Unfinished clay grinding bowls dry on the palettes (kpankpa in Nafaanra) on which they were formed. After they have dried to a leather-hard state, the potter will remove them from their palettes and score their interiors. The scoring creates a grinding surface used to process vegetables which are added to soups. These bowls may also serve as men's eating bowls (pԑԑ in Nafaanra). Immediately behind the drying bowls is a hearth, swept clean of ashes. Pottery jars can be seen drying in background, right. A chicken forages nearby. Bondakile, October, 1982.
A Ligbi man from Bongase wearing masquerade regalia is partially hidden from view by men carrying a cloth as they walk between thatch-roofed houses en route to the space where the masqueraders will perform. He wears a carved wooden "Mbong" (baboon in Ligbi) mask. Scholars refer to this masking tradition as "Do," while locally it is termed "Bedu." For additional details, see Bravmann, René A. (1974) "Islam and Tribal Art in West Africa" (Cambridge University Press), pp. 147-177. Bongase, December, 1967.
A storm in late 1999/early 2000 brought down the majestic kapok (Ceiba pentandra) tree that stood over the former market site on the south side of Ahenkro. Here the fallen tree is in the process of being cut and hauled away. Chickens and a goat forage in the foreground. Ahenkro, May, 2000.
Young boys (Kofi and Isaac, sons of James Anane) pound calabash seeds in preparation for making calabash seed soup (fnumu chiin in Nafaanra). They use a deep wooden mortar and pestles rounded at the base. A metal roof shelters the hearth in the background. A chicken searches for food as the boys work. Ahenkro, July-August, 1986.