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Sankcfa and DRAMA: a STUDY of ADINKRA and AKAN CLAN SYMBOLS in MODERN GHANAIAN PLAYS

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Sankcfa and DRAMA: a STUDY of ADINKRA and AKAN CLAN SYMBOLS in MODERN GHANAIAN PLAYS University of Ghana http://ugspace.ug.edu.gh SANKcFA AND DRAMA: A STUDY OF ADINKRA AND AKAN CLAN SYMBOLS IN MODERN GHANAIAN PLAYS BY DANIEL APPIAH-ADJEI 10031425 THIS THESIS IS SUBMITTED TO THE UNIVERSITY OF GHANA, LEGON IN PARTIAL FULFILMENT OF THE REQUIREMENT FOR THE AWARD OF PHD THEATRE ARTS DEGREE DECEMBER, 2014 University of Ghana http://ugspace.ug.edu.gh DECLARATION I, Daniel Appiah-Adjei solemnly declare that, this Thesis, with the exception of quotations and references contained in the published works, identified and duly acknowledged, is my personal original work, and it has not been submitted, either in part or whole, for another degree elsewhere. Candidate: …………………………… Daniel Appiah-Adjei Supervisors (Principal) ………………………… Professor Martin Okyere Owusu University of Ghana, Legon ………………………..…… Dr. Agyemang Ossei Senior Lecturer University of Ghana, Legon …………………………… Dr. Regina Kwakye Opong Lecturer University of Ghana, Legon i University of Ghana http://ugspace.ug.edu.gh DEDICATION To My Family and those who are fighting for African cultural survival. And To “The towering Wawa Aba of Ghanaian Theatre” Professor Martin Okyere Owusu. I am extremely honored to be counted among your league of students ii University of Ghana http://ugspace.ug.edu.gh ACKNOWLEDGEMENT All thanks should go to the Almighty God for His immense guidance and support. Indeed, God has been merciful to me as one of the First batch of the Masters Students at the School of Performing Arts (MFA Playwriting), and one of the first to be graduated in PhD at the Department of Theatre Arts. My Supervisors Prof. Martin Owusu, Dr. Agyemang Ossei, Dr. Regina Kwakye-Opong and all those who in diverse ways contributed to the success of this work. My family members, Memaame Pomaah, My wife, Lily Versta Nyarkoh, my children, Anita Sekyeraa Ampadu, Nana Owusu Appiah-Adjei, Kwame Appiah-Adjei, Maame Amma Pomaah Appiah-Adjei, Kwame Kyeretwie Appiah-Adjei, Kofi Sarfo Appiah-Adjei, who had to put up with difficult conditions when the going was very tough. My friends and other relatives, I say thank you very much. May God richly bless you. Professor Yaa Ntiamoa- Baidoo and the Staff at Carnegie NGAA thank you for the grant you offered me to enable me research into our cultural heritage. I am very grateful. iii University of Ghana http://ugspace.ug.edu.gh ABSTRACT The purpose of this research is to explore the use of traditional symbols, especially, the Sankcfa Theory which means: it is not forbidden to go into history to validate or reclaim the past, in its entirety as a conceptual foundation which Ghanaians and other African artists have engaged in their creative representations. Most Ghanaian playwrights, in particular, during the colonial and post-colonial periods, are known to have extensively employed this concept as the main thrust of their creative expressions. Rhetorically, one wonders to what extent the narratives in Adinkra symbols of which Sankcfa is canonical and Akan clan symbols (Totems) have been employed by Ghanaian playwrights. The plays used in this study include; 4 selected plays; The Legend of Aku Sika by Martin Owusu, in respect of the reclaiming of Ghanaian folktale as a valid resource for modern theatrical expression, In the Chest of a Woman by Efo Kodjo Mawugbe and The Dilemma of a Ghost by Ama Ata Aidoo, which espouse the dichotomies of modern and traditional Ghanaian societies and, Edufa by Efua Sutherland, a play adapted from the classical Greek play, Alcestis by Euripides, which reinforces the commonalities of world views of traditional or primeval societies, however, disparate. The method employed are one-on-one interviews on Adinkra and Akan Clan symbols, field notes, field letters, original play production (Death on Trial), essays and memory data. The study, therefore, is largely Qualitative (Content Analysis (CA), ethnographic and phenomenological). The methods are unique to this study as they provide a reflexive analysis document, complemented by recognition of symbolic events that emanate from Akan traditions. Findings from the study reveal several major thematic manifestations of physical objects, social norms and abstract ideas of the Akan traditions and cultural practices. The study also exposes the dramatic elements in the narratives in Adinkra and Akan Clan symbols. The final product is an amalgamation of academic and literary writing, profiles, pictorial representations of traditional symbols and narratives. iv University of Ghana http://ugspace.ug.edu.gh TABLE OF CONTENTS DECLARATION ........................................................................................................................ i DEDICATION ........................................................................................................................... ii ACKNOWLEDGEMENT ....................................................................................................... iii ABSTRACT .............................................................................................................................. iv TABLE OF CONTENTS ........................................................................................................... v LIST OF TABLES ..................................................................................................................... x LIST OF FIGURES ................................................................................................................... x LIST OF PICTURES ............................................................................................................... xii CHAPTER ONE ...................................................................................................................... 1 INTRODUCTION.................................................................................................................... 1 1.1 Background to the Study .................................................................................................. 1 1.2 Statement of the problem ................................................................................................. 8 1.3 Objectives ......................................................................................................................... 9 1.4 Specific objectives............................................................................................................ 9 1.5 Research question ........................................................................................................... 10 1.6 Significance of study ...................................................................................................... 10 1.7 Justification of the choice of the playwrights................................................................. 11 1.8 Definition of key words used in the title ........................................................................ 13 1.9 Definitions of other key words in the thesis ................................................................... 16 1.10 Scope of Work .............................................................................................................. 22 1.10.1 Delimitations ............................................................................................................. 22 1.11 Theoretical Framework ................................................................................................ 23 1.12 State of Research (Literature Review Conceptualization) ........................................... 27 1.13 Research Methodology ................................................................................................. 28 1.14 Instruments Used .......................................................................................................... 29 v University of Ghana http://ugspace.ug.edu.gh CHAPTER TWO ................................................................................................................... 30 LITERATURE REVIEW ..................................................................................................... 30 2.1 Introduction .................................................................................................................... 30 2.1.1 The Meanings and Interpretations of Sankcfa and Drama .......................................... 31 2.1.2 Sankcfa: Drama of Other Times and Places................................................................ 40 2.1.3. Sankcfa as African Renaissance ................................................................................. 48 2.2. Symbolic Communication: Drama, Adinkra and Akan Traditional Symbology in Ghana ................................................................................................................................... 52 2.2.1. Symbolism and Communication in Drama ................................................................ 54 2.2.2. Semiotics and Signs communication in Drama.......................................................... 55 2.2.3 Adinkra Symbols as communicative Tools in Ghanaian Traditional Culture ............ 61 2.2.4. Meaning of the word Adinkra .................................................................................... 61 2.2.5. Historical Sources of Adinkra .................................................................................... 62 2.2.6. Adinkra symbols as Folk Art ..................................................................................... 66 2.2.7. Akan Clan Symbols, the Family Systems and Drama ............................................... 70 2.3.
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