Elder women of Boase who spearheaded a performance of songs and dances associated with Manaa Ndiom (puberty), Bijam (wedding) and funeral rites as practiced in Boase. The event was organized by the chief and elders of Boase and filmed by the Banda Heritage Local Committee. L-R: Ama Gyakari, Adwoa Dankuli, Ama Lopom, Ama Nimsaa, Afua Gyakari, Yaa Anto, Afua Nsiah. Boase, 11 November, 2018.
Afua Wewa is pictured on the occasion of a filmed interview with the Banda Heritage Initiative Local Committee during which she spoke about life in earlier decades in Wewa village. Ahenkro, 24 August, 2018.
Afua Fawoman is pictured on the occasion of a filmed interview with the Banda Heritage Initiative Local Committee during which she spoke about the events that led to Fawoman people moving from Brohane to Fawoman. L-R: ___, ___, Afua Fawoman, ___. Fawoman, 1 October, 2018.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Fawoman
Subjects:
Relocation; Family history; Village founding; Banda Heritage Initiative
A man holds up for view a male and female pair of carved wooden baboon (Mbong in Ligbi) masks during a 2019 interview with Ligbi elders in Bongase. The male mask (left) has a reflective silver cloth attached. A pair of bush cow (Siginjuru-ayna in Ligbi) masks lays on the table behind. Masks such as these have been used in masquerade dances celebrating special occasions like weddings and public festivals, including the end of Ramadan, the annual month-long period of Muslim fasting. Scholars refer to this masking tradition as "Do," while locally it is termed "Bedu." These same masks were photographed in 1967 by René A. Bravmann during the course of doctoral dissertation fieldwork. For additional details, see Bravmann, René A. (1974) "Islam and Tribal Art in West Africa" (Cambridge University Press), pp. 147-177. The baboon masks pictured here were worn and photographed in 1995 when Ligbi people from Bongase brought the masquerade to the commissioning celebration for the Banda Cultural Centre. A June 2019 performance of Mbong at a Banda Heritage Event can be viewed through a link below. Bongase, 11 June, 2019.
A man holds up for view two carved wooden masks during a 2019 interview with Ligbi elders in Bongase. These masks are used in masquerade dances to celebrate special occasions like weddings and public festivals such as the end of Ramadan, the Muslim month of fasting. The mask on the left (13.25 inches in height) is a thrush (Kokogyinaka in Ligbi). The mask on the right (9.75 inches in length) is a "beautiful Gonja woman" (Gbanyamuso in Ligbi). Their features are highlighted by red, blue and white pigment. The Gbanyamuso mask is also adorned by a red hair band. A baboon mask (Mbong in Ligbi) lays on the table to the right. René Bravmann, an art historian, photographed these masks in 1967 during doctoral dissertation fieldwork. For additional details, see Bravmann, René A. (1974) "Islam and Tribal Art in West Africa" (Cambridge University Press), pp. 88-95. Scholars refer to this masking tradition as "Do," while locally it is termed "Bedu." A June 2019 performance of Gbanyamuso (center) at a Banda Heritage Event can be viewed through a link below. Bongase, 11 June, 2019.
A man holds up for view a female (left) and male (right) pair of carved wooden bush cow (Siginjuru-ayna in Ligbi) masks during a 2019 interview with Ligbi elders in Bongase. Masks such as these have been used in masquerade dances to celebrate special occasions like weddings and public festivals including the end of Ramadan, the Muslim month of fasting. The masks' features are highlighted by red, blue and white pigment. René A. Bravmann, an art historian, photographed the male bush cow mask in 1967 during doctoral dissertation fieldwork. For additional details, see Bravmann, René A. (1974) "Islam and Tribal Art in West Africa" (Cambridge University Press), pp. 147-177. Scholars refer to this masking tradition as "Do," while locally it is termed "Bedu." Bongase,11 June, 2019.
Women of Brɛmawuo house, most of whom no longer live in the house, have come together for an interview sparked by a 1986 photo of them gathered around hearths in the compound's courtyard preparing food. As they talk, several of the women are processing calabash seeds (fnumu in Nafaanra), cracking the hull to extract the seed. An audio recorder sits on a low wooden stool with a lidded iron pot nearby. The binder of photos that has sparked the conversation sits on the veranda to the right. Enoch Mensah of the Banda Heritage Local Committee (interviewer, on left) sits on a blue plastic chair as he listens to the women talk about changes in foodways. L-R the women are Ama Mensah (black head scarf), Ama Nwotwenwaa (orange dress), Adwoa Hana, Yaa Yaa Dankwa and Abena Kuma. A video of the full interview can be accessed through through the "iaff_works" link below. Sabiye, 13 November, 2018.
Irene Mensah, a member of the Banda Heritage Initiative Local Committee, uses a camcorder to shoot video footage in Boase during a visit by the Local Committee to document the songs and dances of Nafana puberty (Manaa Ndiom) and marriage (Bijam) ceremonies. She volunteered to join the Local Committee after hearing her grandfather tell stories of the area's past during an interview. To the right, a group of young people are gathered near a small kiosk which is surrounded by a bicycle, a motorcycle and a motorized three-wheeled cart. Metal-roofed houses line the main street. Boase, 11 November, 2018.
Two Nafana men from Fawoman--center and right--beat out foundational rhythms on hippopotamus jaw bones using a hippo canine tooth to accompany a performance of hunters' dances (Bɔfɔɔrɔ in Nafaanra). Oral history recounts that the dances are those of animals observed and copied by ancestral hunters, generations ago. The percussion instruments are said to be those collected by ancestral hunters after they watched the animals dancing, then scared them off and collected their equipment. Left, a man plays an "apentemma" (Twi) drum with his hands. A June 2019 performance of the dances at a Banda Heritage Event can be viewed through a link below. Fawoman, 21 May, 2019.
Two women (Ama Nwotwenwaa and Yaa Yaa Dankwa) view a binder of photos during an interview in the house of Brɛmawuo about cooking practices. The interview was sparked by a 1986 photo of these and other women in the household preparing food. Two youngsters look on. Sabiye, 13 November, 2018.
Calabash drums accompany songs sung by Nafana women during the celebration of puberty (Manaa Ndiom) and marriage (Bijam) rites. These drums are played exclusively by women. The drums are made by filling a large hollowed-out calabash or gourd (chrɛ in Nafaanra) with water. A smaller calabash bowl (chrɛgbɔɔ in Nafaanra) floating upright in the water provides the surface on which the women drum. The small calabash ladles resting in the water are used to beat the up-turned floating calabash bowls and the rim of the large calabash. Visible at the bottom of the larger calabash drum are maize (bleju in Nafaanra) kernels tossed into the drum by passing dancers. Among the kernels are several pesewa coins also tossed in by dancers. Two views. Boase, 11 November, 2018.
Two views of a twinned lost-wax cast copper alloy figurine from Kuulo Kataa, Mound 118, Unit 62W 4N, Level 3. Lower "foot" plate broken off from figurine body. Height: 3.7 cm. Weight: 13.2 g. Kuulo Kataa, 15 June, 1995.
Two views of a serpent-like figure made from an iron rod. The "head" of the direct metal sculpture resembles a triangular-tipped iron projectile point, similar to those found on the same site during the same time period. The body is formed by undulating S-shaped loops which are stacked atop one another to form the "tail." Kuulo Kataa, Mound 118, Unit 62W 4N, Level 1. Scale in cm. Length: 8.4 cm. 39.6 g. Kuulo Kataa, 15 June, 1995.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Provenance:
Kuulo Kataa, Mound 118, Unit 62W 4N, Level 1
Location(s) Facet:
Kuulo Kataa
Subjects:
Serpents
Subjects Facet:
Direct metal sculpture; Archaeology; Snakes; Iron; Projectile point; Artifacts (Antiquities)
Informational posters on Banda history and archaeology are displayed on easels in the hall of the Banda Cultural Centre. Examples of pottery recovered from excavations at Banda area sites rest on shelves in the background. Banda Cultural Centre, Ahenkro, 18 July, 2011.
At an event showcasing the songs and dances associated with puberty (Manaa Ndiom) and wedding (Bijam) rites, two Boase women sit on low wooden stools as they play drums made from hollowed-out calabashes or gourds (chrɛ in Nafaanra). The large lower calabashes are supported by another container (a large tomato paste tin on the left and a plastic bowl on the right). A smaller calabash bowl (chrɛgbɔɔ in Nafaanra) floats upright in water contained within the larger calabash. The women create a rhythm by tapping the calabash ladles held in their right hands on the surface of the floating calabash and the rim of the larger calabash bowl. The kernels of maize (corn, or bleju in Nafaanra) clustered at the base of the larger calabash in the foreground have been tossed into the drum by dancers as they pass by. Another woman, seated upper left, holds a small calabash bowl filled with maize kernels which dancers will use as offerings. Boase, 11 November, 2018.
At an event showcasing the songs and dances associated with puberty (Manaa Ndiom) and wedding (Bijam) rites, two Boase women play drums made from hollowed-out calabashes or gourds (chrɛ in Nafaanra). The large lower calabashes are supported by another container (a large tomato paste tin on the left and a plastic bowl on the right). A smaller calabash bowl (chrɛgbɔɔ in Nafaanra) floats upright in water contained within the larger calabash. The women create a rhythm by tapping the calabash ladles held in their right hands on the surface of the floating calabash and the rim of the larger calabash bowl. Women behind the drummers clap in accompaniment to the song. Boase, 11 November, 2018.
At a performance showcasing the rituals associated with Nafana wedding rites (Bijam) organized by the chief and female elders of Boase, a weathered calabash or gourd bowl (chrɛgbɔɔ in Nafaanra) holds money (Ghanaian cedis) offered by well-wishers. A calabash lid rests on the ground nearby, its side mended with stitches. Boase, 11 November, 2018.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Boase
Subjects:
Cedis; Bijam; Money
Subjects Facet:
Rites and ceremonies; Gourd, Calabash; Marriage customs and rites
Several young men gather outside of Kafͻnͻ (Kafono) Katoo under the shade of a small thatched shelter. They are looking at a binder of photos that includes pictures of their family house taken in 1986 when its roof was being re-thatched. At that time the house was decorated with a painting of a bicycle, reputed to be the first bicycle in Banda. Ahenkro, 1 September, 2018.
Front and side views of a twinned, lost-wax-cast copper-alloy figurine from Kuulo Kataa, Mound 130, Unit 95E 108N, Level 2. Height: 3.9 cm. Weight: 3.8 g. Kuulo Kataa, 4 July, 2000.
Front and side views of a lost-wax cast copper alloy figurine from Kuulo Kataa, Mound 130, Unit 95E 108N, Level 3. Height: 3.5 cm. Weight: 2.4 g. Kuulo Kataa, 4 July, 2000.
A copper alloy finger ring made from a rod forged into undulating S-shaped loops and joined at its ends by a flat metal plate. Two views. From Kuulo Kataa, Mound 101, Unit 2W 2S, Level 7. Height: 1.4 cm. Width: 2.6 cm. Weight: 8.4 g. Kuulo Kataa, 9 June, 1995.
Photo of the exterior wall of the Kafͻnͻ Katoo compound in Ahenkro. The wall now occupied by a lace-curtained window was formerly a solid wall on which the image of a bicycle was painted, said to be the first bicycle in Banda and photographed in 1986. Other areas of the exterior wall were previously decorated with inscribed and painted geometric designs, the outlines of which can still be seen in the closeup image of the wall included here. The entire building is roofed with metal. A ewe and her lamb pass by in front of the house. Ahenkro, 1 September, 2018.
Members of the 2009 archaeological excavation team at Ngre Kataa. Team members included graduate students from the University of Ghana and North America, a representative of the Ghana Museums and Monuments Board and Banda men from Ahenkro and Nyrie. Back row (L-R): David Adjartey Tei-Mensah, Peter, Frimpong, Enoch Mensah, Yaw Mensah, Yaw Francis, Devin Tepleski. Middle row (L-R): Amanda Logan, Sampson Fordjour, Kofi Paul, Felix Ochra, Yaw Frimpong; J.K. Mensah; Kofi "Photo" Manu; Ann Stahl, Kwakye Eric, Frank, Kofi Nsia; Front, seated (L-R): Abass Iddrisu, Osei Kofi, Andrew Gurstelle (kneeling). 9 July, 2009, Ngre Kataa.
Banda Research Project team member Sampson Attah (left) presents a Banda chief (right) with copies of heritage documents at a community event celebrating Banda cultural heritage. Banda Cultural Centre, Ahenkro, 15 July, 2011.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects:
Banda Cultural Centre; Community engagement; Community event
Banda Research Project team members present informational posters on Banda history and heritage to members of the Banda Traditional Council. Sampson Attah (kneeling, stripped shirt) describes the content of the "Banda in the 18th & 19th Centuries" poster to the paramount chief and elders. Project members Ann Stahl (kneeling) and Kofi "Photo" Manu (standing, brown print shirt) look on together with assembled elders. Banda Ahenkro Palace, 11 July, 2011.
The Banda Queen Mother (Lelԑԑ Akosua Kepefu) and her elders look at informational posters on Banda history and heritage prior to the community event at which they were launched. Lelԑԑ Kepefu (left) listens as as Elder and Linguist Afua Fofie points to an image of women spinning cotton thread on the "Banda in the 18th and 19th Centuries" poster. Banda Research Project team members Sampson Attah (standing, orange collar) and Timothy Fordjour (right) look on. Banda Cultural Centre, Ahenkro, 15 July, 2011.
Banda Research Project team member Yaw Frimpong (blue shirt with the Banda Cultural Centre "Unity" logo) serves as a docent for one of the informational posters on Banda history and archaeology launched at a 2011 community event. Project team member Frimpong from Nyire (tan shirt) shares insight as several community members listen. A young man in the rear uses his cell phone to take a photo of the poster as he listens to the conversation. Banda Cultural Centre, Ahenkro, 15 July, 2011.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects:
Banda Cultural Centre; Community engagement; Community event; Poster
Members of the archaeological excavation team at Ngre Kataa. Team members included graduate students from the University of Ghana and from North America, a representative of the Ghana Museums and Monuments Board and Banda men from Ahenkro and Nyrie. Back row (L-R): Amy Groleau, Kofi Paul, Yaw Frimpong, Kofi "Photo" Manu, Felix Ochra, Mr. Monney, Nelson Anane, Sampson Fordjour, Yaw Mensah, Enoch Mensah, Ben Nutor, Amanda Logan, Osei Kofi. Front row (L-R): Ann Stahl, J. K. Mensah, Idrusu, Abass Iddrisu, Kofi Nsia, Kwakye Eric. Ngre Kataa, 19 July, 2008.
Banda Research Project team members Kofi Paul and Kofi Nsia screen soil from a Mound 7 excavation unit at Ngre Kataa as team member Idrusu brings another headpan of soil. The excavated soil is sieved through 1/4 inch mesh screen in order to recover artifacts (fragments of pottery, metals, beads, animal bone) that will be bagged, cataloged and studied. Studying these objects and the contexts from which they were recovered (their provenience) helps archaeologists to learn about the daily lives of past people. Ngre Kataa, 9 July, 2008.
Archaeological team member Enoch Mesah (left, white shirt) explains what archaeologists have been learning through excavation of Mound 7 at Ngre Kataa. He addresses Tolɛɛ Gbankama, chief of Nyire (standing, center, white shirt) and accompanying Nyire elders during a site visit. Archaeological team member Kofi Nsia pauses excavation during the conversation, the short-handled hoe with which he is working resting on the ground in front of him. Ngre Kataa, 6 July, 2009.
In June 2011, Banda Research Project team member Amanda Logan collaborated with local artist Kwame K.B. 2 to develop paintings for the doors of the Banda Cultural Centre's courtyard. The paintings illustrate crafts practiced in the area for which we have archaeological evidence. This image shows a blacksmith forging iron. Based on the presence of byproducts like slag and the tools used to make metal, we know that blacksmiths smelted and forged iron in the Banda area from at least 1000 years ago. Banda Cultural Centre, Ahenkro, June, 2016.
In June 2011, Banda Research Project team member Amanda Logan collaborated with local artist Kwame K.B. 2 to develop paintings for the Banda Cultural Centre's courtyard doors. The paintings illustrate crafts practiced in the area for which we have archaeological evidence. This image shows a woman headloading pottery on her way to market. Pottery making and marketing has been practiced in the Banda area for thousands of years. Scientific studies of pottery from archaeological sites across the region show that pottery was made in different locations over time and was widely traded within and beyond the region. Banda Cultural Centre, Ahenkro, June, 2016.
Community members discuss one of the informational posters on Banda history and archaeology launched at a 2011 community event. Banda Cultural Centre, Ahenkro, 15 July, 2011.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects:
Banda Cultural Centre; Community engagement; Community event; Poster
In June 2011, Banda Research Project team member Amanda Logan collaborated with local artist Kwame K.B. 2 to develop paintings for the Banda Cultural Centre's courtyard doors. The paintings illustrate crafts practiced in the area for which we have archaeological evidence. This image shows a woman spinning cotton thread (right) and a man wearing a locally made blue-and-white strip-woven cloth (left). Archaeologists find spindle whorls used to make thread on late 18th-and early 19th-century archaeological sites. This shows that households produced their own cloth during recent centuries. Before the 17th century, cotton cloth seems to have been less common and was probably acquired through trade from market centers. Banda Cultural Centre, Ahenkro, June, 2016.
Ann Stahl shares photos from Banda Project Archives with the Banda Queen Mother and her Elders as part of a consultation process leading to the Banda Heritage repository. L-R: Ann Stahl, __, __, __. Ahenkro, 19 June, 2016.
Boase Chief Tolԑԑ Ligbi Wulotei (center) looks at pottery from Banda area archaeological sites while Banda Project team member Boye (far right) looks on. Banda Cultural Centre, Ahenkro, 15 July, 2011.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects:
Banda Cultural Centre; Community engagement; Community event
Banda Research Project team member Samuel Babatu (white shirt) serves as a docent for one of the informational posters on Banda history and archaeology launched at a 2011 community event. Young people gather to listen as he discusses the poster's content. In the background, other project team-member docents (Boye, Kofi "Photo" Manu and Yaw Frimpong) share other posters. Banda Cultural Centre, Ahenkro, 15 July, 2011.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects:
Banda Cultural Centre; Community engagement; Community event; Poster
The Banda Queen Mother, (Lelԑԑ Akosua Kepefu) and her elders view archival photos on Ann Stahl's laptop. L-R: Afua Fofie, Lelԑԑ Kepefu and Lelԑԑ Yahͻͻ, Ann Stahl. Ahenkro, 19 June, 2016.
Young people look at and talk about the"Banda in the 15th to 17th Centuries" informational poster during a Banda Heritage community event. Banda Cultural Centre, Ahenkro, 15 July, 2011.
Banda Research Project team members present informational posters on Banda history and heritage to members of the Banda Traditional Council. Sampson Attah (kneeling, stripped shirt) describes the content of the "Learning about Life in the Past" poster to the paramount chief and elders. Project members James Anane (standing, red shirt) and Ann Stahl (kneeling, right) look on. Banda Ahenkro Palace, 11 July, 2011.
In June 2011, Banda Research Project team member Amanda Logan collaborated with local artist Kwame K.B. 2 to develop paintings for the Banda Cultural Centre's courtyard doors. The paintings illustrate handicrafts practiced in the area for which we have archaeological evidence. Here Kwame K.B. 2 stands next to his painting of a woman carrying pottery to market. Ahenkro, 8 June, 2011.
Banda Queen Mother Lelԑԑ Akosua Kepefu (center) shows an example of locally made strip-woven cloth to a young painter as a model for a painting on the Banda Cultural Centre doors. Enoch Mensah holds one end of the cloth. To the right, Afua Fofie, Linguist, looks on with artist Kwame K.B. 2. They stand on Ahenkro's main street (view towards the south). Ahenkro, 5 June, 2011.
Members of the 1990 archaeological excavation team at Makala Kataa. Team members included Banda men from Ahenkro and Makala. Back row (L-R): Kwasi Donkor, Donkor Johnson, __, Lamini, Kwasi Mensah (driver), Kwadwo Manu, Obour Bartholomew, Yaw Francis, Enoch Mensah, Mensah Listowell (red shirt). Front row (L-R) Daniel Mensah, Kwabena Mensah, Malik Abrefa, Ann Stahl, Yaw Frimpong, Osei Kofi. Also pictured are Peter Donkor and Richard Aboabo. Makala, July, 1990.
Members of the 1989 archaeological excavation team at Makala Kataa. Team members included Banda men from Ahenkro and Makala. Left-right: Enoch Mensah, Yaw Frimpong, Kwasi Donkor, Obour Bartholomew, ___, Osei Kofi, Samuel Babatu, Yaw Francis, Mustapha, Donkor Johnson. Makala Kataa, July, 1989.
Archaeological excavations of Mound 6 at Ngre Kataa in 2009 expose a workshop where blacksmiths produced iron and copper-alloy tools and ornaments. The mound is being excavated in 2 x 2 meter units named for the coordinates of their northeast corner. In unit 50N 0W (foreground), an area of burned soil marks the location where blacksmiths heated metals. A pottery jar sits in place to the right. In surrounding units (50N 2W, 48N 0W, 48N 2W) are large anvil stones where the hot metals would have been hammered and shaped through forging. The mound's stratified deposits suggest that the workshop area was used for many decades, and perhaps centuries, between the years of about 1350 and 1520 CE (Common Era). View across the mound from the northeast looking towards the southwest. Site Ngre Kataa. 27 June, 2009.
Miniature lost wax cast spoon, perhaps a gold weight. From Ngre Kataa, Mound 7, Unit 14N 22E, Level 8. Length: 4.3 cm. Weight: 2.1 g. Ngre Kataa, 27 June, 2009.
A crucible used to process copper alloys from Kuulo Kataa, Mound 130, Unit 95E 102N, Level 12. Crucibles like this would have been used to heat copper alloys to a liquid state for use in casting, including casting through a lost-wax process. Scale in cm. Kuulo Kataa, 27 June, 2000.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Provenance:
Kuulo Kataa, Mound 130, Unit 95E 102N, Level 12
Location(s) Facet:
Kuulo Kataa
Subjects Facet:
Handicraft; Metal casting; Metalworking; Copper alloys; Lost wax casting; Archaeology; Lost-wax process; Crucibles; Artifacts (Antiquities)
Finger ring made from twisted copper alloy wire. From Ngre Kataa, Mound 6, Unit 44N 4W, Level 5. Width: 2.3 cm. Weight: 1.6 g. Ngre Kataa, 8 July, 2009.
Young girls dressed in the attire for Manaa Ndiom (puberty) and Bijam (wedding) rites as part of a cultural performance in Boase. The event was organized by the chief and elders of Boase and filmed by the Banda Heritage Local Committee. Front, L-R: ___, ____. Rear, L-R: ___, ___, ___. Boase, 11 Nov, 2018.
Chief and Elders of Boase on the day of a cultural performance organized to showcase the Manaa Ndiom, Bijam and funeral songs and dances previously practiced in the community. Front, L-R: ___, ___, Boase chief Tolԑԑ Ligbi Wulotei, ____. Boase, 11 Nov, 2018.
Three spindles with painted spindle whorls made in Kokua in 1994 rest on a black-and-white strip-woven cloth worn by a woman attending the Banda Heritage Celebration held at the Banda Cultural Centre. In the past Banda area women used spindles and whorls like these to spin cotton thread. Ahenkro, 28 June, 2019.
Rights:
Creative Commons Attribution--NonCommercial
Publisher:
University of Victoria Libraries
Date:
2019-06-28
Location(s) Facet:
Ahenkro
Subjects:
Banda Cultural Centre
Subjects Facet:
West African strip weaving; Textiles; Spinning; Spindle whorls
Storytelling is an entertaining way through which elders convey wisdom to younger people. Here three of Ahenkro's storytellers share stories at a Banda Heritage Event held at the Banda Cultural Centre. A film of the storytellers sharing tales can be accessed through the "iaff_works" link below. L-R, Idisa Yaya, Akosua Mattah, and Alhasa Watara. Ahenkro, 28 June, 2019.
Front view of the Banda Cultural Centre after repainting. The Centre provides space for community gatherings and guest rooms for Banda Research Project and other community visitors. The Centre's motto/logo is "Nyu nunu," (Nafaanra) or "Unity," symbolized by an Adinkra design showing two crocodiles who share the same stomach. Commissioned in 1995, the main building, pictured here, was constructed in 1994-95 through a combination of Banda Research Project funding and communal labor supplied by Ahenkro's four Unit Committees. The building is administered and maintained by the community. Ahenkro, 22 June, 2019.
An aerial view of Banda area settlements and roads, looking southeastward from the north side of Banda-Ahenkro, district administrative center since 2012 of the Banda District in Ghana's Bono (formerly Brong-Ahafo) Region. The linear range of Banda hills is visible in the background (right, top) with the compact core of Banda-Ahenkro center photo. To the west (right) and north (bottom), Ahenkro's houses are more dispersed than in its compact and older core. The left-hand fork of a Y-shaped road (center photo) is the main road that leads south towards Sabiye and Bofie to Menji. The right-hand fork is the now-bypassed old main road between Ahenkro and Kabruno. The road that extends horizontally across the left side of the photo is the paved road that extends from the Banda junction to the Wenchi-Bamboi road (N12). The clustered villages visible south of Ahenkro include Kanka, Kabruno, Sase, Gbao, Dompofie and Makala. To the west (photo's far right) of the Y-Junction, toward the base of the Banda hills, are light-green rectangular areas devoid of trees. These are fields once cleared for tobacco cultivation and now put to other forms of mono-cropping (single crop farming). To the east of Ahenkro (photo's far left) the angular straight edges and lighter green color of a cashew plantation stand out from the surrounding vegetation. Cashew has become an increasingly important cash crop grown in the area since the early 2000s. Two photos. Ahenkro, 25 June, 2019.
A wooden spindle thickly wrapped with cotton thread rests in a large calabash bowl. The bowl sits on a wooden stool adjacent to the legs of blue plastic chairs on which elder women sit at a Banda Heritage Celebration held at the Banda Cultural Centre. One woman wears a strip-woven textile made with black, white, red and yellow threads. Bottom right is the basket in which she stores her spinning supplies. Ahenkro, 28 June, 2019.
Rights:
Creative Commons Attribution--NonCommercial
Publisher:
University of Victoria Libraries
Date:
2019-06-28
Location(s) Facet:
Ahenkro
Subjects:
Banda Cultural Centre; Cotton thread
Subjects Facet:
West African strip weaving; Gourd, Calabash; Textiles; Spinning
Several grinding stones, a whole pot and a cluster of pottery sherds have been exposed in situ at the base of level 3, unit 44N 4W at Mound 6, Ngre Kataa. The large grinding stone in the foreground (grinding stone 1, NK-08-112) is oriented with its grinding surface facing down. Another smaller stone rests on a soil pedestal created as archaeologists excavated surrounding soil to a lower level. Upper right, a whole pottery jar (NK-08-176) sits next to a large grinding stone (grinding stone 3, NK-08-173) oriented with its grinding surface up. To the far left, above the photo scale in centimeters, archaeologists have exposed the edges of a pottery jar, broken in half and lying on its side. As excavations extended into the adjacent unit (42N 4W, to the left), this broken pot was found to be associated with two tuyere fragments. This cluster of grindstones, tuyeres and nearby burned features is interpreted as part of a larger metal-working workshop, the activities of which led to the build up of mound 6. The soil on the right side of the unit is darker because it is moister than that on the left. View to west. Site Ngre Kataa. 1 July, 2008.
Banda Research Project team members Amanda Logan (right) and Amy Groleau (left) draw a plan map of units 44N 4W and 44N 6W, Mound 6, Ngre Kataa. They map in situ artifacts and features, including several large grinding stones, a whole pot, pottery clusters and a tuyere fragment. Wooden stakes mark the corners of 2 x 2 meter excavation units. A photo scale place near a partially exposed everted rim jar in unit 44N 6W (NK-08-407) is in 5 centimeter increments. Ngre Kataa, 7 July, 2008.
Excavations in unit 42N 4W have exposed clusters of pottery, grinding stones, tuyeres and an area of burned soil associated with metal working at Mound 6, Ngre Kataa. Foreground, left, a grinding stone (GS 08-10) rests with its working surface face down. It sits at a slightly higher level than a nearby (left) whole pottery jar (NK 08-406). To the right of these, a partial pot (NK 08-282) and a tuyere fragment (NK 08-284) are clustered together with two halves of a broken pottery jar, lying with its exterior surface facing down. To the south (behind), near the sign board and framed by photo scales, is a burned feature. Next to it sits a hand-held hammerstone (GS 08-11). Another partial pottery jar (NK 08-520) and a small flat grinding stone (GS 08-12) have been exposed to the left of the sign board at 77 cm below the unit's datum. The narrow dark bands visible in the soil are the traces of animal burrows. Photo scale adjacent to the sign board in centimeters. View looking south. Site Ngre Kataa. 7 July 2008.
A twinned lost wax cast copper alloy figurine from Ngre Kataa, Mound 6, Unit 44N 6W, Feature 5 cluster. Archaeologists interpret the Feature 5 cluster as a shrine placed among metalworking facilities. Height: 5.9 cm. Weight: 31.3 g. Ngre Kataa, 19 July, 2008.
A deeply worn grinding stone (grindstone 1, NK-08-112) removed from levels 1-2, unit 44N 4W, Mound 6, Ngre Kataa, photographed at the side of the excavation unit. The grinding stone was found in association with other grinding stones, tuyere fragments and whole and partial pots. When found, the grinding stone was oriented with its working surface facing downward. It was located adjacent to a concentration of dark soil (feature 1) that contained abundant oxidized sediment, slag and broken pottery. Archaeologists interpret the features at Mound 6 as facilities used to make and process metals. Photo scale in 5 centimeter increments. Ngre Kataa, 2 July, 2008.
The circular outline of a burned basin (Feature 3) is bracketed by photo scales (center) in unit 50N 4W (130 cm below the unit datum) at Mound 6. A pottery jar sits to the right side of the basin, its opening covered by a potsherd lid. To the left, a grinding stone sits, grinding surface down, over top of another pottery jar. Burned features like these were associated with metal working in this Mound 6 workshop area. Photo scale at bottom in centimeters. Site Ngre Kataa. 29 June, 2009.
The circular outline of a burned basin (Feature 3) is bracketed by photo scales (left of center) in unit 50N 4W (130 cm below the unit datum) at Mound 6. A pottery jar sits to the right side of the basin, its opening covered by a potsherd lid. To the left, a grinding stone sits, grinding surface down, over top of another pottery jar. Another grinding stone (far left) sits at a higher level in unit 50N 6W. A second burned feature is associated with a grinding stone tipped on its side, far right. Another pottery jar sits nearby, also lidded with a broken sherd. Burned features like these were associated with metal working in this Mound 6 workshop area. Photo scale at bottom in centimeters. Site Ngre Kataa. 29 June, 2009.
A finger ring made of twisted copper alloy wire is photographed in situ. Base of level 5, unit 44N 4W, Mound 6, Ngre Kataa. Scale in 5 centimeter increments. Ngre Kataa, 8 July, 2009.
A perforated pottery jar lidded with the pedestaled base of another pot sits in situ at the base of level 6, unit 46N 2W at Mound 6. The pot contained eight cowries and is interpreted by archaeologists as a shrine pot placed in association with metalworking facilities. Photo scale in 5 cm increments. Site Ngre Kataa. 24 June, 2009.
The mouth of a perforated shrine pot (left) is covered with the pedestaled base of another pot. It remains in situ as the surrounding areas of unit 46N 2W are excavated to lower levels. Behind, the stratified layers of Mound 6 are visible in the unit's north wall. Center (back) are a series of anvil and grinding stones exposed at higher mound levels in other excavation units. During excavations in 2008, a cluster of four anvil/grinding stones was found at a level slightly higher than but adjacent (left/west) to the perforated pot. At right, in lower levels, two grinding stones rest at an angle in association with a burned feature. Archaeologists interpret Mound 6 as a metallurgical workshop at which stratified levels built up through repeated use of the same location. Photo scale in centimeters. Site Ngre Kataa. 2 July, 2009.
Side view of a broken pottery sherd with a large slag inclusion. The use of crushed slag as a tempering material included in potting clay is first seen in pottery associated with Ngre phase sites in the Banda area. The use of crushed slag as a temper intensifies during Kuulo phase times, after which it becomes uncommon. Ngre Kataa, June, 2008.
The new Ahenkro market building was built on the site where a majestic kapok tree shading the outdoor marketplace formerly stood. The tree was downed in a severe storm in 1999/2000, after which the weekly market was moved to a nearby village. The new building houses commercial kiosks and storefronts for rent. View of the market's south side. Ahenkro, June, 2016.
A light-colored slurry plaster marks the outlines of earthen walls exposed through excavations at Mound 7, Ngre Kataa. The upside down "T" shape shows the intersection of two walls. The vertically oriented wall is made from a lighter colored clayey soil compared to the darker horizontally oriented wall. Both walls were coated on the inside and outside with a thin plaster, appearing as a light-colored thin line exposed as archaeologists excavated the horizontal level. A red-and-white photo scale lies across one of the walls near a north arrow and a photo board with provenience information. Ngre Kataa, 6 June, 2009.
Rights:
Creative Commons Attribution--NonCommercial
Publisher:
University of Victoria Libraries
Provenance:
Ngre Kataa, Mound 7, Unit 12N 24E, 80 cm below datum
A light-colored slurry plaster marks the outlines of earthen walls exposed through excavations at Mound 7, Ngre Kataa. View looking eastward. The L-shaped juncture where two walls intersect is visible (bottom). The interior and exterior of the walls were coated with a thin plaster, appearing as a light-colored thin line exposed by archaeologists as they dug down. A two-meter scale appears (left). To the right and outside the building is a cluster of stones, some perhaps used in food processing activities. Ngre Kataa, 6 June, 2009.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Provenance:
Ngre Kataa, Mound 7, Units 12N 24E and 12N 26E, 80 cm below datum
Date:
2009-06-06
Location(s) Facet:
Ngre Kataa
Subjects Facet:
Archaeology; Excavations (Archaeology); Building; Clay; Plastering; Walls; Grinding stone
A light-colored slurry plaster marks the outlines of earthen walls exposed through excavations at Mound 7, Ngre Kataa. View looking westward. The T-shaped juncture where two walls intersect is visible (center, top). The interior and exterior of the walls were coated with a thin plaster, appearing as a light-colored thin line exposed by archaeologists as they dug down. A two-meter scale appears (right) by a photo board. To the left and outside the building is a cluster of stones, some perhaps used in food processing activities. Ngre Kataa, 6 June, 2009.
Rights:
Creative Commons Attribution--NonCommercial
Publisher:
University of Victoria Libraries
Provenance:
Ngre Kataa, Mound 7, Units 12N 24E and 12N 26E, 80 cm below datum
Iron slag is formed as a byproduct of iron smelting. Here a large slag nodule has broken in half, revealing its interior texture. At the archaeological site of Ngre Kataa, large chunks of 'bubbly' slag like this were occasionally found in household and other contexts, away from areas otherwise associated with metal-working activities. Potters at the time of the site's occupation had begun to use crushed iron slag as a tempering agent in their potting clays, which may explain why large nodules were being carried and cached in areas away from metal-working locations. Ngre Kataa, June, 2008.
Insitu pottery and iron artifacts associated with clusters B and C of what archaeologists interpret as a shrine (clusters A-D) which capped stratified deposits in a metallurgical workshop. Far left in unit 48N 10W, the flat surface of an anvil/grinding stone (GS 09-32) is exposed, to the left (west) of which a poorly preserved portion of an elephant tusk was found (now removed). To the right (east) of the large stone is Cluster B, which includes the group of sherds seen in the vertical exposure in front and left (west) of the tree stump. Behind the tree stump is a large cluster (C) of pottery lids, partial pots and iron objects. Photo scale marked in 5 cm increments. View looking towards northwest. Site Ngre Kataa. 10 June 2009.
Insitu pottery and iron artifacts associated with clusters B-D of what archaeologists interpret as a shrine (clusters A-D) which capped stratified deposits in a metallurgical workshop. Bottom left, at the base of a balk supporting the unit peg, is cluster D, comprised of two stones flanking an iron disc, laid flat (SF 09-158), and a tri-looped iron bangle (SF 09-159). In front and left (east) of the tree stump is a large cluster (C) of pottery lids, partial pots and iron objects, including an iron bangle (SF 09-148) and a pair of miniature iron manacles (SF 09-171, "B"-shaped object). To the right (west) of the tree stump, another cluster of pottery and iron objects can be seen. Top right of the photo, a yellow notebook rests on top of an anvil/grinding stone (GS 09-32), next to which rested a poorly preserved section of an elephant ivory tusk. North arrow photo scale marked in 5 cm increments, arrow pointing north. View looking towards southwest. Site Ngre Kataa. 10 June 2009.
An iron artifact (SF 09-031) recovered from screened soil taken from the southern end of excavation unit 50N 2W where two large boulders used as anvil/grinding stones were located. In the unit's northwest corner was a burned feature interpreted as the remains of a forge in an area where metalworking took place. The flat iron object is pointed on one end and has two rounded lobes at the other, perhaps to facilitate turning (like a key?). Its function is unknown. The object has been corroded by rusting. Scale in cm. Length: 5.7 cm. Weight: 9.3 g. Site Ngre Kataa. 30 May 2009.
View across open excavations in an area (mound 6) that archaeologists interpret as a metallurgical workshop. The photo centers on units 46N 8W (foreground) and the southern half of 48N 8W, the north wall of which (at 47N) can be seen behind the sign board. The exposed areas were excavated in 2008 and the photo taken in preparation for 2009 excavations. Traces of circular burned features, red-orange and yellow in color, can be seen in the freshly scraped surface of these units. The uppermost north arrow sits to the right (east) of the circular outline of a still-buried everted-rim jar. Another everted-jar rim can be seen exposed in the north wall at 47N. This rim and associated artifacts formed cluster B, part of a larger shrine feature (clusters A-D) that extended across the northern half of unit 48N 8W (beneath and behind the small tree trunk visible above and left of the sign board). Cluster A (unit 46N 8W) comprised a large pottery bowl surrounded by six iron bangles that was removed in 2008. It was positioned above and slightly west (left) of the burned feature (center photo) that is intersected by a tree root. Cluster B included the artifacts seen here in the north wall at 47N, together with an associated cluster of a pedestal-handled pot lid, dog skull and jaw bones revealed by further excavation beneath and west (left) of the tree stump. In the upper right of the photo (north and east), insitu anvil (GS 09-15, left) and grinding (GS 09-12, right) stones are visible in unit 50N 6W. Photo scales marked in 5 cm increments and measuring tape marks 2 m. Arrows pointing north. Site Ngre Kataa. 6 June 2009.
Insitu anvil/grinding stones in excavation unit 50N 6W in an area (mound 6) that archaeologists interpret as a metallurgical workshop. A large anvil stone (GS 09-15, foreground, left) sits next to a small stone, its lower surface worn flat by serving as a hand-held grinder. A large tree root is visible to the west of the stone, behind which is an area of unexcavated soil on top of which pottery sherds had been found (now removed). To the east and flanked by the black-and-white photo scale is the partial rim of an everted-rim jar (NK 09-749). To the north of this, a large flat grinding stone (GS 09-12) has been pedestaled in place. Photo scales marked in 5 cm increments. Arrows pointing north. Site Ngre Kataa. 6 June 2009.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Provenance:
Ngre Kataa, Mound 6, Unit 50N 6W, Level 4
Date:
2009-06-06
Location(s) Facet:
Ngre Kataa
Subjects:
Anvil stone; Grinding stone
Subjects Facet:
Excavations (Archaeology); Pottery; Metalworking; Iron
Insitu anvil/grinding stones in excavation unit 50N 6W in an area (mound 6) that archaeologists interpret as a metallurgical workshop. Left of center photo, a large anvil stone (GS 09-15) sits next to a small stone, its lower surface worn flat by serving as a hand-held grinder. Behind this stone is an area of unexcavated soil on top of which pottery sherds had been found (now removed). Lower foreground, flanked by the black-and-white photo scale, is the partial rim of an everted-rim jar (NK 09-749). To the north of this (right), a large flat grinding stone with a well-worn upper surface (GS 09-12) has been pedestaled in place. Visible in the southern corner of the west wall of the unit (upper left) in this photo is a flat iron disk (SF 09-159), embedded in the wall above a small stone. Photo scales marked in 5 cm increments. Arrows pointing north. Site Ngre Kataa. 6 June 2009.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Provenance:
Ngre Kataa, Mound 6, Unit 50N 6W, Level 4
Date:
2009-06-06
Location(s) Facet:
Ngre Kataa
Subjects:
Anvil stone; Grinding stone
Subjects Facet:
Excavations (Archaeology); Pottery; Metalworking; Iron
Insitu pottery and iron artifacts associated with clusters C and D of what archaeologists interpret as a shrine that capped stratified deposits in a metallurgical workshop. Cluster D appears in the foreground, left, below unexcavated soil remaining around the 48N 8W unit peg. Here two small stones flank a flat iron disc (SF 09-159, left) and a tri-looped iron bangle (SF 09-158, right). Cluster C is a large grouping of pottery and iron objects located north of the tree stump, center photo. Included were several whole pottery lids, a broken but mostly complete jar associated with an iron bangle (SF 09-148) and a pair of miniature iron manacles (SF 09-171). The bangle is visible, resting on a soil pedestal in front of the tree trunk's center. In the photo's upper right, a large anvil stone (GS 09-32), on which sits a yellow notebook, is visible. Flanking this stone on its western edge was a portion of an ivory tusk. Photo scale marked in 5 cm increments. Arrow pointing north. Site Ngre Kataa. 10 June 2009.
Insitu pottery and iron artifacts associated with cluster C of what archaeologists interpret as a shrine (clusters A-D) that capped stratified deposits in a metallurgical workshop. Center photo are two large pieces of an everted-rim jar, its exterior surface facing outward. Immediately above is a large portion of the same pot, its interior surface facing outward. Found positioned against the jar's interior surface was a pair of miniature iron manacles (SF 09-171, "B"-shaped object). An iron bangle (SF 09-148) was positioned at the jar's mouth, above the manacles. To the left of the bangle is the upper edge of a large grinding stone (GS 09-26), which later excavations revealed to be oriented with its grinding surface down. To the right of the bangle, a pedestal-handled pot lid (NK 09-381) rests with its interior surface oriented upward. At center photo, bottom, a pot lid with a strap handle (NK 09-382) rests on its side. To the right of the north arrow, portions of an another pedestal-handled pot lid lie with its interior oriented upward. Photo scale at upper right marked in cm. Arrow pointing north. Site Ngre Kataa. 10 June 2009.
Insitu pottery and iron artifacts associated with cluster C of what archaeologists interpret as a shrine (clusters A-D) that capped stratified deposits in a metallurgical workshop. Lower center of the photo are two large pieces of an everted-rim jar, its exterior surface facing outward. Immediately above is a large portion of the same pot, its interior surface facing outward. Found positioned against the jar's interior surface was a pair of miniature iron manacles (SF 09-171, "B"-shaped object). An iron bangle (SF 09-148) was positioned at the jar's mouth, above the manacles. To the left of the bangle is the upper edge of a large grinding stone (GS 09-26), which later excavations revealed to be oriented with its grinding surface down. To the right of the bangle, a pedestal-handled pot lid (NK 09-381) rests with its interior surface oriented upward. Photo scale marked in cm. View looking south. Site Ngre Kataa. 10 June 2009.
Excavation of a shrine cluster, two images. The image on left shows a pottery cluster, first exposed in June 2008, as it appeared on 10 June 2009. At bottom center of this image is a pedestal base, above which is a tight cluster of rim sherds. The curved sherd on the far right in this image is the outer edge of the pedestal-handled lid, which is fully exposed in the photo on the right, taken on 16 June 2009. A dog skull in a highly friable state is visible above and to the right of this lid in both photos. In the imgae on the right, an iron bangle (SF 09-219) can be seen resting in an angled position, below and left of which is a dog mandible. These were uncovered by excavation below and behind the pedestal base seen in the picture on the left. Photo scale marked in 5 cm increments. Site Ngre Kataa. 10 and 16 June 2009.
Two views of insitu anvil/grinding stones in excavation unit 50N 6W, part of an area (mound 6) that archaeologists interpret as a metallurgical workshop. In the photo looking northward (arrows point north), a large anvil stone (GS 09-15, foreground, left) sits next to a small stone, its lower surface worn flat by serving as a hand-held grinder. A large tree root is visible to the west of the stone, behind which is an area of unexcavated soil on top of which pottery sherds had been found (now removed). To the east and flanked by the black-and-white photo scale is the partial rim of an everted-rim jar (NK 09-749). To the north of this, a large flat grinding stone (GS 09-12) has been pedestaled in place. In the view looking west, the well-worn upper surface of this narrow stone can be seen. Visible in the southern corner of the west wall of the unit (upper left) in this photo is a flat iron disc (SF 09-159), embedded in the wall above a small stone. Further excavation showed that this disc was part of an object cluster that included a tri-looped iron bangle and interpreted as part of a shrine. Photo scales marked in 5 cm increments. Arrows pointing north. Site Ngre Kataa. 6 June 2009.
An iron bangle (SF 09-132) made from a flattened iron rod with overlapping ends. One end of the bangle is bent inward. The bangle occurred as an isolated find in the upper levels of an area (mound 6) that archaeologists interpret as a metallurgical workshop. The bangle has been corroded by rusting. Scale in cm. Width: 7.9 cm. Weight: 25.6 g. Site Ngre Kataa. 6 June 2009.
Insitu pottery and iron artifacts associated with clusters B and C of what archaeologists interpret as a shrine that capped stratified deposits in a metallurgical workshop. Cluster B encompassed the objects on the south (right) side of the photo, west of (below) the tree stump. To the right of the black-and-white photo stick (lower right) is an iron spike (SF 09-174), a half bangle (SF 09-173) and a slightly curved iron disc (SF 09-172) in a carefully placed composition. Immediately to the east (above in the photo), an aglomeration of pottery sherds is stacked. Later excavation revealed a pedestal-handled pottery lid, dog skull and jaw bones carefully placed below these sherds in cluster B. Cluster C encompassed the artifacts to the north (left) of the tree stump. These included a series of pottery lids, portions of single pottery jar and sherds from other pots. An iron bangle (SF 09-148) is visible above and slightly left of the top photo scale, sitting adjacent to a pottery lid (NK 09-381) lying with its interior surface up. This wider shrine assemblage overlaid burned features associated with metalworking activities. Black-and-white photo scale in 5 cm increments. Arrows pointing north. Site Ngre Kataa. 10 June 2009.
Members of the Banda Research Project work together to map profile walls in a 2 x 2 m unit in mound 7 at Ngre Kataa. Left (white hat), Enoch Mensah measures from a level line while Amy Groleau (red shirt) records measurements in preparation for drawing the profile map. With their backs to the camera, Osei Kofi (left) and Amana Logan (right) work as a team to map the opposite wall. Ngre Kataa, 19 July 2008.
Yaw Frimpong uses a short-handled hoe with a wide blade to loosen and remove soil from an excavation unit (46N 8W) in mound 6 at Ngre Kataa. A second short-handled hoe with a narrower, thicker blade rests on the ground (foreground). To the right, colored flags mark artifacts previously excavated by Ben Nutour using a trowel and left insitu. Foreground is a coiled iron bangle/bracelet (SF 08-140), behind which is a partial large pottery bowl. Further excavations yielded a concentration of iron bangles and other objects suggestive of a shrine cluster in this and adjacent excavation units at mound 6. Ngre Kataa, 9 July 2008.
Ama Georgina cooks on a wood fire in the old settlement of Bui. She stirs soup in a cast aluminum pot over a hearth comprised of three large laterite stones. Ama has placed small stones between the pot and hearth stones to hold the pot in place as she cooks. A young boy reaches into a small aluminum pot containing peppers as other small children look on. To the left, the edge of a second hearth is visible. Bui, 3 August, 2009.
Afua Nimena demonstrates the use of a grindstone to grind grain. She holds a small grinder stone in her right hand, bracing it with her left as she grinds the grain on a well-worn grindstone. Dompofie, 10 September, 2009.
A woman uses a calabash bowl ( chrɛgbɔɔ in Nafaanra) to form a ball of fuura. The food is made from fermented pearl millet, which is ground and mixed together with ground spices and water. The mixture is formed into balls which are boiled. Here some of the boiled, pounded dough is being shaped into a ball, which will be rolled in ground millet before serving. This dish was prepared and served at the Olden Times Food Fair held at the Banda Cultural Centre with sponsorship from Amanda L. Logan. Ahenkro, 30 July, 2014.
A partially covered ball of fuura rests in a bowl of millet flour. The food is made from fermented pearl millet, which is ground and mixed together with ground spices and water. The mixture is formed into balls which are boiled. The cooked, pounded dough has been shaped into a ball and is being rolled in ground millet before serving. This dish was prepared and served at the Olden Times Food Fair held at the Banda Cultural Centre with sponsorship from Amanda L. Logan. Ahenkro, 30 July, 2014.
Close up of finished koto papa, a dumpling made from pearl millet. The food is made by grinding pearl millet on a grinding stone, adding a sprinkle of water and shaping the moistened pounded millet into a ball. The balls are boiled. After cooking, the balls are broken open and served with a stew made from shea oil, onion leaves (gabu) and pepper. This dish, which was often eaten in the morning, was prepared and served at the Olden Times Food Fair held at the Banda Cultural Centre with sponsorship from Amanda L. Logan. Ahenkro, 30 July, 2014.
A woman uses her hand to mix water into a flour made from ground dawadawa (Parkia biglobosa) beans and cassava flour held in a calabash bowl (chrɛgbɔɔ in Nafaanra). The moistened mixture will be steamed in a pot to make wehan. The cooked cake is eaten with a sauce made from shea oil, pepper, garden eggs and salt. This dish was prepared and served at the Olden Times Food Fair held at the Banda Cultural Centre with sponsorship from Amanda L. Logan. Ahenkro, 31 July, 2014.
A youngster (Mamee) uses a wooden paddle to stir a pot as a woman (Afiriye) tests the texture of its contents with her right hand. They are cooking T.Z. in an aluminum pot resting on three laterite hearth stones. T.Z. is short for "tuo zafi," which means hot porridge in Hausa. Surrounding the hearth are a series of plastic and metal containers used in food preparation. A large blue plastic barrel, used to store water, stands in a corner by the house wall. Partially obscured by Mamee's right hand and her paddle is a portable "coal pot" on which an aluminum pot with two handles sits. Unlike the stone hearth, which is fueled with wood, this portable hearth is fueled with charcoal and may be used to prepare soup while starchy staple foods cook over the wood fire. Ahenkro, 28 October, 2009.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects:
Women's work; Metal pots; Water barrels; Plastic containers
An adolescent girl (Mamee) uses a wooden paddle to stir T.Z. cooking in an aluminum pot over a wood fire. T.Z. is short for "tuo zafi," which means hot porridge in Hausa. The pot sits on a hearth made of three laterite stones. Surrounding the hearth are aluminum and plastic pots and bowls used in preparation. A proper stirring technique is needed to achieve the springy texture of this starchy staple, which is served with a soup. Aluminum sheets in the background enclose a bathing area, behind which a raised platform holding firewood can be seen. Ahenkro, 28 October, 2009.
An adolescent girl (Mamee) sifts grain flour into a plastic bucket in preparation for making T.Z. (short for "tuo zafa," which means hot porridge in Hausa). T.Z. The fine flour will be added to boiling water to make a thin porridge, which is gradually thickened by adding more flour. Ahenkro, 28 October, 2009.
A folded textile made of handwoven cotton strips, photographed while on display at a Heritage Day and Olden Times Food Fair held at the Banda Cultural Centre. The name of this cloth design is Kakya. Single strands of blue warp thread create vertical lines against a background of white warp and weft threads. Ahenkro, 31 July, 2014.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects Facet:
Textiles; West African strip weaving; Weaving; Handicraft
A wooden spindle wrapped with cotton thread rests on top of a folded black-and-white textile made from handwoven cotton strips. Cloth of this design is called Kyara. Hand stiching can be seen along the edges where strips have been sewn together. These were among heirloom objects on display at a Heritage Day and Olden Times Food Fair held at the Banda Cultural Centre with sponsorship by Dr. Amanda L. Logan. Ahenkro, 31 July, 2014.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects Facet:
Textiles; West African strip weaving; Weaving; Handicraft;