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

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