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.