View to the east-southeast, standing on the small hill west of Kabruno. The mountains in the distance (left) are those near Fawoman. To the right is the range that extends northward from Boase. The rooftops of Kabruno and Dompofie are visible, center. Banda area, June, 1995.
View of the Banda hills extending southward, standing on the small hill west of Kabruno. Two cleared fields are visible in the foreground. The rooftops of Makala are faintly visible to the left of center. Banda area, June, 1995.
View to the southeast, standing on the small hill west of Kabruno. The mountains in the distance are those near Boase. Center left are the rooftops of Kabruno. Center right is the village of Dompofie. Between the two in the distance is Gbao. Banda area, June, 1995.
The Banda hills viewed from the small hill west of Kabruno, looking northward. Center photo are tobacco fields that have been clear-cut and tractor-plowed. Tobacco began to be grown as a cash crop in the area during the mid 1980s. Banda hills, May, 1995
View to the southeast, standing on the small hill west of Kabruno. The mountains in the distance are those near Boase. Center left are the rooftops of Dompofie. Center right is the village of Samwa. Banda area, June, 1995.
View to the southeast, standing on the small hill west of Kabruno.The mountains in the distance are at the southern end of the Boase range. The village left of center is Gbao. Right of center is Samwa. Banda area, June, 1995.
The Banda hills viewed from the small hill west of Kabruno, looking southward. Two cleared but unplanted fields are visible in the foreground. Roofs of the small village of Makala are faintly visible in the distance (small patch of light color, left of center). The gap in the Banda hills through which the Tombԑ River flows is visible center photo. Banda area, May, 1995.
View across wooded savanna, looking northeast while standing atop a small hill west of Kabruno. The mountains, far right, are those near Fawoman. Far left is the northern end of the Banda hills near the Bui Dam site. The single mountain in the distance (center) lies on the north side of the Black Volta River. The village of Ahenkro can be seen, center, with the northern edge of Kabruno visible to the right. Banda area, June, 1995.
Two views of a serpent-like figure made from an iron rod. The "head" of the direct metal sculpture resembles a triangular-tipped iron projectile point, similar to those found on the same site during the same time period. The body is formed by undulating S-shaped loops which are stacked atop one another to form the "tail." Kuulo Kataa, Mound 118, Unit 62W 4N, Level 1. Scale in cm. Length: 8.4 cm. 39.6 g. Kuulo Kataa, 15 June, 1995.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Provenance:
Kuulo Kataa, Mound 118, Unit 62W 4N, Level 1
Location(s) Facet:
Kuulo Kataa
Subjects:
Serpents
Subjects Facet:
Direct metal sculpture; Archaeology; Snakes; Iron; Projectile point; Artifacts (Antiquities)
A tractor-plowed field close to the Banda hills on the outskirts of Ahenkro has been planted with tobacco. Tobacco farming began in the Banda area in the 1980s and was common by the 1990s as many farmers took up commercial tobacco production. After tobacco farming was banned by the Traditional Council, some open fields like these were planted in cashew, the cash crop in which many Banda farmers invested from the early 2000s. Others have been used for mono-cropping (fields used for a single crop type) cash crops that are annuals. Northwest of Ahenkro, May, 1995.
Two Ligbi men from Bongase appear in masquerade regalia prior to a "Do" or "Bedu" performance at the commissioning celebration of the Banda Cultural Centre in Ahenkro. Their carved wooden masks represent a male and female pair of baboons (Mbong in Ligbi). Their heads and shoulders are draped in scarves, they wear raffia skirts around their waist, and over top of socks covering their feet they wear metal jangles on a chain wrapped around their ankles. They are accompanied by a number of men from Bongase. Pictured L-R: Fariah Salah, Kwame Yirikro, Abau Yaya, Abuu Doctor (masked dancer), Adoma, Ansoma Sala (masked dancer), Dandu, Alhaji Moro Mahama. A performance of Mbong at a June 2019 Banda Heritage Event can be viewed through a link below. Ahenkro, 21 July, 1995.
The Banda Cultural Centre provides space for community gatherings and guest rooms for Banda Research Project and other community visitors. The Centre's motto/logo is "Nyu nunu," (Nafaanra) or "Unity." Commissioned in 1995, the main building was constructed in 1994-95 through a combination of Banda Research Project funding and communal labor supplied by Ahenkro's four Unit Committees. The building is administered and maintained by the community. Ahenkro, July 1995.
Oware is a game of strategy in which players attempt to capture an opponent's counters or beans as they are moved counter-clockwise through a series of twelve cups (6 on each side of the board). Here young boys have made an oware board in by scooping holes in the dirt. They use dried seeds from the pods of a leguminous tree as counters. Ahenkro, 1995.
The Banda hills viewed from the small hill west of Kabruno, looking northward. To the right of the mountains (center photo) are tobacco fields. Tobacco began to be grown in the area as a cash crop in the mid 1980s. Banda hills, May, 1995
The paved interior courtyard of the Banda Cultural Centre is surrounded by roofed verandas on three sides and a suite of rooms along its east side. The Banda Cultural Centre provides space for community events and guest rooms for Banda Research Project and other community visitors. Visible along the porch in front of the guest rooms are headpans used by the Banda Research Project for archaeological excavation, tipped over to dry. A tree seedling, center courtyard, is surrounded by a fence to protect it from goats. Ahenkro, July 1995.
Kwasi Millah, Elder of Kuulo Katoo and caretaker of Kuulo shrines, stands in front of the baobab tree that sprang up at the spot where Lelɛɛ Wurache, the Kuulo ancestress, sank into the ground, as described in the family history of Kuulo Katoo. Outskirts of Dompofie, June, 1995.
Female elders are seated under a thatch awning outside the Banda Cultural Centre on the day of its commissioning, Ann B. Stahl (seated center) has just been enstooled as an honorary Queen Mother of the Banda Traditional Council under the stool name Yadwo Gongo II. To the left is Binghamton University graduate student Alex Caton (Peni Yaa) and seated to the right wearing white cloth is Afua Wewa, one of the Banda Queen Mother's elders. A young man holds an umbrella over the Banda Queen Mother, Lelɛɛ Akosua Kepefu, who sits behind Alex Caton. Ahenkro, 21 July, 1995.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects:
Queen Mother; Banda Cultural Centre; Enstoolment; Banda Traditional Council
Westward view from the mountain gap near Ahenkro. This area is part of the Bui National Park, a Wildlife Protection Area and forest preserve established in 1971. Banda area, June, 1995.
A Brong dance troupe performs at the commissioning celebration for the Banda Cultural Centre. A group of drummers is seated behind the dancers. Visible in the background is the logo of the Banda Cultural Centre which is "Nyu nunu," (Nafaanra) or "Unity." This is symbolized by an Adinkra symbol showing two crocodiles who share a common stomach (two heads, two tails, one stomach; referred to as funtumfunafu in Twi). The symbol conveys the meaning "why fight over food when you share a stomach?" The Cultural Centre's main building pictured here was constructed in 1994-95 through a combination of Banda Research Project funding and communal labor supplied by Ahenkro's four Unit Committees. Ahenkro, 21 July 1995.
Banda Research Project team members wearing blue shirts with the "Unity" logo and dresses embroidered in blue process down Ahenkro's main street from the Paramount Chief's palace to the Banda Cultural Centre for the centre's commissioning ceremony. Ann B. Stahl-- just enstooled as an honorary Queen Mother by the Banda Traditional Council under the stool name Lelɛɛ Yadwo Gongo II--is carried in a palanquin lined with kente cloth and shaded by one of the chief's royal umbrellas. A woman in local-made strip woven cloth stands left, with Binghamton University MA student Alex Caton wearing local dress to her right. To her right in blue-embroidered dresses are project team members Doris Millah and Doris Mensah. Visible in the background are the thatched and iron roofs of houses lining Banda-Ahenrko's main street. Ahenkro, 21 July, 1995.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects:
Queen Mother; Banda Cultural Centre; Umbrella; Palanquin; Banda Research Project
Subjects Facet:
Rites and ceremonies; West African strip weaving; Thatched roofs; Metal roofing; Textiles; Clothing; Kente cloth; Litters (vehicles); Royal regalia
Ann B. Stahl (left) and Sampson Attah (right) stand in front of the Banda Cultural Centre shortly before the building was commissioned (21 July, 1995). The Banda Cultural Centre provides space for community events and guest rooms for Banda Research Project and other community visitors. The Centre's motto/logo is "Nyu nunu," (Nafaanra) or "Unity." This is symbolized by an Adinkra symbol showing two crocodiles who share a common stomach (two heads, two tails, one stomach; referred to as funtumfunafu in Twi). The symbol conveys the meaning "why fight over food when you share a stomach?" The Cultural Centre's main building pictured here was constructed in 1994-95 through a combination of Banda Research Project funding and communal labor supplied by Ahenkro's four Unit Committees. The building is administered and maintained by the community. Ahenkro, July 1995.
View of the Banda hills extending southward, standing on the small hill west of Kabruno. The rooftops of Samwa are visible left of center. Those of Makala are faintly visible to the right of center. Banda area, June, 1995.
The glass beads considered sacred and used in the puberty (Manaa Ndiom) and marriage (Bijam) rites of Nafana women are stored within a calabash bowl, its lid lying next to it. Most of the beads are imported varieties typical of those that circulated in the Atlantic trade period. On top of two other lidded calabash bowls rests a pair of iron manacles or shackles which are included among ritual paraphernalia. Ahenkro, July 1995.
Elders of Gape Katoo with the sacred bronze basin, copper alloy vessel, iron knife and "chain" (copper alloy anklet) associated with ancestor Buari Kojo, Bofie, July, 1995.
Local and visiting members of the Banda Research Project Team gathered on the day of the Banda Cultural Centre's dedication event. Their shirts are printed with the Cultural Centre's motto/logo "Nyu Nunu," (Nafaanra) or "Unity." Ahenkro, 21 July, 1995.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects:
Community event; Banda Cultural Centre; Banda Research Project
A copper alloy finger ring made from a rod forged into undulating S-shaped loops and joined at its ends by a flat metal plate. Two views. From Kuulo Kataa, Mound 101, Unit 2W 2S, Level 7. Height: 1.4 cm. Width: 2.6 cm. Weight: 8.4 g. Kuulo Kataa, 9 June, 1995.
Kwasi Millah of Dompofie sits under the shade of a tree while processing calabash (gourd) bowls (chrԑgbͻͻ in Nafaanra). The interior is scraped clean and the calabash set aside to dry. While some are kept for household use, many are sold at market. Once dried, the calabash bowls are durable utensils used for cooking, bathing, and other household tasks. Dompofie, June, 1995.
Young girls wear the sacred beads and necklaces associated with the girls' nubility rites, known in Nafaanra as Manaa Ndiom. They are dressed in Manaa Ndiom attire as part of a cultural celebration associated with the commissioning of the Banda Cultural Centre. Manaa Ndiom is a time when adolescent girls come together to learn from their female elders as they transition to womanhood. Here they walk alongside women carrying wooden stools to the Cultural Centre grounds. Adua Bedeaba leads the group as Almata follows. Ahenkro, 21 July, 1995.
Kwasi Millah, Elder of Kuulo Katoo and caretaker of Kuulo shrines, stands in front of the tree that sprang up at the spot where Lelɛɛ Wurache, the Kuulo ancestress, sank into the ground, as described in the family history of Kuulo Katoo. Outskirts of Dompofie, June, 1995.
People gather to watch as offerings are made at the base of Lelɛɛ Wurache's tree on the outskirts of Dompofie. Kwasi Millah (seated, center) holds a glass as Daniel Kofi Nakpah pours drink in preparation for the offering of libations. Dompofie chief Tolɛɛ Emmanuel Dwiri stands far right (blue cloth). The occasion was prompted by the request of the Banda Research Project group to conduct archaeological excavations at Kuulo Kataa. Outskirts of Dompofie, June, 1995.
Magdalene Attah uses a small wooden mortar and pestle to process cassava flour while two goats forage in the background. The large wood pile to the rear (left) is associated with the tobacco drying barns that line the south edge of Ahenkro. Ahenkro, May, 1995.
Villagers from Dompofie gather beneath Lelɛɛ Wurache's tree. People have come to witness libations and offerings to the shrine, prompted by the request by members of the Banda Research Project to conduct archaeological excavations at Kuulo Kataa. Standing center in the blue strip-woven cloth is Kwasi Millah. A member of the Banda Research Project team (Andy Black; bearded, on left) joins the group. Outskirts of Dompofie, June, 1995.
Kwasi Millah offers libations to Kuulo ancestors at the base of Lelɛɛ Wurache's tree. The occasion was prompted by the request of the Banda Research Project group to conduct archaeological excavations at Kuulo Kataa. Outskirts of Dompofie, June, 1995.
Young girls wear the sacred beads and necklaces associated with the girls' nubility rites, known in Nafaanra as Manaa Ndiom. They are dressed in Manaa Ndiom attire as part of a cultural celebration associated with the commissioning of the Banda Cultural Centre. Manaa Ndiom is a time when adolescent girls come together to learn from their female elders as they transition to womanhood. Pictured, front row, L-R: Mariyama Puwee, Ama Kyerah (wearing white), Adua Bedeaba, Sarah Photo, Yaa Broni, __, Alamata, Adwoa Fordjour. Swordbearer, right: Kwabena Sekedua. Women in back row, L-R, Toryaa (center) and Afua Basabasa. Ahenkro, 21 July, 1995.
Kwasi Millah, seated right, makes offerings to Kuulo ancestors at the base of Lelɛɛ Wurache's tree. The occasion was prompted by the request of the Banda Research Project group to conduct arcaheological excavations at Kuulo Kataa. Outskirts of Dompofie, June, 1995.
Two young boys tend to a pretend tobacco drying barn that they have built on the south side of Ahenkro, near to where tobacco is being processed. A functional drying barn is visible in the background (center) alongside large piles of wood that will be used to fuel it. Two photos. Ahenkro, 1995.
Members of the archaeological excavation team during the last days of the 1995 season at Kuulo Kataa. Team members included Banda men from Ahenkro and Dompofie along with visiting American graduate students and Ann Stahl. Back row (L-R): __, Kwame Bio, __, __, __, __, Amos Bediako, Obour Bartholomew, __, Alex Ababio, Daniel, __, Kwasi Peter. Middle row (L-R): Yaw Francis, Kwasi Ali, Anane, __, Kofi "Photo" Manu, Donkor Johnson, Yaw Frimpong, Osei Kofi, Obimpeh Blorpor, Enoch Mensah, Kwame Anane, __, __. Front row (L-R): Ann Stahl, Andrew Black. Also included in the photo are Alex Donkor, Alfred Nkrumah, Anane Peter, Asamoa Martin, John Preprah, Kwadwo Masoate, Kwadwo Nkrumah, Moses Nsiah, Peter Bile, and Stephen Okrah. Kuulo Kataa, July, 1995.
Members of the archaeological excavation team joined by the Dompofie chief and teachers during the last days of the 1995 season at Kuulo Kataa. Team members included Banda men from Ahenkro and Dompofie along with visiting American graduate students and Ann Stahl. Back row (L-R): __, __, __, __, __, __, Amos Bediako, __, Alex Ababio, Daniel, __, Kwasi Peter, __. Middle row (L-R): Nana Emmanuel Dwiru, Yaw Francis, Kwasi Ali, Anane, __, Kofi "Photo" Manu, Donkor Johnson, Yaw Frimpong, Osei Kofi, Obimpeh Blorpor, Enoch Mensah, Kwame Anane, __, __. Front row (L-R): Kwame Bio, Alex Caton, Leith Smith, Ann Stahl, Obour Bartholomew. Also included in the photo are Alex Donkor, Alfred Nkrumah, Anane Peter, Asamoa Martin, John Preprah, Kwadwo Masoate, Kwadwo Nkrumah, Moses Nsiah, Peter Bile, and Stephen Okrah. Kuulo Kataa, July, 1995
Banda Research Project excavation team members at work on Mound 118 at Kuulo Kataa. Wooden stakes mark the corners of 2x2 meter excavation units, several of which are in progress. North American students Leith Smith (white hat and shirt) and Alex Caton (far right) are pictured along with men from Dompofie and Ahenkro. View looking northward. Kuulo Kataa, 1995.
A man in Dompofie makes a basketry tray (gbrewa in Nafaanra). He uses a (metal?) tube as a frame. First the warp slats are placed at intervals on the frame. Then the weft slats are interwoven with the weft, starting from the center and working outward to the edges. Trays like this could be used in crop processing or for temporarily storing foodstuffs. A finished, well-worn basketry tray is visible, upper left, leaning against a pole. Dompofie, 1995.
Banda Research Project team member Enoch Mensah stands at the base of a deep excavation unit (2W 2S) in Mound 101 at Kuulo Kataa. The 2 x 2 meter excavation unit at surface was narrowed to a 1 x 2 area in lower levels of the unit. He lifts up the ladder used to access the base of the unit. The stratified layers of the deep midden mound are visible in the unit's side walls. Kuulo Kataa, 1995.
Banda Research Project team members wrap up work for the day on Mound 118 at Kuulo Kataa. Mound 118 is a low ovoid-shaped mound covering roughly 300 m2 and rising about one meter above the surrounding ground surface. The units under excavation here revealed architectural features and primary (in situ) household remains. Several 2 x 2 meter units have been opened. Wooden pegs mark grid points at the corners of units. Kuulo Kataa, 1995.
Photo of a reconstructed carinate globular pottery jar, with profile depicted (left). The jar was found in an upright position beneath a lens of hardened clay, its rim at 211 cm below datum and its base at 224 cm bd. The jar's mouth is small. Below its lip is a ridge marked with vertical impressions. The surface above the carinated shoulder is decorated with alternating horizontal lines of dentate (comb) impression and grooving. Below the carination, the base and lower portions of the jar are decorated with a carved roulette impression. The interior surface of the jar is heavily eroded, perhaps an indication that the jar was used to store a fermented liquid like millet or sorghum beer. An INAA sample (NA "KK 95-61") from this jar was assigned to the "K1" group of ceramic fabrics. The jar was therefore likely made east of the Banda hills. A jar of similar form, decoration, and interior wear (KK 95-693) was found one meter away and at a slightly lower level in the east profile wall of the excavation unit. Rim diameter: 8 cm. Photo scale in cm. Kuulo Kataa. 13 June, 1995.
Photo of a patially reconstructed carinate globular pottery jar, with profile depicted (left). The jar was partially exposed, sitting upright in the east profile wall of the unit. The jar broke insitu and half of the vessel was removed and reconstructed. The jar has a narrow mouth. Alternating horizontal bands of shallow grooving and dentate (comb) impression decorate the area below the lip. A horizontal grooved line and a line of dentate (comb) impression applied above the carinated shoulder meet at small circular punctate impressions. The base and lower portions of the jar are decorated with a carved roulette impression. The interior surface of the jar is heavily eroded, perhaps an indication that the jar was used to store a fermented liquid like millet or sorghum beer. A jar of similar form, decoration and interior wear was found one meter away and at a slightly higher level in the same unit (KK 95-350). Rim diameter: 10 cm. 50% of vessel reconstructed. Photo scale in cm. Kuulo Kataa. 10 July, 1995.
Photo (interior) of a reconstructed carinate globular pottery jar, with profile depicted (left). The jar was partially exposed, sitting upright in the east profile wall of the unit. The jar broke insitu and half of the vessel was removed and reconstructed. The jar has a narrow mouth. The interior surface of the jar is heavily eroded, perhaps an indication that the jar was used to store a fermented liquid like millet or sorghum beer. A jar of similar form, decoration and interior wear was found one meter away and at a slightly higher level in the same unit (KK 95-350). Rim diameter: 10 cm. 50% of vessel reconstructed. Photo scale in cm. Kuulo Kataa. 10 July, 1995.
Photo of an inward-curving (recurved) jar rim sherd, with profile depicted (left). A zone of diagonally oriented dentate (comb) impressions is bounded on upper and lower edges by a shallow horizontal groove. A mica paint/slip was applied over top of the dentate impressions. The ceramic fabric was tempered with angular quartz grit. An INAA sample ("KK NA-29") was unassigned to a specific group of ceramic fabrics, lending no insight into where the jar was made. Interior neck diameter: 18 cm. Sherd represents an 12% of the jar's circumference. Scale in cm. Kuulo Kataa. 25 June, 1995.
A cashew tree (Anacardium sp.) grows in an agricultural field planted (foreground) with calabash (Lagenaria siceraria). Sampson Attah stands near the tree. Calabash has long been grown as a cash crop for local and regional sale in the Banda area. When cashew trees were first planted in the area from the mid-1990s, they were grown singly or in small numbers. A growing shift to cashew farming in the area during the early 2000s was accompanied by the planting of large stands of cashew trees referred to locally as "plantations." Banda area, June, 1995.
Photo of an everted-rim pottery jar (Vessel B) excavated from Kuulo Kataa, Mound 101, Unit 2W 2S, levels 6-7, where the jar was positioned upright. A broken pedestal base (Vessel A, originally part of another vessel) sat atop the jar. The jar has a carinated shoulder and a rounded base. Above the carination, the jar's exterior surface is decorated with four horizontal grooved lines, between which are lines of dentate impression. Immediately above the carination in three locations around the vessel's circumference are triangular clusters formed by three circulate punctates joined by short grooved lines enclosing dentate impressions. In a zone marked by two parallel grooved lines, the jar's base is surface treated with carved routlette impressions. Rim diameter 20.8 cm at interior lip. Vessel height (base to rim) 15.8 cm. Photo scale in cm. Kuulo Kataa, 9 June, 1995.
A short-stemmed, locally made clay smoking pipe, 3 views (bottom left: view from front; bottom right: side with pipe bowl to the left; top: view from top). Pipes like this were inspired by those used by America's First Peoples from whom Europeans learned about tobacco. Europeans introduced tobacco smoking to West Africa during the early centuries of trans-Atlantic trade. This pipe's bowl has a slightly flared base, the bottom of which shows signs of abrasion. Above its base, the pipe bowl is outward flaring. The bowl is decorated by overall diagonal incisions that meet to form a "V" pattern. The front is marked by a vertical row of circular impressions. Rounded appliques have been added to the bowl near to its base. The bowl's rim is missing. Its stem joins the bowl at its base (a "single-angled" form). The cylindrical stem is slightly collared at its end and has a rounded lip. The pipe has been minimally cleaned on the exterior and soil remains in the bowl interior. Photo scale in cm. Site Kuulo Kataa. 6 July, 1995.
A short-stemmed, locally made clay smoking pipe, 3 views (bottom left: bowl base and step viewed from top; bottom right: bowl base and stem from side, with pipe bowl to the left; top: bowl front). Pipes like this were inspired by those used by America's First Peoples from whom Europeans learned about tobacco. Europeans introduced tobacco smoking to West Africa during the early centuries of trans-Atlantic trade. This pipe's bowl has a slightly pedestaled base, the bottom of which shows signs of abrasion. Above its base, the pipe bowl is outward flaring and constricts slightly at the lip. The upper area of the bowl is decorated by overall vertical incisions interspersed with single vertical rows of circular impressions. A horizontal groove marks the boundary between a lower zone decorated with angled incisions. The pipe's stem joins the bowl above the bowl base (a "double-angled" form) and its lip is rounded. The pipe has been decorated with an overall red slip. It has been minimally cleaned on the exterior and soil remains in the bowl interior, with the end of a root visible in the bowl's base. Photo scale in cm. Site Kuulo Kataa. 29 June, 1995.
A curved iron blade (brɔfiɛn in Nafaanra), rounded at the tip (left), slightly shouldered at the base, with a long tang (right) for the purpose of hafting. The tool shows signs of corrosion. The artfiact was excavated from a house mound and found in a level of midden-like deposits. Scale in cm. Length: 11.2 cm. Weight: 11.7 gm. Site Kuulo Kataa. 14 June, 1995.