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Cultural Significance of Edina Asafo Company Posts CULTURAL SIGNIFICANCE OF EDINA ASAFO COMPANY POSTS BY SAMUEL ADENTWI BENTUM B. A. (ART) HONS, M.F.A. (PAINTING AND SCULPTURE). A DISSERTATION SUBMITTED TO THE SCHOOL OF GRADUATE STUDIES, KWAME NKRUMAH UNIVERSITY OF SCIENCE AND TECHNOLOGY, KUMASI, IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY (PhD) (AFRICAN ART AND CULTURE) DEPARTMENT OF GENERAL ART STUDIES FACULTY OF FINE ART, COLLEGE OF ART AND SOCIAL SCIENCES JUNE 2006 CERTIFICATION THIS CERTIFIES THAT THE DISSERTATION IS THE CANDIDATE’S OWN ACCOUNTS OF HIS RESEARCH Candidate: ….….………………. ………….. SAMUEL A. BENTUM SIGNATURE DATE Certified By: DR. B. K DOGBE ………….…………… …………… SUPERVISOR SIGNATURE DATE Certified By: DR. JOE ADU-AGYEN ……………………….. ……………. HEAD OF DEPARTMENT SIGNATURE DATE ii ACKNOWLEDGEMENTS I give the most heartfelt thanks to my loving mother Madam Agnes Selina Essilfie for her abundant prayers, love and care towards my educational carrier and the dissertation. My special thanks go to Dr. Bucknor K. Dodge, my Supervisor, for his expert advice and technical guidance. I also extend my sincere thanks to Dr. Opanshen Osei Agyeman, Dr. Joe Adu Agyen, Dr. Kwodwo Edusei, Dr. Amenuke and Dr. Osei Poku all of the Department of General Art Studies, College of Art and Social Sciences, Kwame Nkrumah University of Science and Technology, Kumasi, for their encouragement and technical advice. I will also like to say thank you to Messers Victor Essel-Cudjoe, Peter Raymond, Alex Darpoh and Albert Intamah for their suggestions and encouragement. Special thanks go to Mrs. Emma Ewuse-Essoun, Mrs. Delphin Intamah, Mrs. Nana Bentuma Bart Mr. Ernest N. Taylor and Mr. Solomon Owusu for their painstaking efforts in typing and printing this dissertation. My profound thanks go to Miss Abigail Adufutse, Miss Kezia Eliplim Ayanu and Miss Alberta Araba Brown for their love and support towards the completion of the dissertation. S. A. B. iii TABLE OF CONTENTS Page Title Page i Certification ii Acknowledgement iii Table of Contents iv List of Plates ix Abstract xi CHAPTER ONE INTRODUCTION 1 Introduction 1 Ethnographic Background 2 Statement of the Problem 3 Objective of the Study 3 Hypothesis 4 Assumption 4 Delimitation 4 Importance of Study 5 Theoretical Framework of the Research 5 Research Methodology 5 Organization of Chapters 7 CHAPTER TWO REVIEW OF RELATED 10 Review of related Literature 10 CHAPTER THREE METHDOLOGY Methodology 50 Research Design 50 Library Research 50 Population Studied 51 iv Purpose Sampling Technique 51 Instruments for data collection 51 TYPES OF DATA 52 Primary 52 Secondary 52 Interviews Conducted 52 Direct Observation 54 CHAPTER FOUR HISTORY AND BACKGROUND OF EDINA AND EDINA ASAFO COMPANIES 56 Introduction 56 Edina in the Past 57 Edina State Constitution and Civic Authority 64 Edinaman Ntam (Traditional Oaths) 66 Edina Ebusua (Clan) 68 Edinaman and Inheritance 70 Edina Festivals 71 -Election and installation of Edina Omanhen 71 -Process of confinement of Edina Omanhen 78 -Be Enya Da (Benya Bakatue) 79 -Edina Bronya (New Year) 83 Religion 85 Education 91 European Adventure on Edina 94 Edina and Asante Friendship 99 Edina Asafo Companies 101 -Background History and Functions 101 Edina Asafo Companies and European influence 108 Edina in Present Times 113 v CHAPTER FIVE PRESENTATION OF FINDINGS 115 Introduction 115 Wombir Asafo No.4 Company Post 122 Cultural Significance of Wombir Asafo No.4 Company Post 126 Colour Symbolism 126 Sculptural Symbolism 127 Architectural Symbolism 139 Akyem Asafo No.2 Company Post 140 Cultural Significance of Akyem Asafo No.2 Company Post 145 Colour Symbolism 145 Sculptural Symbolism 145 Architectural Symbolism 153 Abese Asafo No.5 Company Post 155 Cultural Significance of Abese Asafo No.5 Company Post 161 Colour Symbolism 162 Sculptural Symbolism 163 Architectural Symbolism 173 Ankobea Asafo No.1 Company Post 174 Cultural Significance of Ankobea Asafo No.1 Company Post 179 Colour Symbolism 179 Sculptural Symbolism 182 Architectural Symbolism 188 Alataman Asafo No.6 Company Post 191 Cultural Significance of Alataman Asafo No.6 Company Post 193 Colour Symbolism 193 Sculptural Symbolism 194 Architectural Symbolism 195 Enyampa Asafo No.7 Company Post 197 Cultural Significance of Enyampa Asafo No.7 Company Post 200 Colour Symbolism 200 Sculptural Symbolism 201 vi Architectural Symbolism 201 Aesthetic Appreciation of Edina Asafo Company Post 202 CHAPTER SIX DISCUSSION OF FINDINGS 213 Introduction 213 General Discussion 221 Asafo Posts in Transition: Past, Present and Future 221 Asafo Posts and Urbanization 228 Asafo Posts and Modernity 232 Asafo Posts and Modern Religion: Christianity, Islamic and Others 235 Asafo Posts and Western Elitist Philosophy 238 Asafo Posts and Elitism 241 Asafo Posts and Modern Educational Policies 243 Asafo Posts and World Arts: Traditional, Modern and Postmodern 248 Asafo Posts and Ghanaian Child Arts 252 Asafo Posts and Ghanaian Artists: Professional and Amateur 255 Comparison between Findings and Literature Review 256 Test of Hypothesis 261 Summary of Thesis 263 Conclusion 275 Recommendations 280 Regular Maintenance of Edina Asafo Posts 280 Demystifying Edina Asafo Posts 281 Vigorous Marketing of Edina Asafo Posts as Tourist Sites 282 Documentation (Literary, Photography and Multi-media) of Edina Asafo Posts 283 Introduction of Edina Asafo Activities as part of Schools Curriculum 285 Introduction of Tour Guides to inform and Educate Tourists on Edina on 285 Edina Asafo Activities. Creation of a Mini Museum out of Edina Asafo Posts 287 Exhibition of Edina Asafo Wares 288 Creation of Pilgrimage out of Edina Asafo Posts 288 vii Registration and renewal of membership 289 Training and Retraining of Edina Asafo members 290 Regular staging of Edina Asafo Performances 291 Creation of Edina Asafo Day 291 Exhibition of Edina Asafo Posts and Artifacts 292 Glossary 293 Bibliography 294 viii LIST OF PLATES Page 1. Boase Wombir Asafo No.1 Company Post 123 2. Details of Second and Third Floors 124 3. Details of the Fourth Floor 128 4. Details of the Third Floor 129 5. Details of the Second Floor 130 6. Details of the First Floor 132 7. The Image of the Antelope-like animal 133 8. Image of Supi Kow Kane 133 9. Image of Adam and Eve 134 10. The Carrier of Asafo Shrines 135 11. Akyem Asafo No.2 Company Post 141 12. Details of the First Floor 142 13. Details of the Second Floor 143 14. The Replica of the Clock 146 15. The Image of Supi Kwamina Essilfie 147 16. The Images of Carriers of the Asafo Shrines 149 17. An Image of a Member of the Akyem Asafo Company 151 18. The Replica of an Aircraft 152 19. Abese Asafo No.5 Company Post 156 20. Details of the First Floor 158 21. Details of the Top (Front View of the Ship) 158 22. Details of the Top (Back View of the Ship) 164 23. Image of Supi Kwa Bosomtwi 167 24. The Image of Akyebe Dua (‘Post’) 169 25. The Image of Egya Eku 170 26. The Image of Aasfo Akyere 171 27. The Carrier of Asafo Shrine 171 ix 28 Ankobea Asafo No.1 Company Post 175 29. Details of the Third and Fourth Floors 177 30. Details of the First and Second Floors 177 31. The Replica of Benya Shrine (Buw) 183 32. The Image of the Cock and Hen 184 33. The Replica of Padlock and Key 185 34. The Image of an Aquatic animal 186 35. The Image of the Lion 188 36. Benya Shrine (Bow and Arrow fixed on top) 189 37. Alataman Asafo No.6 Company Post 192 38. Alataman Asafo No.6 Company Post (Semi-circular portion of Post) 196 39. Enyampa Asafo No.7 Fesuban at Chapel Square Area 198 40. Enyampa Asafo No.7 Fesuban at Bantoma 198 41. Enyampa Asafo No.7 Company Post (Shrine House) at Bantoma 198 42. Present state of the Wombir Asafo No.4 Company Post 231 43. Present State of the Akyem Asafo No.2 Company Post 231 44. Present state of the Ankobea Asafo No.1 Company Post 231 45. Present state of the Abese Asafo No.5 Company Post 231 x ABSTRACT TITLE : CULTURAL SIGNIFICANCE OF EDINA ASAFO COMPANY POSTS. NAME: SAMUEL ADENTWI BENTUM, B.A. (ART) HONS, M.F.A. (PAINTING AND SCULPTURE) This dissertation is the cultural manifestation of the technical study conducted by the researcher. The main objective of investigating whether in line with modern socio-political and socio-economic development of Edina traditional area, the Edina people has affected the relevance of Edina Asafo was critically appreciated. The research looked into how the Edina Asafo Posts have influenced the modernization and urbanization of the Edina community. It also seeks to find out how the Asafo Posts have affected the Psyche of the Edina people as well as the political, religious, social, medical, economics, entertainment and educational (moral) standard of the people. This research is therefore to help attract and promote both local and foreign tourism in the Edina traditional area, and thereby help create income for the socio-economic development of the people, Edina and Ghana. xi CHAPTER ONE INTRODUCTION This research work is towards an anthropological study and interpretation of the nature and functions of Edina Asafo Companies and their Posts in the socio-cultural life of the people, where these institutions and their monuments feature prominently in their annual calendar. The early visual art traditions of the Edina people, especially the Asafo Companies consist of Architectural forms, sculptures, paintings, graphical symbols, documentation of events and thoughts. The Edina Asafo visual arts express both the traditions and aspirations of the textiles, flags, mascots and others which were used as the basis for their soul and being of the Edina people, for what they experienced in the past and what is considered desirable for the present and the future.
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