A group of men work together, gathered at farm, processing calabash (gourd; chrԑ in Nafaanra) for market sale. The calabash is split, its pulpy interior removed, and the gourd's interior surface scraped clean before drying. Shavings from this thinning process are scattered about on the ground. Several children are gathered nearby as the men work. A basket sits next to a pile of prepared calabash bowls (chrԑgbͻͻ in Nafaanra). Farm near Ahenkro, August, 1982.
Amma Bio of Gbaŋmbɛ Katoo demonstrates the dance associated with sinyeele (balo or xylophone) music played at funerals. Male family head Nyua Kwadwo plays the sinyeele. Lying beneath the partially assembled instrument are calabashes that serve as resonators and produce the instrument's distinctive sound. A small wooden stool lies on its side nearby. Sanwa, 6 August, 1986.
Gbԑԑnlԑԑ Katoo in Gbao celebrates the funeral of the caretaker of a shrine who was understood to have been killed by the 'fetish' because of harm he allegedly planned against family members. In this case, the funeral involves special forms of drumming, dancing and songs as part of a thanksgiving to the shrine. Here, (L-R) Abena Gyakari, Akua Bedu and Akua Asԑmpasa play calabash rattles as a young man to the right plays an apentemma (Twi) drum. Three photos. Gbao, 8 August, 1986.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Gbao
Subjects:
Rattles; Gbԑԑnlԑԑ (Gbeenlee) Katoo
Subjects Facet:
Gourd, Calabash; Drums (musical instrument); Funeral customs and rites; Rites and ceremonies
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
The courtyard kitchen area of a partially enclosed compound has two hearths with cooking equipment placed around. Several low stools and a wooden chair sit among metal pots, calabashes (gourds) and other kitchen items. A mortar and a basket sit to the right. A stack of dried blocks (right, rear) suggests that an addition to the compound is planned. More blocks are stored inside the open room whose wooden door has been removed. Ahenkro, July-August, 1986.
Until the late 1980s when boreholes were drilled in many villages, people in the Banda area relied on nearby springs, streams and rivers for daily water supplies. During the dry season, streams often dried up, while in drought years, even river beds became dry. Finding water was particularly difficult during the severe drought years of 1982-83. Here women from Wewa painstakingly collect water from a dry river bed west of the mountains in a process known as 'lawala' in Nafaanra. They scoop water with calabash bowls (chrԑgbͻͻ in Nafaanra). They have walked several kilometers to reach this place and were often faced with long waits before they could fill a headpan with water. Two photos. West of Wewa, December, 1982.
Ma Fiԑn of Gbao (left) and Abena Wusu of Dompofie (right) spin cotton thread. Their spindles (gԑndԑ in Nafaanra) are weighted by fired clay spindle whorls (gԑndԑ kaan in Nafaanra) which help the spindle to maintain an even spin. Ma Fiԑn uses a calabash bowl as a spinning surface. Abena Wusu uses an enamel-ware bowl placed on a basket. They use their right hand to guide thread onto the spindle as it spins. In their left hand they hold the raw cotton from which the thread is being spun. They control the tension and flow of the cotton by alternately pulling back and easing their left hands. Thread forms as the spindle spins, with the finished product building up in layers toward the spindle's lower end, near the whorl. The baskets on top of which they spin used to store spinning equipment when not in use. Until recent decades, spinning was a routine household activity for women who then gave thread to men skilled in weaving to make cloth for the household. Spindle whorls found on archaeological sites dating to the late 18th and 19th centuries tell us that spinning was also a household activity during those centuries. In the photo's background harvested foods are drying (groundnut, cassava, chili pepper). A large basket and other containers (including a plastic tub) sit next to dried calabash ready to be sent to market. To the right, a clay water pot (chͻkoo in Nafaanra) rests on a metal basin and in the top right is a metal water barrel. Four photos. Gbao, September, 1982.
Interior view of a shelter constructed at farm with walls made from woven mats and a thatched roof supported by wooden poles around the shelter's perimeter. In the shelter's rear corner, calabash (gourd; chrԑ in Nafaanra) bowls and ladles rest on a low platform constructed of poles and thatch. Several other worn calabash and fired clay vessels are beneath the platform. A hearth, right foreground, is constructed of three stones in-between which dry wood collected from around the farm is placed. Several maize (corn; bleju in Nafaanra) shucks lie on the ground, lower left foreground. Farm near Ahenkro, September, 1982.
Members of Gbaŋmbɛ Katoo demonstrate the use of a (partially constructed) balo or xylophone (sinyeele in Nafaanra). The instrument is played at special funerals, including those of the paramount chief. A calabash with a small hole lies beneath the instrument. Together with other calabashes of graded size (small to large), it serves as the instrument's resonating chamber when fully assembled. By striking the sinyeele's wooden keys with a mallet, a range of musical notes are produced by the differently sized calabashes. Nyua Kwadwo (male family head) holds the mallets he uses to play the sinyeele. On each wrist he wears an iron bangle or bracelet with metal jangles. To the left, a family member plays a drum made from a clay pot. Sanwa, 6 August, 1986.
Kitchen area in the center of a courtyard house, with a large wooden mortar visible in the foreground. Women and youngsters are seated near hearths with a variety of serving and cooking vessels made of basketry, metal, calabash and plastic placed around the courtyard. The large metal drum in the background is used for water storage. Makala, June-July, 1990.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Makala
Subjects:
Metal pots; Water barrels; Plastic containers; Headpans
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.
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.
Young men prepare calabash (gourd; chrԑ in Nafaanra) ladles for market. The calabash is split, its pulpy interior removed, and the gourd's interior surface scraped clean before drying. Banda, July, 1982.
Joshua Tandor uses a metal blade and a mallet to split a calabash (chrԑ in Nafaanra) in half. The pulp and seeds are removed and the calabash walls scraped clean before being set aside to dry. The resulting calabash bowls (chrԑgbͻͻ) are sold at market while the seeds are a prized soup ingredient (fnumu). Farmstead on the outskirts of Banda-Ahenkro, August, 1982.
Family members work together at farm to process calabash (gourd; chrԑ in Nafaanra) grown as both a cash crop and a source of household objects and its seeds as a soup ingredient. The men use large knives to split the calabash, after which they will remove its pulpy center and scrape its interior walls. Pictured here are (left to right) Maa Afia (girl), Ama Bosin (woman), O. K. Kwabena Krah, Nduo Wulo Kwadwo and Joshua Tandor. Farm on the outskirts of Banda-Ahenkro, August, 1982.
Typical farm from the 1980s, showing intercropping of yams (finyjie in Nafaanra), cassava (dwa), calabash (chrԑ) or gourd and other crops. Banda, 1982.
Women in the house of Brɛmawuo work together to prepare the main meal of the day. The wives of the house sit on low wooden stools as they prepare food at clustered hearths. Each hearth is made of three laterite stones which hold the cooking pot above the fire. The women use an array of metal cooking vessels, calabash bowls (chrԑgbͻͻ in Nafaanra) and a clay pot (on the front hearth). The clay pot was likely purchased from one of the potting villages on the west of the Banda hills. Beneath the thatched roof behind the women are hearths used during rainy weather. This house was revisited in November 2018 and several of the women pictured here were interviewed about how foodways have changed over the three decades since this photo was taken. Among the women pictured are (L-R) Adwoa Hana (stirring), Yaa Yaa Dankwa (Stirring), Ama Nwotwenwaa (holding a calabash), Abena Kuma, (standing in blue cloth) and Ama Mensah (standing in red cloth). Sabiye, 15 August 1986.
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.
Calabash (gourd) seeds (fnumu in Nafaanra) are a prized ingredient used to prepare a much-valued soup (fnumu chiin; calabash seed soup). The pulp is set aside to decay, making it easier to remove the seeds, which are then cleaned, dried, and cracked by hand to remove the seed coat. Here women on Nduo Wulo Kwadwo's farm outside Banda-Ahenkro prepare to carry seeds home for processing. Outskirts of Banda-Ahenkro, August, 1982.
Nduo Wulo Kwadwo at farm, preparing calabash (gourd) bowls (chrԑgbͻͻ in Nafaanra) for market. After removing the pulp and seeds, he scrapes the gourd's interior surface with a metal blade to clean and thin its walls before drying. Farm on the outskirts of Banda-Ahenkro, August, 1982.
The New Yam Festival (Finjie Lie in Nafaanra) marks the day when people can begin to eat the new crop of yams (finyjie in Nafaanra). Here women gather round a wooden mortar to pound cooked yam tubers to make fufu. Women pound with heavy, round-ended pestles. Working together, they use their pestles to pound and turn the fufu. Pestles hit the mortar's edge as they pound, creating a rhythmic accompaniment to their work. The musical sound of women and their helpers pounding fufu or grain was an integral part of the soundscape of village life in the earlier times. To the rear (right) calabashes (gourds, chrԑ in Nafaanra) wrapped in netting are ready to be sent to market. To the front sits a pottery grinding bowl (left), a calabash (center) and metal cooking pots (right). Ahenkro, 30 August, 1982.
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.
Gbԑԑnlԑԑ Katoo in Gbao celebrates the funeral of the caretaker of a shrine who was understood to have been killed by the 'fetish' because of harm he allegedly planned against family members. In this case, the funeral involves special forms of drumming, dancing and songs as part of a thanksgiving to the shrine. Here, (L-R) Abena Gyakari, Akua Bedu and Akua Asԑmpasa play calabash rattles as Ma Millah (left) and another woman (right) dance. Gbao, 8 August, 1986.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Gbao
Subjects:
Rattles; Gbԑԑnlԑԑ (Gbeenlee) Katoo
Subjects Facet:
Rites and ceremonies; Funeral customs and rites; Gourd, Calabash
Women in the central courtyard of a house compound in Ahenkro prepare the evening meal. A woman seated in the foreground readies dishes while women in the background cook over clustered hearths. A number of low stools are placed amidst a variety of metal, plastic and fired clay containers including buckets and pots. Calabash bowls (chrԑgbͻͻ in Nafaanra) are among the containers being used. A repurposed metal drum (center, back) holds water for household purposes. A raised platform is stacked with firewood brought by the women from farm and stored until needed. Thatch- and metal-roofed rooms surround the courtyard. Ahenkro, July-August, 1986.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects:
Metal pots; Plastic containers; Water barrels; Women's work
Gbԑԑnlԑԑ Katoo in Gbao celebrates the funeral of the caretaker of a shrine who was understood to have been killed by the 'fetish' because of harm he allegedly planned against family members. In this case, the funeral involves special forms of drumming, dancing and songs as part of a thanksgiving to the shrine. On the left, Yaw Ble plays an antelope antler horn while holding an iron gong in his right hand. To the right of women playing calabash rattles (Akua Bedu Wo and Akua Asԑmpasa) Kwame Fnaso (standing) plays the special drums associated with the shrine. Ma Millah (right, blue top) looks on. Gbao, 8 August, 1986.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Gbao
Subjects:
Rattles; Horn; Gbԑԑnlԑԑ (Gbeenlee) Katoo
Subjects Facet:
Drums (musical instrument); Rites and ceremonies; Funeral customs and rites; Gourd, Calabash; Gongs
Gbԑԑnlԑԑ Katoo in Gbao celebrates the funeral of the caretaker of a shrine who was understood to have been killed by the 'fetish' because of harm he allegedly planned against family members. In this case, the funeral involves special forms of drumming, dancing and songs as part of a thanksgiving to the shrine. Here, (left) Yaw Ble wears a strip-woven smock as he plays an antelope antler horn. He holds an iron gong in his right hand. Next to him Kwabena Nika plays a double iron gong and women (L-R: Abena Gyakari, Akua Bedu Wo and Akua Asԑmpasa) play calabash rattles. Amma Num (black head scarf, back right) looks on. Gbao, 8 August, 1986.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Gbao
Subjects:
Gbԑԑnlԑԑ (Gbeenlee) Katoo
Subjects Facet:
Drums (musical instrument); Rites and ceremonies; Funeral customs and rites; Gourd, Calabash; Gongs
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.
Gbԑԑnlԑԑ Katoo in Gbao celebrates the funeral of the caretaker of a shrine who was understood to have been killed by the 'fetish' because of harm he allegedly planned against family members. In this case, the funeral involves special forms of drumming, dancing and songs as part of a thanksgiving to the shrine. Here, left, Kwabena Nika plays a double gong while to his right Abena Gyakari and Ma Millah sing and play calabash rattles. The drums being played are those specifically associated with the shrine. Gbao, 8 August, 1986.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Gbao
Subjects:
Rattles; Gbԑԑnlԑԑ (Gbeenlee) Katoo
Subjects Facet:
Drums (musical instrument); Rites and ceremonies; Funeral customs and rites; Gourd, Calabash; Gongs
A woman carries a load of calabashes (chrԑ in Nafaanra) en route to Kabruno from Ahenkro during the dry season. View looking south from the south edge of Ahenkro on the old road that led directly into Kabruno. December, 1982.
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.
Gbԑԑnlԑԑ Katoo in Gbao celebrates the funeral of the caretaker of a shrine. After falling ill and dying, the man was understood to have been killed by the 'fetish' because of harm he was alleged to be planning against family members. In this case, the funeral involves special forms of drumming, dancing and songs as part of a thanksgiving to the shrine. On the left, Yaw Ble plays an antelope antler horn while holding an iron gong in his right hand. Next (right), Kwabena Nika plays a double iron gong with a wooden hammer. Abena Gyakari, Akua Bedu Wo, and Akua Asԑmpasa (blue top) play calabash rattles. Standing, Kwame Fnaso plays the special drums associated with the shrine. Gbao, 8 August, 1986.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Gbao
Subjects:
Gbԑԑnlԑԑ (Gbeenlee) Katoo; Atumpan drums
Subjects Facet:
Rites and ceremonies; Funeral customs and rites; Gourd, Calabash; Gongs; Drums (musical instrument)
Gbԑԑnlԑԑ Katoo in Gbao celebrates the funeral of the caretaker of a shrine who was understood to have been killed by the 'fetish' because of harm he allegedly planned against family members. In this case, the funeral involves special forms of drumming, dancing and songs as part of a thanksgiving to the shrine. On the left, Yaw Ble plays an antelope antler horn while holding an iron gong in his right hand. Abena Gyakari, Akua Bedu Wo, and Akua Asԑmpasa (blue top) play calabash rattles. Standing, Kwame Fnaso plays the special drums associated with the shrine. Looking on, right, is James Anane. Two photos. Gbao, 8 August, 1986.
Gbԑԑnlԑԑ Katoo in Gbao celebrates the funeral of the caretaker of a shrine who was understood to have been killed by the 'fetish' because of harm he allegedly planned against family members. In this case, the funeral involves special forms of drumming, dancing and songs as part of a thanksgiving to the shrine. Here, Yaw Ble wears a strip-woven smock as he plays an antelope antler horn and dances. To the left, women play calabash rattles and Kwabena Nika plays a double iron gong. Drums that belong to the shrine are played as he dances. Four photos. Gbao, 8 August, 1986.