Elder women of Boase who spearheaded a performance of songs and dances associated with Manaa Ndiom (puberty), Bijam (wedding) and funeral rites as practiced in Boase. The event was organized by the chief and elders of Boase and filmed by the Banda Heritage Local Committee. L-R: Ama Gyakari, Adwoa Dankuli, Ama Lopom, Ama Nimsaa, Afua Gyakari, Yaa Anto, Afua Nsiah. Boase, 11 November, 2018.
Calabash drums accompany songs sung by Nafana women during the celebration of puberty (Manaa Ndiom) and marriage (Bijam) rites. These drums are played exclusively by women. The drums are made by filling a large hollowed-out calabash or gourd (chrɛ in Nafaanra) with water. A smaller calabash bowl (chrɛgbɔɔ in Nafaanra) floating upright in the water provides the surface on which the women drum. The small calabash ladles resting in the water are used to beat the up-turned floating calabash bowls and the rim of the large calabash. Visible at the bottom of the larger calabash drum are maize (bleju in Nafaanra) kernels tossed into the drum by passing dancers. Among the kernels are several pesewa coins also tossed in by dancers. Two views. Boase, 11 November, 2018.
At an event showcasing the songs and dances associated with puberty (Manaa Ndiom) and wedding (Bijam) rites, two Boase women sit on low wooden stools as they play drums made from hollowed-out calabashes or gourds (chrɛ in Nafaanra). The large lower calabashes are supported by another container (a large tomato paste tin on the left and a plastic bowl on the right). A smaller calabash bowl (chrɛgbɔɔ in Nafaanra) floats upright in water contained within the larger calabash. The women create a rhythm by tapping the calabash ladles held in their right hands on the surface of the floating calabash and the rim of the larger calabash bowl. The kernels of maize (corn, or bleju in Nafaanra) clustered at the base of the larger calabash in the foreground have been tossed into the drum by dancers as they pass by. Another woman, seated upper left, holds a small calabash bowl filled with maize kernels which dancers will use as offerings. Boase, 11 November, 2018.
At an event showcasing the songs and dances associated with puberty (Manaa Ndiom) and wedding (Bijam) rites, two Boase women play drums made from hollowed-out calabashes or gourds (chrɛ in Nafaanra). The large lower calabashes are supported by another container (a large tomato paste tin on the left and a plastic bowl on the right). A smaller calabash bowl (chrɛgbɔɔ in Nafaanra) floats upright in water contained within the larger calabash. The women create a rhythm by tapping the calabash ladles held in their right hands on the surface of the floating calabash and the rim of the larger calabash bowl. Women behind the drummers clap in accompaniment to the song. Boase, 11 November, 2018.
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.
Calabash drums accompany songs sung by Nafana women during the celebration of puberty (Manaa Ndiom) and marriage (Bijam) rites. These drums are played exclusively by women. The drums are made by filling a large hollowed-out calabash or gourd (chrɛ in Nafaanra) with water. A smaller calabash bowl (chrɛgbɔɔ in Nafaanra) floating upright in the water provides the surface on which the women drum. This short video shows the technique by which women strike the floating calabash and the rim of the large calabash with small calabash ladles held in their right hands. Visible at the bottom of the larger calabash drum are maize (bleju in Nafaanra) kernels tossed into the drum by passing dancers. The women sing as they drum. Boase, 11 November, 2018. Length: .23 minutes.
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.
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.
Young girls dress in nubility attire for the annual Children's Day sponsored by local schools. They wear snail shell necklaces and have applied white paint to their face, chest and midriff. This attire is associated with the nubility ceremonies of groups from southern Ghana and is adopted here as a generic form of ritual costume. L-R: Yaa Naa (in profile); Akosua Kojie (yellow head scarf); Naomi (back row); Isha Brimah (vertical stripes); Atta Forkour (center front); Yaa Manu (behind); Florence (behind); Akua Yaa Wale (red & black head scarf); Shallot Vasco (far right). Ahenkro, 23 June, 2009.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects:
Banda Cultural Centre; Children's day; Nubility rites
Oral history of Pejomako Katoo (house), Ahenkro, describes the family's role as a subfamily of the royal house (Sie Lͻngͻ Katoo) in charge of the conduct of females in the royal family. The story of how the family came to hold this role is recounted and a list of former male and female heads of family is provided. To cite: Stahl, Ann, and James Anane. 2011. Pejomako Katoo, Banda-Ahenkro. In, "Family Histories from the Banda Traditional Area, Brong-Ahafo Region, Ghana, 1986," pg. 33. Brochure circulated 1989, reissued with photos and additional histories in 2011. 1 page.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects:
Manaa Ndiom; Animal sacrifices; Family history; Bijam; Pejomako Katoo
Subjects Facet:
Banda (Brong-Ahafo Region, Ghana); Rites and ceremonies; Nafana (African people); Oral history; Puberty rites; Marriage customs and rites