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.
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.
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.
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 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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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 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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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
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
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.
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.
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
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.
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. 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.
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
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.
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.
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.
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.
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.
During a communal labor day, young men from Ahenkro gather close to the site of the Banda Cultural Centre where they are making blocks which will be used to construct the Centre. Center photo, men mix sand with cement while those to the right use a block machine to form the bricks. Finished blocks are stacked in the background. A mason, standing left, supervises the work. Headpans and buckets used in the work sit nearby. Each of Ahenkro's four Unit Committees provided communal labor for block-making which made construction of the Banda Cultural Centre possible. Ahenkro, 1994.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects:
Banda Cultural Centre; Unit committees; Communal labor; Headpans
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.
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.
School children from Ahenkro carry sand to the site where Unit Committees are supplying communal labor to make blocks to build the Banda Cultural Centre. The children have been directed by the Traditional Council and teachers to assist the project for an afternoon by transporting sand for block-making to the building site. Ahenkro, 1994.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects:
Banda Cultural Centre; Headloading; Unit committees; Communal labor; Headpans
Subjects Facet:
Brickmaking; Building; Lifting and carrying; Bricks