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STOOL REGALIA of the DWABEN STATE of ASANTE (GHANA).Pdf STOOL REGALIA OF THE DWABEN STATE OF ASANTE (GHANA): RELEVANCE TO ART EDUCATION By Matilda Osei-Bonsu, M. A Art Education, B. A (Hons) Art A Dissertation submitted to the School of Graduate Studies, Kwame Nkrumah University of Science and Technology, Kumasi, in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY IN ART EDUCATION Faculty of Art College of Art and Social Sciences April, 2010 (c) 2010, Department of General Art Studies DECLARATION I hereby declare that this submission is my own work towards the PhD 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. Matilda Osei-Bonsu (20039929) ……………………. ..……………… Student’s Name / ID Signature Date Certified by: Dr. E. C., Nyarkoh ..…………………… ..……………… (First Supervisor) Signature Date Certified by: Dr. Kodwo Edusei ……………………. ..……………… (Second Supervisor) Signature Date Certified by: Dr. Joe Adu-Agyem ………………….…. ..……………… (Head of Department) Signature Date ii ACKNOWLEDGEMENTS The researcher wishes to express her heartfelt gratitude and appreciation to all who contributed in diverse ways to make this research a great success. Many thanks to the Almighty God for granting the strength, courage and determination to enable the researcher complete this task. Special thanks to the Dwabenhene Nana Otuo SiriboII for granting permission to conduct the study in his court and environs, and for allowing the researcher have access to the stool regalia of the state. Many thanks to the Dwabenhemaa Nana Akua Akyamaa III, subordinate chiefs, elders, the chief’s spokespersons, caretakers of the Dwaben state stool regalia and king makers of the state for their time, attention, and assistance given during the survey. Thanks also go to informants, Dwaben opinion leaders, research assistants, art educators and curriculum experts that contributed to the success of the study. Thanks to pupils and students of Anglican Primary and Junior High School and Dwaben Senior High School in the Dwaben Traditional Area, their heads and teachers for contributing to the success of the survey. Many thanks to the craftsmen of stool regalia at Bonwire, Manhyia, Ahwia, and Adum Nsuo Ase who contributed to the success of the survey conducted. Heartfelt thanks go to my supervisors especially Dr. E. C. Nyarkoh for contributing immensely toward the success of this dissertation. Many thanks to the Head of Department of General Art Studies, staff, students and all who contributed in diverse ways toward the success of this research. May the good Lord richly reward your efforts. M O B April, 2010 iii ABSTRACT Stool regalia of traditional Ghanaian societies ruled by kings and chiefs are an indispensable part of these societies. They reveal notable aesthetic and symbolic expressions of cultures, their religious beliefs and practices, ideals, social organizations and wealth. In Asante, stool regalia play momentous role in the life of their traditional leadership institutions and political systems and accentuate their status and authority. Asante stool regalia are characterized by the use of a variety of royal art forms that are both functional and symbolic. They have several cultural undertones that need to be understood by contemporary societies. A study conducted on a selected number of stool regalia of the Dwaben state of Asante revealed their philosophical, socio-cultural, symbolic expressions as well as outstanding aesthetic qualities and values. These knowledge need to be transmitted to the youth as a way of educating and preserving the Dwaben heritage. Their stool regalia convey historic facts about the state derived from several Asante proverbs, expressions and symbols represented by anthropomorphic and zoomorphic forms. Primary data on the stool regalia were gathered from a sampled population from the Dwaben Traditional Area with a few from secondary sources. They were validated for their authenticity. Data gathered at the research sites (Dwaben, Bonwire, Manhyia, Ahwia, and Adum Nsuo Ase), were assembled, analyzed and interpreted, and forms the basis of discussions in Chapter Five. A few attribute variables are translated into bar charts for analyses of results. Conclusions and recommendations based on findings of the study are provided. Data on indigenous knowledge of the Dwaben stool regalia could serve as resource materials to promote indigenous arts education in the country. The excellent photographs and the accompanying scholarly information would be of interest to art students, art educators and researchers. Results of the research could enhance the study of Asante and Akan royal art forms in schools and colleges within Ghana. iv TABLE OF CONTENTS Pages Title Page Declaration ….. ….. ….. ….. ….. ….. ….. ii Acknowledgements ….. ….. ….. ….. ….. ….. ….. iii Abstract ….. ….. ….. ….. ….. ….. ….. iv Table of Contents ….. ….. ….. ….. ….. ….. ….. v List of Tables ….. ….. ….. ….. ….. ….. ….. xvi List of Figures ….. ….. ….. ….. ….. ….. ….. xvii List of Plates ….. ….. ….. ….. ….. ….. ….. xviii CHAPTER ONE INTRODUCTION 1.0 Background to the Study ….. ….. ….. ….. ….. ….. ….. 1 1.1 Statement of the problem ….. ….. ….. ….. ….. ….. ….. 2 1.2 Hypotheses ….. ….. ….. ….. ….. ….. ….. 4 1.3 Objectives ….. ….. ….. ….. ….. ….. ….. 4 1.4 Delimitation ….. ….. ….. ….. ….. ….. ….. 5 1.5 Limitation ….. ….. ….. ….. ….. ….. ….. 5 1.6 Definition of terms in the text ….. ….. ….. ….. ….. ….. 5 1.7 Importance of the Study ….. ….. ….. ….. ….. ….. ….. 7 1.8 Abbreviations used in the dissertation ….. ….. ….. ….. ….. 8 1.9 Organization of text ….. ….. ….. ….. ….. ….. ….. 8 v CHAPTER TWO REVIEW OF RELATED LITERATURE 2.0 Overview ..... ….. ….. ….. ….. ….. ….. ….. ….. 10 2.1 The Akans of Ghana ….. ….. ….. ….. ….. ….. ….. 10 2.1.1 The Asante Kingdom ….. ….. ….. ….. ….. ….. 10 2.2 Brief history of the Dwaben state of Asante ….. ….. ….. ….. ….. 15 2.2.1 The role of Dwaben in strengthening the Asante nation ….. ….. ….. 16 2.3 Nton under the Asante lineage (Abusua) system ….. ….. ….. ….. 18 2.4 Asante clans and their totems ….. ….. ….. ….. ….. ….. 19 2.5 The political inheritance of the Asantes ….. ….. ….. ….. ….. 19 2.6 Stools .….. ….. .…. ….. ….. ….. ….. ….. ….. ….. 21 2.6.1 Modernity of the stool ….. ….. ….. ….. ….. ….. ….. 23 2.6.2 The Stool ( adwa) ….. ….. ….. ….. ….. ….. ….. 24 2.6.3 Type of stools ….. ….. ….. ….. ….. ….. ….. 25 2.6.4 Ceremonial stools (Adamu dwa) ….. ….. ….. ….. ….. ….. 26 2.6.5 Black stools (Nkondwa tuntum) ….. ….. ..… ..… .…. ….. 26 2.6.6 Blackening of stools ….. ….. ….. ….. ….. ….. ….. 27 2.7 Stool regalia as status of chiefs ….. ….. ….. ….. ….. ….. 28 2.7.1 Significance of Asante stool regalia ….. ….. ….. ….. ….. ….. 31 2.8 Chairs ….. ….. ….. ….. ….. ….. ….. ….. ….. 32 2.8.1 Asipim chair ….. ….. ….. ….. ….. ….. ….. ….. ….. 33 vi 2.8.2 Hwdm chairs ….. ….. ….. ….. ….. ….. ….. ….. 33 2.8.3 Akonkromfi or Nnamu chairs ….. ….. ….. ….. ….. ….. 34 2.9 Akyeame staves ….. ….. ….. ….. ….. ….. ….. ….. 35 2.10 Swords (nfena) ….. ….. ….. ….. ….. ….. ….. ….. 36 2.10.1 Swords and their functions ….. ….. ….. ….. ….. ….. ….. 36 2.11 Umbrella ….. ….. ….. ….. ….. ….. ….. ….. 39 2.11.1 Umbrella finials ….. ….. ….. ….. ….. ….. ….. ….. 40 2.12 Sandals (Mpaboa) ….. ….. ….. ….. ….. ….. ….. ….. 41 2.13 Headgears (Abotire) ….. ….. ….. ….. ….. ….. ….. 41 2.14 Traditional cloths ….. ….. ….. ….. ….. ….. ….. ….. 42 2.14.1 Kente cloths ….. ….. ….. ….. ….. ….. ….. ….. 43 2.14.2 Adinkra cloth ….. ….. ….. ….. ….. ….. ….. ….. 43 2.15 Jewellery ….. ….. ….. ….. ….. ….. ….. ….. 43 2.16 Musical instruments ….. ….. ….. ….. ….. ….. ….. 45 2.17 Palanquins ….. ….. ….. ….. ….. ….. ….. ….. 46 2.18 Aesthetics ….. ….. ….. ….. ….. ….. ….. ….. 46 2.18.1 Indigenous African / Asante aesthetics ….. ….. ….. ….. ….. 47 2.19 Asante traditional craftsmen ….. ….. ….. ….. ….. ….. 50 2.19.1 Materials used ….. ….. ….. ….. ….. ….. ….. ….. 52 2.20 Symbolism in Asante arts ….. ….. ….. ….. ….. ….. ….. 53 2.20.1 Visual-verbal symbols of the Asante ….. ….. ….. ….. ….. 55 2.21 Indigenous education in Ghana ….. ….. ….. ….. ….. ….. 57 vii CHAPTER THREE METHODOLOGY 3.0 Overview ….. ….. ….. ….. ….. ….. ….. ….. 60 3.1 Research design ….. ….. ….. ….. ….. ….. ….. ….. 60 3.2 Data collection instruments ….. ….. ….. ….. ….. ….. ….. 62 3.2.1 Questionnaire ….. ….. ….. ….. ….. ….. ….. ….. 62 3.2.2 Interviews ….. ….. ….. ….. ….. ….. ….. ….. 63 3.2.3 Observation and photography ….. ….. ….. ….. ….. ….. 64 3.2.4 Opinionnaire ….. ….. ….. ….. ….. ….. ….. ….. 65 3.3 Population ….. ….. ….. ….. ….. ….. ….. ….. 66 3.4 Sampling method ….. ….. ….. ….. ….. ….. ….. ….. 66 3.4.1 The sample ….. ….. ….. ….. ….. ….. ….. ….. 67 3.5 Library and museum research ….. ….. ….. ….. ….. ….. 69 3.6 Data collection procedures ….. ….. ….. ….. ….. ….. ….. 69 3.6.1 Secondary data collection procedure ….. ….. ….. ….. ….. 70 3.6.2 Primary data collection procedure (fieldwork) ….. ….. ….. ….. 70 3.6.3 Criteria for the admissibility of data ….. ….. ….. ….. ….. 70 3.6.3.1 Location of data ….. ….. ….. ….. ….. ….. ….. 70 3.6.4 Specific treatment of data for each objective ….. ….. ….. ….. 71 3.6.4.1 Objective 1 ….. ….. ….. ….. ….. ….. ….. ….. 71 3.6.4.2 Location and means of obtaining data ….. ….. ….. ….. ….. 72 3.6.4.3 Treatment of data ….. ….. ….. ….. ….. ….. ….. ….. 73 3.7 Objective 2 ….. ….. ….. ….. ….. ….. ….. ….. ….. 73 viii 3.7.1 Location and means of obtaining data ….. ….. ….. ….. ….. 73 3.7.2 Treatment of data ….. ….
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