A group of four clay jars cool after being removed from the bonfire and dipped in bark solution. The solution carbonizes as it comes in contact with the hot surface of the pot, creating a glossy darkened surface that reduces the jar's porosity. A portion of one jar's rim has broken off during the firing and finishing process. Visible on the lower pot surfaces is the maize cob (bledjukaan in Nafaanra) roulette applied to create a roughened surface prior to firing. Shallow grooves used to decorate the upper surfaces are visible on the jar in the foreground. Pieces of bark from the bark solution adhere to the jars' surfaces. Bondakile, October, 1982.
Finished and dried clay pottery jars are carefully placed on top of firewood in preparation for firing. Previously fired broken or flawed pots are used to bank the fuel, keeping it in place. Additional fuel will be placed on top of the stacked pottery and the fuel set on fire. The resulting bonfire will be allowed to burn down, after which the pots will be removed and finished while hot by being dipped in a bark solution. Mensah Listowell, Research Assistant (blue shirt), stands by as the potters prepare to place more fuel on the stacked pottery. Bondakile, October, 1982.
A potter uses a pole to carry a hot clay jar from the smoldering bonfire (behind). She is carrying it to a pottery bowl that contains a solution of pounded bark into which she will dip the jar to create a finish. Newly fired pots are visible in the remains of the bonfire, lying on their sides. A row of upturned, previously fired but broken pots forms a bank around the bonfire's edge. Bondakile, October, 1982.
Potters place the pounded bark of specific trees (surom, layene, koko or lakroas they are known in Nafaanra) in water to create a solution used to finish pots. The red-colored solution carbonizes on the surface of hot pots just removed from the bonfire. Here, the prepared solution awaits as the pots are being fired. A plastic container floats on the surface. Bondakile, October, 1982.
A potter tends the bonfire in which clay pottery jars are being fired. She uses a long pole to adjust the grass fuel laid on top of the pots and the wood fuel beneath them. A bank of previously fired and broken pots holds the fire in place. The bonfire burns rapidly, the firing process lasting between about 30 minutes to an hour. Bondakile, October, 1982.
A group of men work together, gathered at farm, processing calabash (gourd; chrԑ in Nafaanra) for market sale. The calabash is split, its pulpy interior removed, and the gourd's interior surface scraped clean before drying. Shavings from this thinning process are scattered about on the ground. Several children are gathered nearby as the men work. A basket sits next to a pile of prepared calabash bowls (chrԑgbͻͻ in Nafaanra). Farm near Ahenkro, August, 1982.
The remains of a pottery-firing bonfire after the newly fired pots have been removed. Most of the jars visible here were fired prior to this bonfire. Broken or otherwise flawed, they were used to create a bank around the bonfire at its base. The bonfire's fuel has been reduced to an ash layer that remains in the center. Bondakile, October, 1982.
Sheep feed on the edges of a bonfire where clay jars are being fired. Grass has been laid as fuel over the carefully stacked pottery. Wood fuel lies beneath. At the bonfire's base, the broken pots used to bank the fire are visible. The fire will be allowed to burn down, after which the jars will be removed and, while still hot, dipped in a bark solution that coats the pot with a finish. Bondakile, October, 1982.
Exterior view of a shelter constructed at farm with walls made from woven mats and a thatched roof supported by wooden poles around the shelter's perimeter. In the foreground, right, a cutlass (machete) rests on a sharpening stone. In the shade of the shelter's eave to the right of its roof-support pole are a small fired clay eating bowl, a clay cooking pot turned upside down resting on its rim, and a larger fired clay water storage pot. Farm shelters provide shade, refuge from rain and a place to rest and prepare food while families are at their farms, which may be located some distance from their homes. Farm near Ahenkro, September, 1982.
Dried clay jars are carefully placed on top of firewood in preparation for firing. Their surfaces have been textured by rolling a maize cob (bledjukaan in Nafaanra) over the jars' lower surface (maize cob roulette) and decorated with shallow arched grooves made when the pot was in a leather-hard state. Additional fuel will be placed on top of the stacked pottery before the fire is lit. After the fire has burned down the pots will be removed and finished by being dipped while hot in a bark solution. Bondakile, October, 1982.
Villages of Ewe families who made their livelihood through fishing lined the banks of the Black Volta River on its northern and southern shores during the 20th century. Viewed here from the south bank, looking northward from Agbegikrom South, is the fishing village of Agbegikrom North. Because their homes were located a short distance downstream from the site of Bui Dam, villagers in both settlements were relocated beginning in 2008 as construction on the dam began. Agbegikrom North, 7 October, 1982.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Agbegikrom North
Subjects:
Relocation
Subjects Facet:
Bui Dam (Ghana); Black Volta River; Fishing villages; Ewe (African people); Housing
Controlled fire has long been used as a way to improve forage for animals, aid hunting, and amend soil nutrients. Here a controlled burn within Bui National Park is visible on the mountainside west of Ahenkro. The town's thatch-roofed market stands are visible (right) as are branches of the majestic kapok tree that once shaded the market on the south edge of town. Thatched roofs could easily catch fire and Ahenkro suffered major fires several times during the 20th century. Ahenkro, December, 1982.
Controlled fires burn in the hills behind Banda-Ahenkro, part of the Bui National Park. The remains of a small grass fire are visible in the foreground. The thatched stalls of the weekly marketplace are visible beneath the majestic kapok tree that once stood at the south edge of town. To the left, near the smaller tree, is the reddish iron roof of the first town clinic, home to a nurse stationed by the goverment in town. Ahenkro experienced several major fires in the 20th century, prompting people to opt for metal roofs when they could afford them. Ahenkro, December, 1982
The weekly market at Banda-Ahenkro was formerly held at this marketplace, its thatch-roofed stalls located on the south edge of town beneath a majestic kapok tree (Ceiba pentandra). The tree was downed in a storm in the late 1990s, after which the market was relocated to an adjacent village. Ahenkro, June, 1982.
As the bonfire burns down, a helper uses a long pole to prepare the newly fired clay pots for removal. The neatly stacked pots lie on their sides. Around the edges, a bank of previously fired and broken pots, some turned upside-down, were used to hold the fuel and pots in place as the bonfire was built. The bonfire burns rapidly, the firing process lasting between about 30 minutes to an hour. Bondakile, October, 1982.
With moistened hands, a standing potter smooths the rim of a partially finished clay jar. As she works, she moves clockwise around the wooden stump that supports the palette (kpankpa in Nafaanra) on which the pot is being molded. Bondakile, October, 1982.
The road from Menji to the Black Volta River passes through the center of Banda-Ahenkro, pictured here in 1982, view to the north. Earthen-walled buildings line the main street. Houses on the right-hand side have thatched roofs while those on the left have metal roofs. People walk in the center of the street as they move about town. Ahenkro, December, 1982.
A potter uses a draw-and-drag (direct pull) technique as she begins to mold the body and rim of a pottery jar from a lump of moist clay. The clay rests on a palette (kpankpa in Nafaanra) supported by a stump. She moves clockwise around the stump as she uses her hands to pull the clay upward and outward to form the walls of the pot. Bondakile, October, 1982.
Houses along the main street of Wewa. Doorways lead to interior courtyards of these compounds. Walls are made primarily using an atakpame (coursed earth) technique, though the pillared verandah wall (far right) was made with sun-dried bricks. Part of the roof of the near compound has recently been re-thatched. The streets and houses are kept clear of grass and other plants. Wewa, December, 1982.
Unlike atakpame (coursed earth technique of building), wattle-and-daub structures can be built quickly. The structure has a frame of horizontal and vertical poles, into which molded earthen balls are pressed to create walls. Whereas atakpame must be allowed to dry thoroughly before the next course is added, the "wattle" framing allows the "daub" to be placed and the walls completed without waiting for lower levels to dry. Ahenkro, December, 1982.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects:
Atakpame
Subjects Facet:
Thatched roofs; Wattle and daub; Building, Clay; Housing
A woman and two men in Wewa thresh dried cowpea pods in an open area in front of houses. Men relax under a nearby mango tree in the background. Cowpeas (Vigna unguiculata; chibi in Nafaanra)--also known as black-eyed peas--are a valued legume with a long history in West Africa. They are grown inter-cropped in fields with other foodstuffs where they aid soil fertility by fixing nitrogen. Early West African farmers domesticated cowpeas, and they are found at some of the earliest archaeological sites excavated in the Banda area. They are a valued and nutritious staple used in making stews and soups. Two photos. Wewa, September, 1982.
Until the late 1980s when boreholes were drilled in many villages, people in the Banda area relied on nearby springs, streams and rivers for daily water supplies. During the dry season, streams often dried up, while in drought years, even river beds became dry. Finding water was particularly difficult during the severe drought years of 1982-83. Here women from Wewa painstakingly collect water from a dry river bed west of the mountains in a process known as 'lawala' in Nafaanra. They scoop water with calabash bowls (chrԑgbͻͻ in Nafaanra). They have walked several kilometers to reach this place and were often faced with long waits before they could fill a headpan with water. Two photos. West of Wewa, December, 1982.
Banda Paramount Chief Tolԑԑ Kofi Dwuru III and elders pause as they process down Ahenkro's main street on the day of the New Yam Festival (Finyjie Lie in Nafaanra). They stand under the paramount chief's umbrella topped with a blackened carved wooden figure. L-R: Kwame Gyani; Kofi Gyase (Gyasehene); Kupo Aboateaa (Bamuhene); Tolԑԑ Kofi Dwuru III (Omanhene); Kwadwo Gbao; Senyono Kyeame; Fordjour Major. Ahenkro, 30 August, 1982.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects:
Elders; Gyasehene; New Yam Festival; Umbrella; Omanhene
Subjects Facet:
Chiefs; Rites and ceremonies; Royal regalia; Wood carvings
Ma Fiԑn of Gbao (left) and Abena Wusu of Dompofie (right) spin cotton thread. Their spindles (gԑndԑ in Nafaanra) are weighted by fired clay spindle whorls (gԑndԑ kaan in Nafaanra) which help the spindle to maintain an even spin. Ma Fiԑn uses a calabash bowl as a spinning surface. Abena Wusu uses an enamel-ware bowl placed on a basket. They use their right hand to guide thread onto the spindle as it spins. In their left hand they hold the raw cotton from which the thread is being spun. They control the tension and flow of the cotton by alternately pulling back and easing their left hands. Thread forms as the spindle spins, with the finished product building up in layers toward the spindle's lower end, near the whorl. The baskets on top of which they spin used to store spinning equipment when not in use. Until recent decades, spinning was a routine household activity for women who then gave thread to men skilled in weaving to make cloth for the household. Spindle whorls found on archaeological sites dating to the late 18th and 19th centuries tell us that spinning was also a household activity during those centuries. In the photo's background harvested foods are drying (groundnut, cassava, chili pepper). A large basket and other containers (including a plastic tub) sit next to dried calabash ready to be sent to market. To the right, a clay water pot (chͻkoo in Nafaanra) rests on a metal basin and in the top right is a metal water barrel. Four photos. Gbao, September, 1982.
Hunters (bͻfͻ; pl. bͻfͻͻlͻ in Nafaanra) with firearms, Fawoman, August, 1982. In times past, "bush" meat was important to local life. Archaeological evidence shows that people relied on a wide range of wild animals--from grasscutters to large carnivores--as sources of meat and valued materials like skins. From 1971 hunting was banned within the newly established Bui National Park (a Wildlife Protected Area covering more than 1800 km2). From 1989, Ghana's Wildlife Conservation (Amendment) Regulations (L. I. 1452) banned unlicensed hunting outside of park lands. Oral histories describe hunters as individuals whose knowledge of the land was important to communities as they sought to establish settlements in new areas. Fawoman, September, 1982.
Muslims celebrate the end of Ramadan, the ninth and most sacred month in the Islamic lunar calendar during which Muslims fast during daylight hours. As Ramadan ends, men and women come together to dance beneath the majestic kapok tree that formerly shaded the market site located on the south side of Ahenkro. July, 1982.
An Elder (Kwame Ble) pours libations on the day of the New Yam Festival (Finyjie Lie in Nafaanra) at the Ahenkro palace. Front, L-R: Senyono ; Kwame Ble; Kwabena Kuma. Ahenkro, 30 August, 1982.
Muslims celebrate the end of Ramadan, the ninth and most sacred month in the Islamic lunar calendar during which Muslims fast during daylight hours. With Ramadan ended, women dressed in blue cloth socialize at the former market site located on the south side of Ahenkro. July, 1982.
Unfinished clay grinding bowls dry on the palettes (kpankpa in Nafaanra) on which they were formed. After they have dried to a leather-hard state, the potter will remove them from their palettes and score their interiors. The scoring creates a grinding surface used to process vegetables which are added to soups. These bowls may also serve as men's eating bowls (pԑԑ in Nafaanra). Immediately behind the drying bowls is a hearth, swept clean of ashes. Pottery jars can be seen drying in background, right. A chicken forages nearby. Bondakile, October, 1982.
The first oral history interview conducted by the Banda Research Project was with Kofi Asԑmpasa of Gbԑԑnlԑԑ Katoo, Gbao, in November 1982. Asԑmpasa is pictured here with family member James Anane (holding the tape recorder), listening to the audio recording of his interview. His reaction upon hearing the tape: "That man knows his history!" Asԑmpasa was among the most remarkable oral historians encountered in the course of the Banda Research Project. Gbao, 16 Nov, 1982.
Ma Mnama had a reputation as a successful farmer in the Banda area. Here she uses a short-handled hoe (kagbaan in Nafaanra; pl. kagbɛɛn) to cultivate her intercropped field, located to the east of Banda-Ahenkro, 1982
A standing potter puts the finishing touches on the rim of a clay jar that she has molded using a draw-and-drag (direct pull) technique. She has finished the body, neck and rim of the jar and will now set it aside to dry. After it has dried to a leather-hard state, she will remove the jar from the palette (kpankpa in Nafaanra) on which it has been formed and she will add a rounded base. Bondakile, October, 1982.
A standing potter molds the body of a clay jar using a draw-and-drag (direct pull) technique. As she began she drew the moist clay upward and outward from the lump with which she started. Here she shapes the jar's neck and outward flaring rim. Before doing so, she has smoothed away finger marks created as she formed the jar's body. As she works, she moves around the stump that supports the palette on which the jar is being formed. Bondakile, October, 1982.
A potter has completed the draw-and-drag (direct pull) molding of a clay jar body and rim. The surface of the jar has been moistened and smoothed. It will be set aside to dry. Once it has dried to a leather-hard state, she will remove the partially finished jar from the palette (kpankpa in Nafaanra) on which she formed it and will add a rounded base using fresh, moist clay. Bondakile, October, 1982.
A standing potter molds the body of a clay jar using a draw-and-drag (direct pull) technique. Beginning with a lump of moist clay, she has drawn the clay upward and outward with her hands. Here she begins to shape the form of the jar's neck and outward-flaring rim. As she works, she moves backwards around the stump that supports the palette (kpankpa in Nafaanra) on which the jar is being formed. Bondakile, October, 1982.
A basketry fish trap (exa in Ewe) made and used by Ewe fishermen in the Banda area, Ghana. Traps like these were used for fishing between the months of August and November. They were effective in catching different types of fish three inches in length or longer. Agbegikrom South, December, 1982.
Interior view of a shelter constructed at farm with walls made from woven mats and a thatched roof supported by wooden poles around the shelter's perimeter. In the shelter's rear corner, calabash (gourd; chrԑ in Nafaanra) bowls and ladles rest on a low platform constructed of poles and thatch. Several other worn calabash and fired clay vessels are beneath the platform. A hearth, right foreground, is constructed of three stones in-between which dry wood collected from around the farm is placed. Several maize (corn; bleju in Nafaanra) shucks lie on the ground, lower left foreground. Farm near Ahenkro, September, 1982.
Clay pottery jars cool and dry after having been fired and dipped in a finishing bark solution. Once fully cooled, the jars will be stacked and stored before being sent to markets around the area. Jars like these (sro chͻ in Nafaanra) are used to prepare food, for example boiling yams and other tubers. To the right rear, wood is stored on a raised platform, awaiting use in cooking hearths. Bondakile, October, 1982.
A potter uses a metal spatula as she forms the neck area of clay jar which she has shaped using a draw-and-drag (direct pull) technique. The striations on the body of the jar were created by a maize cob (bledjukaan in Nafaanra) which she used to shape and smooth the pot's wall. These will be smoothed away as she continues to form the pot. She moves around the stump on which the pot rests as she works. Bondakile, October, 1982.
Interior view of a shelter constructed at farm with walls made from woven mats and a thatched roof supported by wooden poles around the shelter's perimeter. Pieces of firewood lay near the shelter's entrance with a small wooden double-ended pestle/grinder lying on its side in front of the wood. Several maize (corn) cobs (bledjukaan in Nafaanra) stripped of their kernels lay on the earthen floor of the shelter. Farm near Ahenkro, September, 1982.
A standing potter molds the body of a clay jar using a draw-and-drag (direct pull) technique. Beginning with a lump of moist clay, she draws the clay upward and outward from the center as she moves clockwise around the stump that holds the movable palette (kpankpa in Nafaanra) on which the jar is being formed. The fingermarks left as she pulls and thins the clay will be smoothed over as she continues to shape the jar. Bondakile, October, 1982.
A potter uses a maize cob (bledjukaan in Nafaanra) to smooth the surface of clay jar body that she is molding by a draw-and-drag (direct pull) technique. Beginning with a lump of moist clay, she has drawn the clay upward and outward, thinning the walls as she works. Here she moves clockwise around the stump that holds the palette (kpankpa in Nafaanra) on which the jar is being formed as she draws the maize cob up, pulling it towards her body. Bondakile, October, 1982.
A standing potter molds the body of a clay jar using a draw-and-drag (direct pull) technique. Here she uses a flat metal spatula to smooth the now-formed jar's exterior surface. She places the edge of her tool at the neck and makes downward strokes to create a smooth surface on the moist clay. As she works, she moves around the stump that supports the palette (kpankpa in Nafaanra) on which the jar is being formed. Bondakile, October, 1982.
Assisted by his son (Wayo Fordjour), a skilled builder (Akwasi Nyua Tonyaa) shapes balls of atakpame as he prepares to add another course to the walls of a house under construction. Each course must be allowed to dry gradually before the next is added in order to create a strong wall. Calabash bowls (chrԑgbͻͻ in Nafaanra) used by the builder sit nearby. Two photos. Dompofie, September, 1982.
The walls of an atakpame (coursed-earth) structure drying before the next course of earthen building material is added. Behind, to the left, a block constructed building in progress and houses with metal roofs. Dompofie, September, 1982.
A skilled builder (Akwasi Nyua Tonyaa) places atakpame balls on the previously laid and dried course of earthen wall. He carefully molds the moist earthen ball to the dry course to ensure a strong wall. Dompofie, September, 1982.
Young men prepare calabash (gourd; chrԑ in Nafaanra) ladles for market. The calabash is split, its pulpy interior removed, and the gourd's interior surface scraped clean before drying. Banda, July, 1982.
Bridge spanning the Tombԑ River near Sabiye on the road from Menji to Ahenkro, view to the south. Loose planks had to be arranged to allow vehicles to pass. Kwasi Mensah and Mensah Listowell (white shirt) arrange loose planks to enable a vehicle to pass. Sabiye, August, 1982.
Joshua Tandor uses a metal blade and a mallet to split a calabash (chrԑ in Nafaanra) in half. The pulp and seeds are removed and the calabash walls scraped clean before being set aside to dry. The resulting calabash bowls (chrԑgbͻͻ) are sold at market while the seeds are a prized soup ingredient (fnumu). Farmstead on the outskirts of Banda-Ahenkro, August, 1982.
Family members work together at farm to process calabash (gourd; chrԑ in Nafaanra) grown as both a cash crop and a source of household objects and its seeds as a soup ingredient. The men use large knives to split the calabash, after which they will remove its pulpy center and scrape its interior walls. Pictured here are (left to right) Maa Afia (girl), Ama Bosin (woman), O. K. Kwabena Krah, Nduo Wulo Kwadwo and Joshua Tandor. Farm on the outskirts of Banda-Ahenkro, August, 1982.
Typical farm from the 1980s, showing intercropping of yams (finyjie in Nafaanra), cassava (dwa), calabash (chrԑ) or gourd and other crops. Banda, 1982.
Calabash (gourd) seeds (fnumu in Nafaanra) are a prized ingredient used to prepare a much-valued soup (fnumu chiin; calabash seed soup). The pulp is set aside to decay, making it easier to remove the seeds, which are then cleaned, dried, and cracked by hand to remove the seed coat. Here women on Nduo Wulo Kwadwo's farm outside Banda-Ahenkro prepare to carry seeds home for processing. Outskirts of Banda-Ahenkro, August, 1982.
Nduo Wulo Kwadwo at farm, preparing calabash (gourd) bowls (chrԑgbͻͻ in Nafaanra) for market. After removing the pulp and seeds, he scrapes the gourd's interior surface with a metal blade to clean and thin its walls before drying. Farm on the outskirts of Banda-Ahenkro, August, 1982.
The New Yam Festival (Finjie Lie in Nafaanra) marks the day when people can begin to eat the new crop of yams (finyjie in Nafaanra). Here women gather round a wooden mortar to pound cooked yam tubers to make fufu. Women pound with heavy, round-ended pestles. Working together, they use their pestles to pound and turn the fufu. Pestles hit the mortar's edge as they pound, creating a rhythmic accompaniment to their work. The musical sound of women and their helpers pounding fufu or grain was an integral part of the soundscape of village life in the earlier times. To the rear (right) calabashes (gourds, chrԑ in Nafaanra) wrapped in netting are ready to be sent to market. To the front sits a pottery grinding bowl (left), a calabash (center) and metal cooking pots (right). Ahenkro, 30 August, 1982.
A young boy stands at the base of the clay pit where potters from Bondakile mine the clay they use for making pottery. Soils from upper and lower levels are mixed together to make a workable potting clay. Children help relatives who are potters to dig and process the clay. Two photos. Bondakile, October, 1982.
Yaa Yable Wo carries firewood on her return from farm. Until recent years, meals were most often prepared over hearths fueled by firewood. Women and children collected downed tree limbs and other dry wood from farmlands surrounding the villages. Wood was headloaded back home and stacked on platforms raised above the ground to be stored until needed. Cooking over charcoal in fabricated metal coalpots became more common in the late 20th-early 21st century as charcoal burners moved into the Banda area and charcoal production increased. Recently, gas cookers have begun to be used by people able to afford industrial cookers and the bottled gas need to fuel them. Ahenkro, December, 1982.
Elders gathered at the Ahenkro palace on the day of the New Yam Festival (Finyjie Lie in Nafaanra). Back left, Mose Krontihene; Front, L-R: Kwadwo Kyeama (Linguist); Kupo Aboateaa (Bamuhene); Kofi Gyasi (Gyasehene); Tolԑԑ Kofi Dwuru III (Omanhene); Senyono Kyeame; Unknown man in kente cloth. Child seated in front, Kwasi K. Man in blue cloth to right front, Kwame Gbanari. Ahenkro, 30 August, 1982.
The New Yam Festival (Finyjie Lie in Nafaanra) is a day of celebration for everyone, including children. Here children gather under the shade of a large tree around play hearths made with stones and clay where they are preparing for their own celebration. The thatched roofs of nearby houses appear in the background. 30 August, 1982, Ahenkro.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects:
Children; New Yam Festival; Finyjie Lie (Festival)
Potters and their helpers place hot clay jars, just removed from the bonfire, into a solution made from pounded tree bark. They use their long wooden poles to carry the pots to large pottery bowls containing the bark solution. They dip and turn the pot in the solution, allowing it to carbonize on the surface of the hot jar. This finishing step colors the jar's surface and makes its walls less porous which is said to improve its cooking performance. The remains of the bonfire, banked by previously fired broken pots, can be seen in the rear center. Four photos. Bondakile, October, 1982.
View from the small hill west of Kabruno, looking southeast towards the hills near Boase. The villages of Kabruno and Gbao are visible in the foreground. Banda area, 23 July, 1982.
View to the southeast from the Banda hills above Ahenkro and Kabruno. The villages of Kabruno, Sase, Gbao, Samwa and Dompofie are visible beyond the first range of hills. The road leading south to Sabiye appears as a thin white line. In the background are the hills near Boase. Hills west of Ahenkro, 31 August, 1982.
View from the mountain ridge above Ahenkro, looking west toward Côte d'Ivoire across Bui National Park, a wildlife protected area since 1971. Hills west of Ahenkro, 31 August, 1982.
View from the small hill west of Kabruno, looking east-southeast. Left, the range of hills near Fawoman. Right, the northern end of the Obase hills. Rooftops in Dompofie and Gbao are visible in the foreground. Banda area, 23 July, 1982.
View looking northwest to the small hills (left) on western outskirts of Kabruno. Main range of Banda hills is visible in the background (right), with savanna woodland vegetation in the foreground. Hills west of Ahenkro, 31 August, 1982.
View looking southeast from the Banda hills above Ahenkro. The grid of Banda-Ahenkro's streets and rooftops is visible in the distance. In the background (right) are the eastern range of hills near Boase. The south end of the hills near Fawoman is visible, upper left. Hills west of Ahenkro, 31 August, 1982.
View to the southeast from the Banda hills above Ahenkro. In the foreground is the first range of the Banda hills near Ahenkro. In the distance (center) is the range of hills near Boase. Hills west of Ahenkro, 31 August, 1982.
A woman carries a load of calabashes (chrԑ in Nafaanra) en route to Kabruno from Ahenkro during the dry season. View looking south from the south edge of Ahenkro on the old road that led directly into Kabruno. December, 1982.
Canoes belonging to Ewe fishing communities rest on the south bank of the Black Volta River near the Bui Dam site. Prior to the construction of Bui Dam, these canoes were used to ferry passengers between the north and south banks of the river and for fishing. Opposite, riparian woodland lines the river's north bank. Dam Site settlement, December, 1982.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Dam Site
Subjects:
Dam Site
Subjects Facet:
Bui Dam (Ghana); Canoes; Riparian forests; Black Volta River; Ewe (African people)
View toward Côte d'Ivoire from the mountain ridge above Ahenkro, looking west across Bui National Park, a wildlife protected area since 1971. Hills west of Ahenkro, 31 August, 1982.
View of the Banda hills from the Boase road, close to the base of the Boase range of hills, looking northwest. Visible (center) is the gap in the hills midway between Ahenkro and Bongase. To the right (north) is the notch in the mountain in an area known as Chuli. The hills to the far right are those associated with the Bui Dam site. Boase area, 11 October, 1982.
A spindle (gԑndԑ in Nafaanra) and a spindle whorl (gԑndԑ kaan in Nafaanra) used to make cotton thread. A black camera lens cap shows scale. For much of the 20th century, spinning was a routine activity for women. Some of the spun cotton thread was dyed blue. The blue thread was woven together with white thread to make durable strip-woven cloths that were highly valued. The rounded spindle whorl is made from fired clay and painted with white and red designs. The spindle whorl's decoration inspired the Nafaanra proverb: "Chlͻ were nyu na gԑndԑ yi" (The woman is as beautiful as the spindle whorl." Archaeologists have found spindle whorls on Banda-area archaeological sites dating to the late 18th and early 19th century. Before that time it seems that spinning cotton was not a routine household activity and that cloth was made in market centers. The spindle whorl is laying on a courtyard floor, with an eroding plaster layer visible in the background. Gbao, September, 1982.
Surface next to the deep clay pit where potters form Bondakile mine the clay they use for making pottery. Piles of excavated clay surround the pit. Bondakile, October, 1982.
These partially formed clay jars (chͻ in Nafaanra) are drying, resting on the palette (kpankpa in Nafaanra) on which they were formed. Once dried to a leather-hard state, the potter removes them from the plate and, using fresh moist clay, adds a rounded base to the jar. To the left, a metal cooking vessel rests nearby. Bondakile, October, 1982.
A toddler girl wearing a protective strand of beads sits beside finished clay grinding bowls that have been set aside to continue drying before firing. The scoring on the interior of the bowl provides a rough surface against which cooked vegetables can be ground into a paste before being added to a soup. These bowls may also serve as men's eating bowls (pԑԑ in Nafaanra). Bondakile, October, 1982.
A plastic bowl holds pieces of animal bone that have been burned at a high temperature (calcined). Calcined bone turns white and its texture becomes chalky. Women periodically rub this bone chalk on their fingers to aid handling of the cotton as they spin to make cotton thread from raw fiber. Also in the bowl is a round clay spindle whorl (gԑndԑ kaan in Nafaanra) painted with white lines and a daub of white-and black cloth. Gbao, September, 1982.
A typical side road leading to villages off the then-main road that connected Menji to Ahenkro in the Banda area. Tall grass lines the narrow track which was primarily used by lorries which transported agricultural products. December, 1982.
The Ewe fishermen who supplied local and regional markets with freshwater fish from the Black Volta River traveled in locally made wooden canoes. Several are moored on the south bank of the river near the Dam Site settlement, a short distance downstream from the projected site of the Bui Dam. Dam Site, 7 October, 1982.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Date:
1982-10-07
Location(s) Facet:
Dam Site
Subjects:
Dam Site
Subjects Facet:
Fishing; Canoes; Ewe (African people); Black Volta River; Rivers
Standing on the south bank of the Black Volta River near Bui village, looking east-northeast to the gap in the Banda hills where the Bui Dam was constructed after 2008. The area between Bui village and the river was the site of a 19th-century village, Bui Kataa (old Bui). This area was flooded by the rising waters of Bui Lake as it formed behind Bui Dam after 2012. Bui Village, 25 July, 1982.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Date:
1982-07-25
Location(s) Facet:
Bui
Subjects:
Bui Lake; Bui Kataa; Savanna woodland; Vegetation
Subjects Facet:
Bui Dam (Ghana); Landscapes; Riparian forests; Black Volta River; Mountains
The soil of a agricultural mound has been dug away to expose a yam (Dioscorea sp.) tuber. The yam vine spreads across the mound and beyond at the top of the photo, its roots surrounding the tuber. A yellow pencil is placed to the left of the yam to provide scale. Banda area, June, 1982.
Yam mounds have been raised in a partially cleared agricultural field. Small trees have been left to supply support for climbing vines and to aid fallowing after the field has been used for several years. The hard work of forming the mounds using short-handled hoes takes place early in the dry season, after which mounds are planted with yam cuttings during the months of January-February. The vines grow throughout the rainy months of April to August, forming new tubers which are ready for harvesting in late August-September. Banda area, Dec. 1982.
An elder dances to the rhythms of fɔntɔmfrɔm and atumpan (in Twi) drums at a funeral celebration held the day after an elderly woman died. The funeral is celebrated beneath the shade of the large kapok tree on the south side of Ahenkro at the market site. Two photos. Ahenkro, 15 October, 1982.