Looking northwest from the entrance to the Banda rockshelter, the view encompasses land that since 1971 has been part of Bui National Park, a Wildlife Protected Area covering more than 1800 km2. Prior to that, these lands west of the Banda hills were important to local people as a source of "bush meat." Archaeological evidence suggests that for centuries hunting provided an important food source for Banda peoples. Banda hills, 30 July, 1994.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Banda
Subjects:
Hunting; Rockshelter; Bui National Park; Savanna woodland; Vegetation
A water level measurement pole (bottom right) at the base of a path through riparian forest leading to the Bui Dam site on the Black Volta River. These measuring devices were placed when Soviet engineers began laying groundwork for the dam under Nkrumah's government. On the other side of the river is the mountainside against which the dam was later built, beginning in 2008. View towards north. Bui Dam site, 1994.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Dam Site
Subjects:
Vegetation
Subjects Facet:
Bui Dam (Ghana); Riparian forests; Black Volta River
Looking west-northwest from inside the Banda rockshelter, the view encompasses land that has been part of Bui National Park since 1971. Banda oral histories refer to this rockshelter as the place where people ran for safety when Asante attacked the area in the 1700s. These stories may relate to Asantehene Osei Kwadwo's campaign against Banda during the dry season of 1773-74. After this, in February 1774, Dutch officials at Elmina Castle reported purchasing captives from Asante's war against "Benda." Banda hills, 30 July, 1994.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Banda
Subjects:
Rockshelter; Bui National Park; Savanna woodland; Vegetation
Yaw Kyԑ paddles a canoe toward the Dam Site settlement, an Ewe fishing village on the south bank of the Black Volta River. Canoes like these were used to ferry people across the river and for fishing. In the foreground, a basket sits on the riverbank. The mountain in the background (looking northward) is the site where the Bui Dam was built, beginning in 2008. Dam Site settlement, June, 1994.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Dam Site
Subjects:
Vegetation; Dam Site
Subjects Facet:
Bui Dam (Ghana); Baskets; Canoes; Riparian forests; Black Volta River; Fishing
Interior of the Banda rockshelter (sdekpͻͻ in Nafaanra). Its floor is covered with large boulders which sheared from the shelter's roof over time. Banda oral histories refer to this as the cave in which people hid during Asante's attacks on Banda in the 1700s. These stories may relate to Asantehene Osei Kwadwo's campaign against Banda during the dry season of 1773-74. After this, in February 1774, Dutch officials at Elmina Castle reported purchasing captives from Asante's war against "Benda." Banda hills, 30 July, 1994.
View towards the east from the Banda hills north of Ahenkro. In the foreground (right) are farm fields that have been clearcut and plowed for tobacco farming.The houses of Ahenkro are visible beyond the farm fields. The mountain ranges in the distance are those near Fawoman (left) and Boase (right). Banda hills, 30 July, 1994.
Black Volta River at the Dam Site settlement, an Ewe fishing village immediately downstream of the Bui Dam site. View from the south bank across the river toward riparian woodland on the river's north bank. Dam Site settlement, 1994.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Dam Site
Subjects:
Vegetation; Dam Site
Subjects Facet:
Bui Dam (Ghana); Riparian forests; Black Volta River
Yaw Kyԑ paddles a canoe toward Bui Dam settlement, an Ewe fishing village on the south bank of the Black Volta River. A path leading to the fishing village of Agbegikrom on the river's opposite bank is visible (center, right). Canoes like these were used to ferry people across the river and for fishing. The mountain in the background (looking northward) is the site where the Bui Dam was built, beginning in 2008. Bui Dam settlement, June, 1994.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Dam Site
Subjects:
Vegetation; Dam Site
Subjects Facet:
Bui Dam (Ghana); Canoes; Riparian forests; Black Volta River; Fishing
View from the Banda hills above Ahenkro toward the range of hills near Boase. The north end of Ahenkro is visible mid photo. Banda hills, 30 July, 1994.
Several large clay pots used for water storage (chͻkoo in Nafaanra) sit in the interior courtyard of a house next to a black metal barrel, which is also used for water storage. The surface of the two larger clay jars has been textured with maize cob roulette (bledjukaan in Nafaanra ), and one is decorated with arching grooves. The smallest jar has red-painted vertical lines on its interior rim. The small round-based jar has been placed on an enameled-ware pot for support. The larger water jar behind it rests on the upturned base of an enameled-ware headpan, re-purposed after its base rusted and it could no longer be used to carry things. A clay grinding bowl is visible in the lower left corner of the picture. Banda area, 1994.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Banda
Subjects:
Water storage; Water pots (chokoo); Maize cob roulette; Decoration; Jars
Adwoa Miwo (right) learns to make clay pots from her experienced potter mother, Peni Ngunu Chͻ (center), as they work together in the interior courtyard of their house. Mosi Nyuu (husband and father) looks on. Partially finished clay jars sit nearby, resting on the palettes (kapankpa in Nafaanra) on which they have been formed. The more experienced mother is making a larger jar than her apprentice daughter. Also placed around the house's interior courtyard are two dark-colored clay soup pots (chiin sinyjͻlͻ in Nafaanra) and a wooden mortar (right). Thatch- and metal-roofed rooms surround the courtyard. Dorbour, 1994.
The exterior wall of an atakpame (coursed earth) house. Atakpame is a technique for building durable earthen walls that can stand for many decades. The thatched roof is supported by interior and exterior posts and does not rest on the walls. When covered by well-maintained thatched roofs, the walls are protected from erosion by rain. A goat walks on the street outside. Makala, July, 1994.
During the 20th century women from the potting villages of Dorbour, Adadiem and other locations west of the Banda hills sold their pots in markets centers to the east and the west. Here women sell clay pots in the market at Bondoukou in Côte d’Ivoire. Visible are varied-sized cooking pots (sro chͻ in Nafaanra), water jars (chͻkoo in Nafaanra), soup pots (chiin sinyjͻlͻ in Nafaanra) and grinding bowls (pԑԑ in Nafaanra). Also for sale in the foreground are clay eating bowls that appear to have been fired in a kiln (?) rather than a bonfire. Bondoukou, 1994.
The interior of a courtyard house surrounded by thatch-roofed rooms. Houses like this were often built over time, with rooms added as needed, gradually enclosing the interior courtyard. The compound in this photo is fully enclosed, with a doorway to the exterior visible in the center, back. Four hearths are visible in the courtyard, surrounded by a variety of metal vessels used in food preparation and other daily activities. Left, a pestle lies on the ground surrounded by groundnut (peanut, boŋgrɛ in Nafaanra) shells. Makala, July, 1994.
A potter sits on a stool as she molds the upper body of a clay water jar (chͻkoo in Nafaanra). In her right hand she uses a maize cob (bledjukaan in Nafaanra), pulling it against the exterior surface to smooth and thin the clay. In the foreground are water jars whose leather-hard upper body and rim have been joined to a rounded base, their clay bases still moist and not yet smoothed. Large wooden mortars and a headpan containing moist clay sit nearby as she works in the shade of an open-sided room. Dorbour, 1994.
Afua Donkor, a Nafana potter, uses a pestle to pound bark that will be used to make a solution to finish clay pots. In a nearby headpan, more stripped bark awaits pounding. After pounding, the bark will be soaked in water. Hot clay pots just removed from the bonfire will be dipped and turned in the solution. This colors the pots and is said to reduce their porosity. She sits on a stool as she works in the courtyard near a hearth. Nearby is a large metal cooking pot, several wooden mortars and a number of pestles. Finished clay soup cooking pots (chiin sinyjͻlͻ in Nafaanra) sit behind her ready for sale. Dorbour, 1994.
The exterior of a compound house made of adjoining rooms oriented around a rectangular courtyard. These were often built over time, with rooms added as needed, gradually enclosing the interior courtyard. The compound in this photo is open on one side, rooms surrounding the other three sides of the courtyard. Atakpame walls are visible as are the gabled thatched roofs that protect walls from erosion by rain. Makala, July, 1994.
During the 20th century women from the potting villages of Dorbour, Adadiem and other locations west of the Banda hills sold their pots in markets centers to the east and the west. Here women sell clay pots in the market at Bondoukou in Côte d’Ivoire. Visible are varied-sized cooking pots (sro chͻ in Nafaanra), water jars (chͻkoo in Nafaanra) and grinding bowls (pԑԑ in Nafaanra). Only the grinding bowls are blackened which was a fashion that came in sometime in the 20th century. Bondoukou, Côte d’Ivoire, 1994.
A youngster helps a woman remove a loaded headpan as she approaches the thatch-roofed veranda of a room in a compound house. A variety of metal containers used to prepare food and for other household tasks are placed about, along with several calabash bowls and low stools used in this kitchen area. A headpan containing dishes rests on a cluster of hearth stones, lower right. Makala, July, 1994.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Makala
Subjects:
Headloading; Metal pots; Headpans
Subjects Facet:
Stools; Thatched roofs; Gourd, Calabash; Courtyards; Lifting and carrying
Akua Donkor, a Nafana potter, etches grooves onto the leather-hard surface of a clay cooking pot (sro chͻ in Nafaanra) before it is fired. The lower part of the jar has been surface treated using a maize cob (bledjukaan in Nafaanra) as a roulette. This gives the pot surface texture, over which the grooved design is made. She wears bracelets that sometimes double as tools to decorate pots. Dorbour, 1994.
A woman inspects a clay jar for sale in the Bondoukou market. Large and small cooking pots (sro chͻ in Nafaanra) and a bowl are displayed for sale. During the 20th century women from Banda potting villages and surrounding areas headloaded their pottery to sell at Bondoukou's weekly market. Bondoukou, Côte d’Ivoire, 1994.
Clay cooking pots (sro chͻ in Nafaanra) stacked at the Bondoukou market awaiting sale. Women have brought these pottery jars from potting villages in Banda (e.g., Dorbour) and the surrounding region (e.g. Bondakile). Bondoukou, Côte d’Ivoire, 1994.
Women headloading pottery prepare to leave Dorbour to walk to the weekly market in Bondoukou, a distance of more than 30 km. They have secured the clay pots by tying nettting or cloth around them. The women are not necessarily potters. Some women trade in clay pots but do not make them. Dorbour, 1994.
Small pedestal-based bowls like this one (called kontondԑԑ in Nafaanra) are used in funeral rituals. Women cook food and offer it to the ancestors in a funeral ceremony called 'sro waa'. Larger versions of these bowls were used in times past as women's eating bowls; however, by the late 20th century small versions like this one were only made to order for funerals. Men were prohibited from touching them. Dorbour, 1994.
Fired clay stands like these were made by potters for use in the kitchen area of houses. Grouped together in threes like hearthstones, the stands supported pots over an open fire during cooking. Some of these fired clay stands had an opening, allowing pieces of meat to be placed inside where it slow-cooked and dried as other parts of the meal were cooking. Dorbour, 1994.
Yaa Tenabrԑ, a Nafana potter, sits on a wooden stool as she scapes the interior of a large clay pot. A metal bucket containing moist clay covered in plastic sits nearby. A well-worn grinding stone is visible at the top of the photo, on top of which rests a pink plastic cup. A small clay bowl filled with water sits next to it. The blue headpan to the right can no longer be used to carry things, but it remains useful as a support or stand for other things like round-based water storage pots. Dorbour, 1994.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Dorbour
Subjects:
Forming; Women's work; Potting; Plastic containers; Dorbour; Headpans; Metal buckets; Grinding stone
A standing potter bends over as she begins to pull a clay lump upwards and outwards, using a draw-and-drag (direct pull) technique to form the walls of a clay pot. The clay rests on a metal plate (kpankpa in Nafaanra) which allows her to move the pot aside to dry once its body and rim are formed. Once dry, she will add a rounded base. The finger marks visible at this stage of the pot's forming show the direction in which she pulls the clay as she works. Adadiem, 1994.
A seated Nafana potter uses her hands to mold the sides of a clay pot. Beginning with a lump of clay placed on a round palette (kpankpa in Nafaanra), she has used a draw-and-drag (direct pull) technique to form the pot. Nearby are the enamel ware plates that she uses as palettes or turntables on which to form pots. Another partially shaped pot is visible at the top of the photo. Dorbour, 1994.
A potter seated on the ground starts to form a clay pot. She begins with a lump of clay resting on a metal plate (kpankpa in Nafaanra) which she can turn as she uses a draw-and-drag (direct pull) technique to shape the pot. A second lump of clay has already begun to be formed (lower left) and a clay bowl contains water that she uses to moisten the clay as needed (lower right). Lying on the metal plates to the left are tools that she will use as she forms the pot including two maize cobs, a spatula and a stone. Dorbour, 1994.
Yaa Tenabrԑ, a Nafana potter, stands as she uses a spatula-like tool to smooth and thin the walls of a large clay pot which she is molding. She has shaped the pot using a draw-and-drag (direct pull) technique, beginning with a lump of clay and using her hands to draw the clay upwards and outwards. The pot rests on a round metal plate (kpankpa in Nafaanra) that can be turned on the stump on which it sits and on which the pot can be moved and set aside as it dries. Dorbour, 1994.
Young women carry headpans loaded with blackened clay bowls as they head to market. One girl has secured her load with rope netting. Standing right is the daughter of Yao Mosi. Adadiem, 1994.
Adwoa Fodjoa, a Nafana potter, sits on a wooden stool as she thins the inside walls of a clay water pot (chͻkoo in Nafaanra). The pot has been formed and set aside to dry before the potter thins its walls. The round-based pot rests on a cloth as she works. Other water pots on which she is working sit near her, turned upside down. A metal plate that she uses as a palette (kpankpa in Nafaanra) on which to form pots sits by her foot. The clay jar in front of the pot on which she is working contains the water she uses to moisten the pot as needed. A tray with lumps of clay and two enamel ware pots sit nearby. Dorbour, 1994.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Dorbour
Subjects:
Forming; Women's work; Potting; Dorbour; Water pots (chokoo)
A field planted with tobacco near the Banda hills northwest of Ahenkro. Banda area farmers began to go into commercial tobacco farming in the 1980s. In preparation to grow tobacco, fields were clear cut and plowed by tractor. Tobacco seedlings were transplanted into the mono-cropped fields. Farmers used commercial fertilizers supplied by tobacco buyers who advanced money on cured leaves. These large cleared fields rapidly lost soil fertility. After tobacco farming was banned by the Traditional Council in the early 2000s, these open fields were often planted with other cash crops, like cashew. Northwest of Ahenkro, 1994.
In order to transport clay pots by motor vehicle, they must be carefully packed and padded. Here, blackened clay grinding bowls packed in grass have arrived in Techiman market from potting villages in Banda. Techiman, 1994.
By 1994, many Banda farmers had gone into tobacco farming. Money was advanced to farmers by tobacco companies to purchase the cement and iron sheets needed to build drying barns. The buyers also advanced commercial fertilizer needed to grow the cash crop. A tractor supplied by the company was used to prepare fields for the seedlings and to transport firewood from surrounding areas to the barns. Large amounts of wood were used to stoke fires in the drying barns. South side of Ahenkro, June-July, 1994.
View from the mountain gap in the Banda hills west of Ahenkro, looking southeast toward the range of hills near Boase. A clear-cut tractor-plowed field (foreground) awaits planting of tobacco seedlings. Tobacco was grown as a cash crop in Banda from the mid-1980s through the 1990s until its cultivation was banned by the Banda Traditional Council. Beyond the field are houses in Gbao and savanna woodland extending to the Boase range. Outskirts of Ahenkro, 1994.
Enoch Mensah climbs down the steep slope below the Banda rockshelter, headed southward. He moves towards what elders described as the water source used by people who took refuge in the cave when Asante attacked Banda. Oral histories describe hardships in getting food and water while people hid in the cave. This attack may relate to Asantehene Osei Kwadwo's campaign against Banda during the dry season of 1773-74 when many Banda people were taken captive and sold by Asante to the Dutch at Elmina Castle. Banda hills, 30 July, 1994.
Interior of the Banda rockshelter (sdekpͻͻ in Nafaanra). Its floor is covered with large boulders which sheared from the shelter's roof over time. Enoch Mensah and Doris Millah sit in the foreground. Banda oral histories refer to this as the cave in which people hid during Asante's attacks on Banda in the 1700s. These stories may relate to Asantehene Osei Kwadwo's campaign against Banda during the dry season of 1773-74. After this, in February 1774, Dutch officials at Elmina Castle reported purchasing captives from Asante's war against "Benda." Banda hills, 30 July, 1994.
The cliff face of the of the Banda rockshelter (upper right) gives way to a rocky slope below which is partially covered in low-growing grass. View to the north. Banda hills, 30 July, 1994.
Interior of the Banda rockshelter (sdekpͻͻ in Nafaanra). Its floor is covered with large boulders which sheared from the shelter's roof over time. Banda oral histories refer to this as the cave in which people hid during Asante's attacks on Banda in the 1700s. These stories may relate to Asantehene Osei Kwadwo's campaign against Banda during the dry season of 1773-74. After this, in February 1774, Dutch officials at Elmina Castle reported purchasing captives from Asante's war against "Benda." Banda hills, 30 July, 1994.
The steep rocky slope below the Banda rockshelter is covered in short grass. The dense cover of trees at the base of the mountain is visible below. Banda hills, 30 July, 1994.
A view across a compound courtyard toward the courtyard of a neighboring house. Several hearths have clay pots resting on their hearth stones (gbunu in Nafaanra). Two wooden mortars are nearby. The house in the distance is made of sun-dried blocks, with one side of the house roofed with metal and the other side thatch. The ground is clear of plants and clean swept. Adadiem, 1994.
A woman stacks clay grinding bowls on top of wood in preparation for a bonfire firing. The bowls are placed to ensure even exposure to the heat of the bonfire. She will place additional fuel on top of the bowls before lighting the fire. Adadiem, 1994.
A man transports a clay pot, carefully strapped to the back of his bicycle and cushioned beneath by coiled grass leaves. He is returning from one of the potting villages where hs has purchased the clay jar from a potter. More often, pottery was taken to markets by headloading, sometimes sold by potters, but also by women who traded in clay pots. Banda area, 1994.
Though potters work individually when they make clay pots, they help each other when they fire their pots. In the foreground are the ashes left by earlier fires, and in the background women tend to ongoing bonfires. Stacks of firewood are visible in the background. Adadiem, 1994.
In some of the area's potting villages, women make hearths using clay pots rather than stones (gbunu in Nafaanra). Three pots are placed close to one another, with their rims turned down. A clay jar tipped on its side sits to the right and metal pots are stacked to the left. Adadiem, 1994.
Clay pots like this one, which is broken along one side, were used to cook small cakes made from bean meal. The bean cakes were often sold at markets as a form of "fast food." Banda area, 1994.
Narrow-necked clay jars like these were ideal for storing water. The exterior surface of these water jars (chͻkoo in Nafaanra) has been textured by rolling a twisted cord-wrapped stick (jar on the left) or a maize cob (jar on the right) across the surface and otherwise decorated with shallow grooved lines. The narrow opening inhibits evaporation while the porous fired clay walls keep the water cool. Bondakile, 1994.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Bondakile
Subjects:
Water pots (chokoo); Jars; Twisted cord roulette; Maize cob roulette; Water storage
Potters in Adadiem make clay jars in a variety of sizes. Those pictured here have been fired, some treated with bark solution while still hot from the bonfire firing. Adadiem, 1994.
A woman sifts flour in the foreground as two women in the background pound maize (corn, bledju in Nafaanra) in wooden mortars. The women are sheltered from the sun by the thatched roof that covers this entrance to the house compound. View to the street beyond. Makala, July, 1994.
A potter completes decorations on a clay cooking pot (sro chͻ in Nafaanra). Another pot sits nearby, turned upside down. The lower bodies of the pots have been surface treated by rolling a maize cob (bledjukaan in Nafaanra) across the leather-dry surface of the clay jar. Shallow grooved lines have been etched over top. The clay jars are now ready to be fired. Dorbour, 1994.
A view of Makala's wide main street, standing at the west edge of town, looking eastward. A mango tree grows in the street at the far end of the street. Atakpame (coursed earthen-walled) houses with thatched roofs line the street. A single house with a metal roof is visible to the right of the mango tree. The streets and areas around houses are kept clear of plants. Makala, July, 1994.
A group of unfired clay pots to which red slip (chuma in Nafaanra) has been applied prior to firing. The string of Babobab tree seeds (foreground) is used to burnish the slip. By rubbing the dried slip vigorously with the seeds, the slip adheres to the surface and becomes shiny. To the right rear are several unfired clay eating bowls (kpokpoo in Nafaanra). Dorbour, 1994.
Ten clay cooking pots (sro chͻ in Nafaanra) have been placed upside down on a bed of firewood in preparation for a bonfire that will fire the clay pots. These pots have been red-slipped (chuma in Nafaanra) before firing. In the background is the bark that will be used to cover and surround the pottery before the bonfire is lit. Once lit, the fire burns for beween 30 minutes and an hour, after which the clay jars will be useable and ready for sale. Dorbour, 1994.
Exterior wall of a compound house covered by a thatched roof. The coursed earth (atakpame) wall was built in stages as rooms were added. An exterior roof support pole is visible to the left. A coconut palm, an unusual tree in this area of savanna woodland far from the coast, is visible in the background. Houses and surrounding streets are kept clear of grass and other plants. Makala, July 1994.
A potter uses a metal bracelet as a roulette to make shallow grooves on the leather-hard surface of a cooking pot (sro chͻ in Nafaanra). She rolls the bracelet across a surface that has been textured using a maize cob (bledjukaan in Nafaanra) roulette. Next she will make shallow grooves along the boundary between the smooth upper body of the jar and the maize cob-routletted lower areas. Dorbour, 1994.
Large stones, some used as grindstones, are placed about the corner of this courtyard. Groundnut (peanut, boŋgrɛ in Nafaanra) shells lay on the ground at the feet of a child. A carved wooden stool appears alongside stools made from sawed boards, the latter typical of those taken to school by children each day and those used by women as they sit hearth-side while cooking. Two calabash bowls (chrԑgbͻͻ in Nafaanra) sit nearby. Makala, July, 1994.
Akua Donkor, a Nafana potter, uses a rounded-edged tool to make shallow grooves on the upper body of a soup pot (chiin sinyjͻlͻ in Nafaanra). The clay pot has been allowed to dry to a leather-hard state before the decorations are applied. She has used a maize cob (bledjukaan in Nafaanra) as a roulette (roller) to surface treat the base of the clay pot. A single grooved line sets the maize cob rouletted zone from the smoothed surface above it. The woman wears bracelets that can double as tools for decorating pots. Dorbour, 1994.
A number of large and medium-sized clay jars have been placed upside down on a bed of fire wood in preparation for a bonfire firing. Several previously fired and broken clay pots together with large stones are used to bank the edges of the stacked firewood. More firewood is stacked behind the bonfire area. Adadiem, 1994.
A calabash bowl (chrԑgbͻͻ in Nafaanra) containing water rests on top of a small pedestaled clay bowl (kontoŋdԑԑ in Nafaanra) used in funeral celebrations. The clay bowl is used by women to present food to the ancestors (sro waa in Nafaanra). Calabash rattles used in funeral celebrations sit nearby, some next to a basket. Dorbour, 1994.
Small clay eating bowls like this one (kpokpoo in Nafaanra) were typically used by women. This one has been blackened after a fashion that became popular in the 20th century. Similar bowls are found on archaeological sites around the Banda area, though often with a flat, pedestaled base and seldom blackened. Dorbour, 1994.
Large, shallow blackened clay bowls with interior striations are used in cooking and for eating. Cooks use them together with a small double-sided wooden pestle to grind pepper and cooked vegetables like "garden eggs" (small eggplants) for soups. They are also used as men's eating bowls (pԑԑ in Nafaanra). Bowls with striated interiors are occasionally found on archaeological sites in the Banda area, but this particular blackened form was not common until the 20th century when it was introduced from areas to the south. Potters in the region began to produce the bowls for sale both locally and at regional markets and by the 1980s and 1990s, this one of the most popular pots made for market sale. Ahenkro, 1986.
Clay pots of this shape are used for cooking soup over a hearth fire. The relatively wide opening of soup pots (chiin sinyjͻlͻ in Nafaanra) makes it easy to add ingredients and stir the soup as it cooks. These soup pots are blackened, a fashion that took hold during the 20th century. Unblackened pots of similar shape are found on archaeological sites dating to the 19th century and earlier. Dorbour, 1994.
A metal headpan is loaded with clay pots ready to take to market. The darkened angular pots placed around the inside edges of the headpan are soup pots (chiin sinyjͻlͻ in Nafaanra) and the rounder shaped pots are for cooking starchy staples (sro chͻ in Nafaanra). Dorbour, 1994.
Afua Donkor, a Nafana potter, inspects clay jars of various shapes and sizes that await firing. The liquid red slip (chuma in Nafaanra) has been applied, allowed to dry and then burnished in prepartion for firing. Visible around the courtyard are wooden mortars, a pestle and a metal cooking pot. Thatch-roofed rooms surround the courtyard. Dorbour, 1994.
Sharply angled (carinated) clay pots like this one may have been used for storing liquids. Chipping around the rim of the pots suggest that this one may have been used for some time. Dorbour, 1994.
Large, shallow blackened clay bowls with interior striations are used in cooking and for eating. They are used together with a small double-sided wooden pestle to grind pepper and vegetables like "garden eggs" (small eggplants) when making soups. These bowls may also be used as men's eating bowls (pԑԑ in Nafaanra). Though archaeological sites occasionally have potsherds with striated interiors, this particular blackened bowl form was not common until the 20th century when it was introduced from areas to the south. Potters in the region began to produce the bowls for sale both locally and at regional markets. By the 1980s and 1990s, this was one of the most popular pots made for market sale. Ahenkro, 1986.
Peni Krah, a Nafana potter, sits on the ground and uses her left hand to turn the palette (kpankpa in Nafaanra) on which she has molded a clay soup pot (chiin sinyjͻlͻ in Nafaanra), smoothing its rim with a moist cloth held in her right hand. The headpan to her right contains moist clay. Dorbour, 1994.
Storing pots (jloŋgo in Nafaanra) like these were formerly used to store drinks like pito (sorghum beer) or wenyjͻ nyumu (water boiled in a pot after it has been used to make "TZ," a starchy staple). The one on the left has been blackened while that on the right may have been treated with a red slip (chuma in Nafaanra). Both are highly burnished, giving them a glossy look. Dorbour, 1994.
Fired, blackened clay grinding bowls are stacked (center). While hot from the fire, the bowls have been blackened by rolling them in dry grass or peanut (boŋgrɛ in Nafaanra) shells. To the right, a bonfire firing is in progress. The outside perimeter of the fire is banked with previously fired but broken jars. To the left, a large clay bowl contains a bark solution into which the pots are dipped while still hot from the fire. Behind that, another bonfire burns. To the right (back, center) pots have been stacked in preparation for another bonfire firing. The fashion of blackening grinding bowls began in the Banda area sometime during the 20th century. Adadiem, 1994.
These fired clay pots are specifically designed for water storage. The water jar (chͻkoo in Nafaanra) on the left was made in Adadiem and the one on the right was made by a potter in Dorbour. Unlike pottery intended for other uses, potters do not finish pots intended for water storage in a bark solution to seal and color the pot. Instead, the surface of water storage pots needs to be porous to effectively cool the water stored inside. The size of the water jar's mouth allows access to the water inside but also limits evaporation. The color of these pots is a result of firing conditions. Dorbour, 1994.
Potting clay is spread to dry after being mined and brought to Dorbour by a potter, perhaps aided by her relatives. The clay includes a combination of plastic clay (chͻklͻlͻ in Nafaanra) and sandy clay (sisa in Nafaanra) which are mixed together at the place where the clay is mined. After drying, the clay will be pounded, sifted, mixed with water and kneaded until the clay is the right consistency. A potter only mixes as much clay as she needs to make a batch of pots (6-8). Children may help with the work of pounding and kneading the clay. In the background, houses made of atakpame (coursed earthen-walls) with thatched roofs are visible. Dorbour, 1994.
A potter's tools are laid out for view. Sitting on a well-worn clay-smeared grinding stone are two maize cobs (left; bledjukaan in Nafaanra), half of a seed pod from a tree (jenge in Nafaanra), and a spatula (unknown material). An enamel-ware pot holds several water-worn pebbles, several of which also sit in front of the grindstone. Pebbles (gbeliͻ in Nafaanra) are used to burnish the surface or make decorations on the pot's surface. In front of the grinding stone are two iron rings or "bracelets." The one with a wide flat side (gbooroo in Nafaanra) is used to scrape and thin the pot's walls after they have been allowed to dry. The other can be used to decorate pots. A small clay bowl holds water and a piece of cloth used to moisten and smooth the surface of the pot after it is formed. Dorbour, 1994.
Afua Donkor, a Nafana potter burnishes a dried but as-yet unfired clay pot on which she has applied a red slip (chuma in Nafaanra). She uses a strand of Baobab tree seeds (wasawasa in Nafaanra) to rub the slip, helping the color to adhere to the pot's surface and giving it a sheen. The slip is a thin solution made by mixing a red soil found on the Brawhani road with water. Some is contained in a small can sitting on the ground (left). Finished, unfired pots sit in the room behind the potter. Dorbour, 1994.
Afua Donkor, a Nafana potter, burnishes a dried but as-yet unfired clay pot on which she has applied a red slip (chuma in Nafaanra). She uses a strand of Baobab tree seeds (wasawasa in Nafaanra) to rub the slip, helping the color to adhere to the pot's surface and giving it a sheen. The base of the pot is left unslipped. Dorbour, 1994.
Varied sizes of clay jars are stacked in the corner of a room inside a house. The adjacent wall is decorated with enamel-ware lids and plates. Several metal cooking pots and a wooden paddle used to stir food sit around the clay pots. Jneni, 1994.
Yakosua, a Nafana potter, mixes sifted potting clay with water in preparation for making a batch of clay pots. One large metal pot (left) contains the pounded, sifted clay and the other (right) contains water that she mixes with the clay. She mixes the two in a headpan, kneading the clay to achieve the right consistency for making pots. Dorbour, 1994.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Dorbour
Subjects:
Women's work; Metal pots; Clay; Dorbour; Headpans; Potting
A potter handles a lump of clay that she will use to make a clay pot. Other lumps, each of which will be used to make a pot, are stacked on a metal tray awaiting use. Dorbour, 1994.
After drying, potting clay is stored in potters' houses until needed. When the potter is ready to make a batch of clay pots, she will first pound and then sift the clay. The sifted clay is then mixed with water and kneaded until it is the right consistency for making a pot. Dorbour, 1994
A woman in Dumboli spins cotton thread. She holds raw cotton fiber in her left hand. She has attached a strand of fiber to her spindle (gԑndԑ in Nafaanra), and she prepares to set it and the spindle whorl (gԑndԑ kaan in Nafaanra) which weights it in motion with her right hand. The whorl spins inside a small white vessel (possibly an animal skull or turtle shell) resting on a basket lid. The woman sits on a low stool. Various containers used in food preparation sit behind her. The basket on which she is spinning is used to store her equipment when not in use. Seeing women spinning in their homes would have been common before the second half of the 20th century. Archaeologists find spindle whorls in houses on sites dating to the later 18th and 19th centuries. In earlier times, however, it appears that thread was primarily made in market centers rather than in households. Two photos. Dumboli, 1994.
A woman in Bondakile spins cotton thread from raw fiber held in her left hand. She holds the raw cotton between her thumb and index finger, using her middle finger to provide tension as she stretches and thins the fibers using her right hand. The thread is wound thickly toward the base of the spindle (gԑndԑ in Nafaanra) above the spindle whorl (gԑndԑ kan in Nafaanra) which is barely visible at the base of the spindle. The woman uses (what appears to be) a turtle shell (carapace) as a surface on which to spin. She has stabilized the shell with a piece of folded cloth which sits on top of an enamel ware plate. A calabash and a plastic bucket site nearby. Spinning was a routine household activity done by women until commercially manufactured cloth became commonplace (second half of the 20th century). Two photos. Bondakile, 1994.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Bondakile
Subjects:
Plastic containers; Women's work ; Cotton thread; Techniques
Potters in Adadiem place bark over clay pots that have been stacked on top of a bed of firewood. The bonfire has been lit and the bark serves as additional fuel. More red-slipped clay pots sit behind, waiting for the next firing. One woman carries a child on her back. The bonfire will burn for between 30 minutes and an hour, after which the pots will be ready for use or sale. Abena Donkor (far right) assists while Solomon Kojo, young boy in brown shorts, looks on. Two photos. Adadiem, 1994.
Afua Donkor, a Nafana potter, selects and places fuel as she prepares to fire clay soup pots (chiin sinyjͻlͻ in Nafaanra) that have been slipped red. Other clay pots sit nearby awaiting firing, some in a headpan. The pots are carefully stacked on top of the wood and additional fuel placed on top. Additional firewood is stacked behind and in front lays the bark that she will use to cover the clay pots before lighting the bonefire. Once lit, the bonfire will burn for between 30 and 60 minutes, after which the fired pottery will be hardened, useable and ready for sale. Two photos. Dorbour, 1994.
Hearths in a Dorbour household. One of three visible hearths is in use, a metal cooking pot suspended over a fire fueled by firewood. A wooden mortar and several pestles are at ready in the background. In the foreground (right) a clay cooking pot rests on top of a metal basin that has been re-purposed as a pot stand. A large metal pot, a calabash bowl (chrԑgbͻͻ in Nafaanra) and a plastic cup sit behind the clay pot. Dorbour, 1994.
A courtyard hearth in a Dorbour household. The hearth "stones" are clay pots turned upside down and embedded in the ground. A pottery cooking jar rests on the hearth, the firewood pulled away from the hearth while it is not in use. A metal cooking pot and headpan have caught the interest of a foraging goat. Dorbour, 1994.
Kitchen area of a household in Dorbour. Several hearths are clustered in the center of the open courtyard surrounded by low wooden stools. Several wooden mortars of varying sizes and a number of pestles are clustered along a porch. Pottery and metal pots used in cooking are near the hearth. A goat forages for food amid the hearths. Large vessels to the far left store liquid (water, or possibly pito, locally made beer). The courtyard is surrounded by thatch- and metal-roofed rooms. Dorbour, 1994.
Archaeological excavations focused on a collapsed house mound are in progress at Makala Kataa "Station 10." Archaeologists have left "balk" walls between 2 x 2 meter units as a way to study the mound's stratigraphy. Headpans for carrying excavated soil to nearby screens for sieving sit beside the excavation units. Scattered around the sides of the units are short-handled hoes which the excavation team uses to carefully scrape the soil as they dig. Graduate students Maria Dores Cruz and Leith Smith direct the excavation team while Tolԑԑ Kofi Dwuru III (Nana Millah), visiting the site from Ahenkro, stands to the right in black cloth. Makala Kataa, July 1994.
Yaa Tenabrԑ, a Nafana potter, stands as she begins to pull a clay lump upwards and outwards, using a draw-and-drag (direct pull) technique to form the walls of a clay pot. The clay rests on a metal plate (kpankpa in Nafaanra) supported by a wooden stump. She moves clockwise around the stump, using her left hand to draw clay up from the center of the lump and her right hand to shape and thin what will become the walls of the pot. As she pulls and smooths the clay, she forms the upper body and rim of the pot. The finger marks visible at this stage of the pot's forming show the direction in which she pulls the clay as she works. These marks will be smoothed away as she continues to form the pot. She uses a maize cob (bedjukaan in Nafaanra) as a tool to shape and smooth the pot's walls. She uses a spatula-like tool to thin and further smooth the surface. When she is finished forming the body and rim, she will set the clay jar aside to dry on the wooden pallet on which it rests. Once dry, she will add a rounded base to the pot. Five photos. Dorbour, 1994.
Ama Donkor, a Nafana potter, sits as she uses moist clay to form the base of a soup pot (chiin sinyjͻlͻ in Nafaanra). She is adding the base to a body and rim that she made the day before and set aside to dry. The clay pot rests on a metal plate that she can turn as she works (kpankpa in Nafaanra). She adds small lumps of clay as she gradually builds the rounded base of the pot. Three photos. Dorbour, 1994.
Newly grated and guttered road leading northward from Ahenkro toward Bongase viewed from the north edge of Ahenkro. The Banda hills are visible in the background. July, 1994
By 1994, work on the 4th Republic Road (as it was then known) extended the grated motorable road from Kanka to Nyire. View to the west on the approach to Kanka, Banda mountain range visible in the distance. July, 1994.
Members of the 1994 archaeological excavation team at Makala Kataa. Team members included a National Service and a staff member from the Ghana National Museum, American graduate students and Banda men from Ahenkro and Makala. Back row (L-R): Kwame Bio, Samuel Babatu, __, Kwame Anane, Donkor Johnson, Timothy Fordjour, Daniel Mensah, __, Yaw Francis, __, __, Kwadwo Manu. Middle row (L-R): __, Kwame Abrifa, Kwasi Peter, Amos Bediako, Kwabena Mensah, Kofi "Photo" Manu, Yaw Frimpong, Alex Ababio. Front row (L-R): Caesar Apentiik, Ann Stahl, Maria Dores Cruz, Obour Bartholomew, Kwasi Ali, Obimpeh Blorpor, Leith Smith, Victor Mattey, Osei Kofi, Brian Thomas. Also pictured are Frank Osei Kofi, Seth Tahara, Kwame Menka, Kwame Okyei, and Thomas Bio. Makala Kataa, July, 1994.
The road to Bui Village was a rough track that ran west and north out of Bui Camp, headquarters of the Bui National Park. Bui Village is visible in the foreground of the mountain. The mountain lies to the north of the Black Volta River and formed part of the ridge used to construct the Bui Dam. The people of Bui Village were relocated beginning in 2010 and their former home flooded as Bui lake formed behind Bui Dam after 2013.
A new road (the "4th Republic Road") connecting Kanka directly to Ahenkro and bypassing Kabruno was built in about 1993. The newly grated road is seen here from the north side of Kanka, looking northward toward Ahenkro, visible in the distance. June, 1994.
By 1994, work on the 4th Republic Road (as it was then known) extended the grated motorable road from Kanka to Nyire. Westward view mid-way between Nyire and Kanka, June, 1994.
A Makala elder pours libations at the site of Makala Kataa to open work on a Friday. He is accompanied by two members of the 1994 Banda Research Project excavation team, both from Makala. L-R: __, __, __. Makala Kataa, 1994.