she also feels that age is gradually try to prevent Mina from getting pregnant, but catching up on her. After throwing away various through prayers, God blesses them with a girl suitors, her parents finally find her a rich man to child. Mina is able to sustain her husband and marry. Despite the good fortunes of the man, he child with her prayers. Unfortunately, her own is unable to sexually satisfy Ewura Ama to child is infiltrated with witchcraft by these consummate their union because he is impotent. witches and uses it against the father. How long Under the influence of her two promiscuous can Mina keep praying? Will Nkrumah finally friends, Ewura Ama begins to have extra marital realize the spiritual problems in his family? At affairs. Ewura Ama’s husband is advised to the end of the movie, Mina with the help of a seek help from a German doctor who is a pastor prays with Nkrumah in their family house specialist in potency issues such as the one he is experiencing. He then travels to Germany for and there is manifestation as the witches confess medication and comes back a full man, very their evil deed and the family is released and potent. He goes looking for his wife to resolve saved. all the issues in their marriage and reunite. Time Changes The Bearer This movie tells the story of two sisters, Akosua Civilization is either destroyed or made when its Dompo and Adwoa who were fighting over a beliefs, traditions, norms, value systems and kingship position for their sons. This is made worldview are made or destroyed. It was in the

International Journal of Research in Humanities and Social Studies V4 ● I5 ● 2017 12 Aberration of Cultures: A Study of Distortion of Akan Cultures in Kumawood Movies in Ghana era of slave trade and missionary exploration in returns with vengeance on the village for the Africa when the Europeans docked their sailing abomination of one man. The oracle, the ship on the shores of gold coast to trade. History infallible one, has spoken through the priestess has it that, the same ship that brought guns and that Adu must journey through the ‘evil’ forest gun powder as well as alcohol was the same that to the land of the living dead to find the image of brought the BIBLE. Two most powerful native Praba which he threw away, of which he priests, Okomfo Kyɛnkye and Okomfo Tuda are adamantly has refused. sent to pursue the missionaries from the ϽkomfoAnokye Fanteland. Unknowingly to Kyɛnkye, Tuda had plotted to eliminate him on the expedition This movie therefore is geared towards telling because the white slave traders are his allies. the history of the Ashanti Kingdom through Tuda and his brother, Atobra, are deeply Okomfo Anokye, an Ashanti fetish priest, engaged in kidnapping and capturing natives as statesman and lawgiver. A cofounder of the slaves and trading them off for gold and silver Ashanti Kingdom in West Africa, who helped bars, broken mirrors, gun and gun powder, etc. establish its constitution, laws, and customs. His At the church of the Berch, the priests and their father was called Kaku Ackah and his mother, guards confront him. Berch sees them shoot at Maame Nkobɛ. Anokye was named after his Kyɛnkye of which he takes the bullet in his stead paternal Uncle Egya-Ano who was a fetish to save him. Berch dies and Kyɛnkye becomes priest. The Nzema called him Ano~kye which the bearer of his message, the Gospel of Christ. means ‘Ano Junior’. The Denkyira’s later heard ϽkɔmfoɔKyɛnkye quits practicing his craft of of his wonders and requested his aid. Through native priesthood and turns to propagate the Anokye’s help, the Asante people successfully gospel of Christ with the use of the Holy Bible. defeated the people of Denkyira. This fuels the hatred and anger that Tuda has for Osei Tutu, the King of the Ashanti, requests him. Tuda tries all means to assassinate him so Anokye’s aid. Anokye obliges and with Osei as to do away with every obstacle hindering his Tutu carries out an expansionist policy on their secret trade. Kyɛnkye is able to preach the word predecessors, defeating the powerful Denkyira. of God to the majority of the inhabitants, Okomfo Anokye brings the golden stool from changing them to Christians. He can also the sky and gives it to the Ashanti people. He memorize most scriptures in the bible. When he also puts a sword on the ground as a symbol of is captured as a slave by his own people, his unity amongst the people of Ashanti. Some bible is destroyed. He is beaten and persecuted elders plan to kill him and in the end Anokye by Tuda and his brother with the permission of disappears. the king as was done to Jesus Christ. DISCUSSIONS In a second assassination attempt, Tuda mistakenly shoots his only brother Atobra dead, Misrepresentations of Akan Cultures in Akan instead of Kyɛnkye. The captive slaves break Films free. Kyɛnkye meets Tuda in a duel but spares The objective of the study sought to assess his life. He goes to a sanctuary where he meets whether scenes in the films distort Ghanaian two white ladies who reprint the Bible via his cultures, especially Akan cultural values, norms, narration. The message reaches the throne that beliefs, symbols and characteristics. Semali and the captured natives have broken loose and come Asino (2013) posited that global media and the home. Kyɛnkye comes back with his new Bible non-Africans who drive projects of films of to preach to the authorities. The deeds of Tuda cultural heritage have distorted the reality of also become bare in front of the king and his Africa. In the same vein, the current study elders through his confession, bringing about reveals some number of scenes misrepresenting poetic justice. Akan cultures of Ghana in films directed by Praba (A goddess of Vengeance and Ghanaians. It was obvious in the movie Okomfo Retribution) Anokye that, Anokye’s parents disrupted a Fanteman is a peaceful and prosperous Akan council meeting by just budging in settlement. The secret of their success lies in unwarrantedly to the palace while the council Praba, the goddess of vengeance and retribution, was in a meeting; In the Menko M’abusua and whom they all serve committedly. Adu, the Time Changes movies the fetish priestess and warrior, throws away the image of Praba for its elders spoke to kings without recognizing the inability to cure his ailing daughter that led to presence of the linguist who is the mouthpiece her subsequent death. Consequently, Praba of the stool; the priest and priestess also walked

13 International Journal of Research in Humanities and Social Studies V4 ● I5 ● 2017 Aberration of Cultures: A Study of Distortion of Akan Cultures in Kumawood Movies in Ghana and spoke without acolytes. The elders of the him. Nevertheless, in Okomfo Anokye, elders did land, who happened to be the custodians of the speak to the kings directly and even without land, tied their cloths in knots on their right permission from their linguists. In another shoulders instead of packing them on their left instance, the meeting of the priestess by shoulders. Those scenes contradict with Anokye’s parents, the priest spoke without an courtesies of the Akan tradition as well as the acolyte and also directly to the king. These palace norms and practices. Indeed, it obviously findings support the position of Garritano (2008) depicts the lack of order and a sign of gross that the makers of popular movies have not been disrespect to the traditional stool (which is the principally concerned with authenticity, cultural symbol of the office of the king), customs and revival, or cultural preservation. This traditions of the Asante kingdom as a whole. development regarding misrepresentations of However, these victims of the traditional traditional culture validates Bego’s (2010) courtesies and formalities were not penalized but position that “the present generation of were set free. A traditional elder had an unkempt filmmakers lacks the competence and awareness hair (dreadlocks) whilst, a king’s palace was to develop the right content for their movies”. represented as living room with sofas and few As indicated by Adjei (2014), even non-Akan pieces of Kente cloth hung as the backdrop; actors and actresses as well as filmmakers are whilst the enstoolment processes of a king is forced to function in the Akan medium. It is done in secrecy and later the chosen king is nevertheless a surprise that Akan films are presented to the public. In the movie Time wrongly stating Akan proverbs because some of Changes, the enstoolment of the king (Nkansah) the casts or characters are not well versed in the was done in public. These phenomena may Twi language. This may be accounting for some explain why many Ghanaian audiences are distortions in these proverbs as found in Menko concerned about how the upsurge of local M’abusua movie, “Opanin εtenaε fieε ma movies misrepresent the Ghanaian and for that nkwadaa ԑwe nanka a, ye bu no nankawefoᴐ matter the “Akan” culture as a whole. number one”. In truism, the proverb should Surprisingly, Okomfo Anokye and Time Changes been stated as: Sε opanin tena fie εma nkwadaa were films supposed to be purely based on the we nanka nayɛrekan nanka wefoɔ a, ɔka ho bi. Akan traditions and historical events; which This proverb literally means: should an elder sit were ultimately expected to show authenticity unconcerned and allow children devour snake, and originality of these cultures, but rather when recognizing the favourites of snake meat, misrepresent the symbolism and cultural values he is regarded amongst the devourers. The of the people. In the Akan political setup and number one as used in the proverb is as an culture, elders including the linguist, when emphasis. Indeed, in its correct usage, the addressing the king, ought to lower their cloths ‘number one’ should have been “ɔka ho bi” to their lower waist; but in contrast, this was not (meaning ‘he is among’). It is clear that there is practiced by all people who spoke to the kings in a corruption of the Akan language with that of the Menko M’abusua and the Okomfo Anokye the English language, which is in inappropriate films. in terms of preserving the Ghanaian cultural Moreover, in the Akan political setting, an Akan heritage. In another assertion, it was noted that leader, royal or council of elder’s traditional hair an Akan proverb was wrongfully stated thus: Sε style is the one cut down and known as εdin bonii antumi woa, εtete wontoma was Dansinkran or any befitting hair style, but wrongfully stated. In the correct sense it should contrary to what was in Time Changes, a have been stated as “Sɛnimoantumiwo a traditional elder had an unkempt hair εtetewontoma. The literal meaning suggests that: (dreadlocks). Indeed, the name of that elder If your name is continuously and controversially affectionately was Agya Mpɛsɛmpɛsɛ (which mentioned in an instance, its implication comes literally means an elder with unkempt hair) as an with its resultant effect on you. In the film, the evidence. In the Akan tradition, a bastard does proverb was used to point out a character’s bad not qualify to be an heir to a throne; however, a behaviour and attitudes. bastard was also among the nominees for the Another proverb wrongly used is: Deε akonwa kingship position although he was later rejected εsε no na odie. This should have been by the gods. ‘Deɛadeɛwɔ no na odie’. Thus: It is only the In the Akan political system, the linguist people who befits the throne that are enstooled (Ͻkyeame) is the spokesman of the chief and as kings. Another interesting finding on the nobody speaks to the chief except to and through Akan proverbs in the films was on their

International Journal of Research in Humanities and Social Studies V4 ● I5 ● 2017 14 Aberration of Cultures: A Study of Distortion of Akan Cultures in Kumawood Movies in Ghana presentation of matters of individual every aspects of a people’s culture. Regrettably, responsibility. In Praba, the linguist said that, Ghanaian, and for that matter African ways of Daasebre, yԑ se obi nnom aduro mma doing things are no longer in the public domain. ᴐyarefoᴐwhich literally means ‘Medicines are Colonialism, being a powerful force of Western not taken on behalf of the sick’. The distortion of culture, has indeed robbed the continent of the Akan proverbs is inimical to the preservation opportunities: opportunities of self-development, of the original rich philosophical, educational, of self-government, and of self-styled socio-cultural and moral values for posterity technological development pace so much so that (Yankah, 2012; Boaduo, 2012). It is important to when youths engage with the media they crave state that Ghanaian filmmakers should learn how for Western norms and values. to present the Akan proverbs in their original The unstoppable wave of globalisation in Africa states, understand the socio-cultural and is a result of Western interference on the pace philosophical significance of these proverbs; and and tempo of cultural growth and civilisation in how they are created and used in various the continent. Though colonialism is now a thing contexts (Yankah, 2012). of the past, Africa remains subjugated and In Time Changes, there was a scene of wrong dominated by the commodities and cultures of representation of customs and traditions in the colonial powers. It is lamentable that the relation to enstoolment of the king. It was Western culture continues to thrive and outgrow obvious in the movie that the enstoolment African cultural heritage. A critical review of process of the king was done in public. most “Akan” films show an influx of Western Customarily, a king’s enstoolment is not a popular culture such as romantic scenes in public affair. Without a doubt, a nominated public, stalking, seduction and performance of candidate is placed under custody for grooming sexy erotic dances as well as occultism and the and training for some weeks by the elders well use of vulgar words. Additionally, Western versed in the traditions of the state, where he mode of dressing, food, architecture, arts and learns more traditions and other cultural norms. craft, music and dance have dominated scenes in It can be inferred from the findings that Akan these movies. films highly distort the traditional political practices. This means that such films have been CONCLUSIONS used to subjugate the Akan and Ghanaian culture Cultural elements as well as practices strongly rather than to persuade, propagate, entertain, and adequately showcased in local films or instruct and educate the audience on the socio- movies project the fact that the film industry political as well as the economic needs of the exercises a deep influence on the history, audience (Akashoro, 2010). cultural values and a nation’s destiny as well as the national life presenting its positive image to There was a scene which contradicts with the the rest of the world. Nevertheless, most Ghanaian hospitality manners. In Ama Ghana Kumawood movies produced in Ghana for instance, Uncle Odum and his family visit underscore the reality that they misrepresent Kaakaku and his wife Araba, who refuses to Akan cultural values, beliefs, symbols and offer them seats and water as tradition demands. characteristics, which misinform foreign In Ghana, especially among the Akans, the first audience about the true and rich Akan cultural thing a person does when he gets a visitor is to heritage. offer him/her a seat, followed by drinking water before asking of missions. Also, in Ama Ghana, As part of Kumawood movies’ contribution to a disrespectful scene is observed when Awura the projection of Ghanaian culture and Ama gives her underwear, thus panties and restoration of Akan cultural values in the media, brassieres, to a man to wash, which is a taboo in these films should sufficiently capture and begin Akan culture. The man who happens to be the to promote ideas that reinforce quality of life, security man washes these underwear, stretches national pride and consciousness; motivate and them open, smells and fraternizes with them. stimulate creativity. All this should be inspired by our traditions and values, such as respect for Influence of Western culture in Akan humanity, justice, constituted authority, the language films dignity of labour as well as national The influence of Western culture in Akan developmental aspirations and needs. language films has had both direct and indirect The Akan film industry, as a matter of urgency, devastating toll on the culture of Ghanaians. must shed its large baggage of mimicry of Films are a form of media that spread very fast Western popular culture such as romance and

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Citation: Kquofi, Steve, and Godfred Kojo Croffie. "Aberration of Cultures: A Study of Distortion of Akan Cultures in Kumawood Movies in Ghana". International Journal of Research in Humanities And Social Studies, vol 4, no. 5, 2017, pp. 8-16. Copyright: © 2017 Kquofi, Steve. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.

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