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.
Family history interview with Elders of Loobia Katoo dressed in customary attire for the Yualie Festival celebrated at the harvest time for sorghum and millet. Loobia Katoo supplies the custodian of the Jafun shrine to which offerings are made during the Yualie Festival. The family brought the shrine to Banda from Senyon (Northern Region) during the time of Dabla, paramount chief of Banda. In the background (left) calabash (gourd) bowls (chrԑgbͻͻ in Nafaanra) are set out to dry. Left: custodian of the Jafun shrine, Kwadwo Kamiekunu (Jafun Bͻͻnyiifun); right: Amman Nyiimor (female head), 24 July, 1986.
A man holds up for view a male and female pair of carved wooden baboon (Mbong in Ligbi) masks during a 2019 interview with Ligbi elders in Bongase. The male mask (left) has a reflective silver cloth attached. A pair of bush cow (Siginjuru-ayna in Ligbi) masks lays on the table behind. Masks such as these have been used in masquerade dances celebrating special occasions like weddings and public festivals, including the end of Ramadan, the annual month-long period of Muslim fasting. Scholars refer to this masking tradition as "Do," while locally it is termed "Bedu." These same masks were photographed in 1967 by René A. Bravmann during the course of doctoral dissertation fieldwork. For additional details, see Bravmann, René A. (1974) "Islam and Tribal Art in West Africa" (Cambridge University Press), pp. 147-177. The baboon masks pictured here were worn and photographed in 1995 when Ligbi people from Bongase brought the masquerade to the commissioning celebration for the Banda Cultural Centre. A June 2019 performance of Mbong at a Banda Heritage Event can be viewed through a link below. Bongase, 11 June, 2019.
Early in his career, art historian Roy Sieber toured Ghana studying the country's indigenous art forms (Interview with Roy Sieber, "African Arts", Vol. 25, no. 4, Oct. 1992, pg. 48). Several years later Sieber's student René Bravmann returned to west central Ghana to study the region's masking traditions. This photo of masks taken by Roy Sieber is Included in René Bravmann's photo archives with the label "Do masks at Banda, R. Sieber photo, 1960s." Masks like these are used in masquerade dances to celebrate special occasions including weddings and public festivals such as the end of Ramadan, the Muslim month of fasting. In his 1974 book "Islam and Tribal Art in West Africa" (Cambridge University Press, pg. 166), René Bravmann notes that at the time of his 1967 fieldwork there were in the "Ligbi village of Bungazi [Bongase] six Do [masks]... Interestingly enough, only three years prior to my fieldwork [1964], Roy Sieber recorded twelve Do face masks at Bungazi. My inquiries in 1967 revealed that five of the masks had been stolen and a sixth had deteriorated to the point where it was no longer usable." The masks pictured here (1964) may be among the Bongase masks that were stolen or deteriorated by the time of Bravmann's 1967 visit. Bongase, 1964.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Bongase
Subjects:
Do
Subjects Facet:
Wood carvings; Rites and ceremonies; Dance; Islam; Masquerades; Marriage customs and rites; Regalia; Masks
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 plays an antelope antler horn while holding an iron gong in his right hand. He wears a strip-woven smock to which amulets enclosed in leather packets are sewn. Another protective amulet is sewn to the front of his hat. To the right, Kwabena Nika plays a double iron gong with a wooden mallet. Afua Tikya and Abena Donkor (center) look on. Two photos. Gbao, 8 August, 1986.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Gbao
Subjects:
Amulets; Gbԑԑnlԑԑ (Gbeenlee) Katoo; Horn
Subjects Facet:
Gongs; Funeral customs and rites; West African strip weaving; Rites and ceremonies
A man holds up for view two carved wooden masks during a 2019 interview with Ligbi elders in Bongase. These masks are used in masquerade dances to celebrate special occasions like weddings and public festivals such as the end of Ramadan, the Muslim month of fasting. The mask on the left (13.25 inches in height) is a thrush (Kokogyinaka in Ligbi). The mask on the right (9.75 inches in length) is a "beautiful Gonja woman" (Gbanyamuso in Ligbi). Their features are highlighted by red, blue and white pigment. The Gbanyamuso mask is also adorned by a red hair band. A baboon mask (Mbong in Ligbi) lays on the table to the right. René Bravmann, an art historian, photographed these masks in 1967 during doctoral dissertation fieldwork. For additional details, see Bravmann, René A. (1974) "Islam and Tribal Art in West Africa" (Cambridge University Press), pp. 88-95. Scholars refer to this masking tradition as "Do," while locally it is termed "Bedu." A June 2019 performance of Gbanyamuso (center) at a Banda Heritage Event can be viewed through a link below. Bongase, 11 June, 2019.
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 man holds up for view a female (left) and male (right) pair of carved wooden bush cow (Siginjuru-ayna in Ligbi) masks during a 2019 interview with Ligbi elders in Bongase. Masks such as these have been used in masquerade dances to celebrate special occasions like weddings and public festivals including the end of Ramadan, the Muslim month of fasting. The masks' features are highlighted by red, blue and white pigment. René A. Bravmann, an art historian, photographed the male bush cow mask in 1967 during doctoral dissertation fieldwork. For additional details, see Bravmann, René A. (1974) "Islam and Tribal Art in West Africa" (Cambridge University Press), pp. 147-177. Scholars refer to this masking tradition as "Do," while locally it is termed "Bedu." Bongase,11 June, 2019.
Kofi Gyasi, Gyasehene, offers libations to the ancestors at the Ahenkro palace. The occasion was prompted by the return of Banda Research Project members, seeking to continue archaeological research. Ahenkro palace, 10 July, 2009. Length: .49 minutes.
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.
Banda Paramount Chief Tolԑԑ Kofi Dwuru III and elders pause as they process down Ahenkro's main street on the day of the New Yam Festival (Finyjie Lie in Nafaanra). They stand under the paramount chief's umbrella topped with a blackened carved wooden figure. L-R: Kwame Gyani; Kofi Gyase (Gyasehene); Kupo Aboateaa (Bamuhene); Tolԑԑ Kofi Dwuru III (Omanhene); Kwadwo Gbao; Senyono Kyeame; Fordjour Major. Ahenkro, 30 August, 1982.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects:
Elders; Gyasehene; New Yam Festival; Umbrella; Omanhene
Subjects Facet:
Chiefs; Rites and ceremonies; Royal regalia; Wood carvings
An Elder (Kwame Ble) pours libations on the day of the New Yam Festival (Finyjie Lie in Nafaanra) at the Ahenkro palace. Front, L-R: Senyono ; Kwame Ble; Kwabena Kuma. Ahenkro, 30 August, 1982.
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.
At a performance showcasing the rituals associated with Nafana wedding rites (Bijam) organized by the chief and female elders of Boase, a weathered calabash or gourd bowl (chrɛgbɔɔ in Nafaanra) holds money (Ghanaian cedis) offered by well-wishers. A calabash lid rests on the ground nearby, its side mended with stitches. Boase, 11 November, 2018.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Boase
Subjects:
Cedis; Bijam; Money
Subjects Facet:
Rites and ceremonies; Gourd, Calabash; Marriage customs and rites
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.
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
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.
Women of Sielͻngͻ Katoo (royal house) relax on the courtyard steps of the palace on the day of the New Yam Festival (Finyjie Lie in Nafaanra). L-R: Ama Nyeni; Yaa Krah; Akua Kuma; Yaa Kuma; Akua Kyenkyenku; Kosua Dooko. Ahenkro, 28 July, 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
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.
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
Palace drummers play an ensemble of '"fontomfrum" (back), "atumpan" (center) and other drums as a woman (Kabrenga) dances at the Ahenkro palace during the celebration of the New Yam Festival (Finyjie Lie in Nafaanra). Drummer in orange shirt, center, Kofi Boakye. Man standing, far right over drums, Kwasi Peter. Ahenkro, 28 July, 1986.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects:
Palace; Atumpan drum; New Yam Festival; Fontomfrom drum
Subjects Facet:
Drums (musical instrument); Rites and ceremonies; Dance
Elders gathered at the Ahenkro palace on the day of the New Yam Festival (Finyjie Lie in Nafaanra). Back left, Mose Krontihene; Front, L-R: Kwadwo Kyeama (Linguist); Kupo Aboateaa (Bamuhene); Kofi Gyasi (Gyasehene); Tolԑԑ Kofi Dwuru III (Omanhene); Senyono Kyeame; Unknown man in kente cloth. Child seated in front, Kwasi K. Man in blue cloth to right front, Kwame Gbanari. Ahenkro, 30 August, 1982.
Elders gathered at the Ahenkro palace on the day of the New Yam Festival (Finyjie Lie in Nafaanra). Seated, front row, third from left, Kwabena Dibi. Sixth from left, Kofi Gyasi (Gyasehene); Tolԑԑ Kofi Dwuru III (Omanhene); Kupo Aboateaa (Bamuhene). Seated, far right on chair, Yaw Fori (Swordbearer). Ahenkro, 28 July, 1986.
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.
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
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.
Kwasi Millah (center, brown cloth) 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, 2000.
Kwasi Millah (left), aided by Daniel Kofi Nakpah (to his right, holding a bottle of drink), offers libations to Kuulo ancestors at the archaeological site of Kuulo Kataa. Left to right, archaeological team members Enoch Mensah, __, and Yaw Frimpong look on. Kuulo Kataa, July, 2000.
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.
Oral history of Gbԑԑnlԑԑ [Gbeenlee] Katoo (house), Gbao. This was the first family history recorded as part of the Banda Research Project. The history describes how the Gbԑԑnlԑԑ family came to live in the Banda area, relating also the history of the Brafour segment of the family who live in Ahenkro (Kafͻnͻ/Kafono Katoo). It relays how the Jakari Fetish was brought to the area. Former male and female heads of family are listed. To cite: Stahl, Ann, and James Anane. 2011. Gbɛɛnlɛɛ Katoo, Gbau [Gbao]. In, "Family Histories from the Banda Traditional Area, Brong-Ahafo Region, Ghana, 1986," pp. 11-13. Brochure circulated 1989, reissued with photos and additional histories in 2011. 4 pages.
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.
As Daniel Kofi Nakpah holds a goat which will be offered to the shrine, Kwasi Millah (center, brown cloth) pours libations at the base of Lelɛɛ Wurache's tree while others look on. The occasion was prompted by the request of the Banda Research Project group to conduct archaeological excavations at Kuulo Kataa. Outskirts of Dompofie, June, 2000.
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
Oral history of Habaa Katoo (house), Ahenkro, describes how the family came to live in the Banda area and their movements in relation to wars between Banda and Asante. Also described are negotiations to settle a dispute with Kulango people and the history of how the family acquired the Kete dance from Kulango people. A list of former male and female heads of family is provided. To cite: Stahl, Ann, and James Anane. 2011. Habaa Katoo, Banda-Ahenkro. In, "Family Histories from the Banda Traditional Area, Brong-Ahafo Region, Ghana, 1986," pg. 16. Brochure circulated 1989, reissued with photos and additional histories in 2011. 4 pages.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects:
Kakala; Kete; Latolo; Bui ; Family history; Migration; Habaa Katoo
Subjects Facet:
Banda (Brong-Ahafo Region, Ghana); Music; Rites and ceremonies; Gold; Wars; Oral history; Ashanti; Gongs; Kulango (African people); Nafana (African people)
Creator:
Stahl, Ann B. ; Anane, James
Contributors:
Dr. Ann B. Stahl; Afua Kumah; Abraham Forjour; Adoa Tami; Enoch Mensah
Boys dress in traditional attire for the annual Children's Day festivities sponsored by local schools. Seated in front is an adolescent dressed as a chief. He and the two boys standing behind him (center and right) wear cloths made by strip-weaving. A boy standing left holds a linguist staff. Ahenkro, 23 June, 2009.
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 Loobia Katoo (house), Ahenkro, describes how a powerful shrine called Jafun came to the Banda area from Senyon, in Gonjaland. The shrine is associated with the sorghum harvest festival and the associated rites are summarized. The list of former keepers of the shrine is included. To cite: Stahl, Ann, and James Anane. 2011. Loobia Katoo, Banda-Ahenkro. In, "Family Histories from the Banda Traditional Area, Brong-Ahafo Region, Ghana, 1986," pp. 29-30. Brochure circulated 1989, reissued with photos and additional histories in 2011. 2 pages.
Paramount chief Tolԑԑ Kofi Dwuru III (Omanhene) dances to the rhythms of fontomfrum and atumpan (in Twi) drums at the celebration of the New Yam Festival (Finyjie Lie in Nafaanra) in the Ahenkro palace. He wears a blue-and-white strip woven cloth of the type previously made from locally spun and dyed cotton thread. Two photos. Ahenkro, 28 July, 1986.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Ahenkro
Subjects:
New Yam Festival; Palace; Fontomfrom drums; Atumpan drums
Subjects Facet:
Drums (musical instrument); Chiefs; Dance; Music; Rites and ceremonies
Oral history of Kofi Krԑma [Krema] Katoo (house)--a subhouse of Gbaha Katoo from Makala--describes how they came to live in Ahenkro and the shrines for which the family had responsibility. The animal sacrifices offered to each shrine are described, as are powers of the Nyi and Tie "festishes." Former male and female heads of family are listed. To cite: Stahl, Ann, and James Anane. 2011. Kofi Krɛma Katoo, Banda-Ahenkro. In, "Family Histories from the Banda Traditional Area, Brong-Ahafo Region, Ghana, 1986," pp. 25-26. Brochure circulated 1989, reissued with photos and additional histories in 2011. 2 pages.
Oral history of Kuulo Katoo (house), Dompofie, describes how the ancestress Wurache came to the area from the sky. The history of how other groups came to live alongside Wurache and her family is summarized. The role of the family in the installation of the chief and their postion as earth priest is described. A list of former male and female heads of family is included. To cite: Stahl, Ann, and James Anane. 2011. Kuulo Katoo, Dumpofie [Dompofie]. In, "Family Histories from the Banda Traditional Area, Brong-Ahafo Region, Ghana, 1986," pp. 27-28. Brochure circulated 1989, reissued with photos and additional histories in 2011. 3 pages.
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
Young girls dressed in the attire for Manaa Ndiom (puberty) and Bijam (wedding) rites as part of a cultural performance in Boase. The event was organized by the chief and elders of Boase and filmed by the Banda Heritage Local Committee. Front, L-R: ___, ____. Rear, L-R: ___, ___, ___. Boase, 11 Nov, 2018.
Chief and Elders of Boase on the day of a cultural performance organized to showcase the Manaa Ndiom, Bijam and funeral songs and dances previously practiced in the community. Front, L-R: ___, ___, Boase chief Tolԑԑ Ligbi Wulotei, ____. Boase, 11 Nov, 2018.
This short video made from still images and video footage shows calabash processing and use in the Banda area, Ghana. Original images and footage are available in the Banda Through Time Repository. Banda, 1982-2019. Length: 5:02 minutes.
A video made from a photo and original cassette tape audio recording of a 1986 family history interview with Elders of Kuulo Katoo in Dompofie, Banda. Female head of family, Lelɛɛ Afua Fofie (age, c. 90 yrs), shared in the Nafaanra language the history of Wurache, female ancestress of Kuulo Katoo. The interview was conducted by Dr. Ann Stahl and James Anane as part of a 1986 research project on family histories of the Banda area. Also participating in the interview were: Dompofie Odikro and male head of family, Tolɛɛ Kwadwo Fordjour (age, c. 95 yrs), Kwame Broma (age, c. 80 yrs), Kwasi Donkor (age, c. 70 yrs), Kwasi Millah (age, 60 yrs), Kwabena Mensah (age, 60 yrs), Kwame Dɔmeabra (age, 55 yrs) and Emmanuel Dwira (age, 33 yrs). The original audio has been edited to exclude (poorly audible) translations of Nafaanra dialogue into English. The original cassette recording ended prior to the conclusion of the interview, and thus does not capture the full exchange in Nafaanra. An English translation of the interview and the still image of Dompofie elders are available in the Banda Through Time repository (links below). Dompofie, 6 August, 1986. Length: 15.38 minutes.