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Thursday, March 19, 2009

WIDOWHOOD RITE AMONG THE KROBO-ODUMASI PEOPLE


 RESEARCH BY MARY ANKRAH
COURSE: ANTHROPOLOGY
DATE: 19-03-009

CHAPTER ONE
WIDOWHOOD RITE AMONG THE KROBO-ODUMASI PEOPLE
        
   The Krobos are people of the Dangme who live in the eastern region of the southeast of Ghana. Their main occupation is farming so they occupy areas in the Accra Plains, the Akwapim Mountains, and the Afram Basin. The land of the Krobos is mainly lowland, but historically, they occupied two major mountains, Krobo Mountain and Akwapim Mountain. Krobo Mountain was initially occupied because it provided a favourable place for settlement for defense against invading enemies, for a burial ground, and it served as a symbol of unity. Later on, the mountain came to be regarded as an ancestral home, visited for an annual blessing. Akwapim Mountain is occupied only when population pressure makes it necessary to increase food production.  
Cultural practices are some of the vital things countries, population and tribes use to identify themselves. Most of these customs and practices portray the cultural heritage and contribute to the dignity of these people. The Krobos have lots of cultural practices such “dipo” (a custom to initiate a teenage girl into womanhood), widowhood rite to mention but a few.  
Widowhood rite is a custom that is performed on a woman upon the death of her husband. Among the Krobo people, this rite is known as “yayi fimi”. It is performed on the assumption that the death man does not end the marital relationship with his wife and so this rite is performed in order to end the relationship. This rite surprisingly still exists in many remote communities in Ghana. Though it is being performed in many parts of the country, the practice differs from society to society. As a result, this research aims at studying the widowhood rites among the Krobos – Odumasi people.

OBJECTIVES
This research aims at the following objectives in order to achieve the purpose of the study. The following are therefore the objectives for the study:
  •   To find out the significance of this rite
  •   To examine the process for performing this rite
  •   To find out whether there are any changes in the performance of this rite
  •   To examine people’s perceptions about this rite and whether it is a practice that need to be abolish or preserved

LIMITATIONS/CHALLENGES OF THE STUDY
Sample size
Selection of an appropriate sample size is vital for the success of this research but it was very difficult to get respondents to interview for my findings especially, for those who have gone through the old system of widowhood rite to share their experiences and views.  And even for the focus group discussion, the number of women I expected for the discussion was eight but getting to the field four of them could not turn up for the discussion. This was a possible challenge on my research.
Language barrier
This was a problem that I faced in the course of my research because I do not understand and speak Krobo.  It was very difficult for me to communicate very well to my interviewees’ so I hired an interpreter to translate the responses and interpret to my interviewees. Although I had an interpreter she sometimes over interpret or translate

CHAPTER TWO
METHODOLOGY
The method used in collecting the research data was based on primary data which was collected through interviews. The data collection method for this research was based on:
Focus group discussion: This method of research was used to interview some widows in the community. It was mainly used to enable me get firsthand information from the widows who have had an experience in the widowhood rite.  The discussion was done in a group and all the women contributed to the discussion. For this reason, the result reflects on the responses of the group and not the individual.
In order to get good information for my data, the interview was based on the study to achieve my objectives using interview guide and was recorded by a secretary and tape recorder was also used. This method of research also gave me more insight into the topic of discussion.  
  •   Sampling size           -   4 women                    
  •   Marital status           -   all unmarried
  •   Sampling frame       -   a day
  •   Ages of women        -   40-60
  •   Location                 -   Krobo-Odumasi             
Individual in-depth interview: This method was used to interview three (3) people from the community who have deeper knowledge about the widowhood rite; to share their individual experiences, views, opinions, and perceptions. An elderly woman who had experience of the old system of this rite, a pastor who minster this rite in his church in the Christian way and an elderly woman from the community were all interviewed individually on the basis of this study in order to achieve my objectives using an interview guide.
CHAPTER THREE
DATA DISCUSSION
Widowhood rite is performed on the assumption that the death man does not end the marital relationship with his wife and so this rite is performed to end the relationship. It is also belief that without this rite the deceased husband would return and have sexual contact with the wife or torment her.
 “Yayi fimi” was performed on a woman immediately after the burial ceremony of her husband. After the burial, the widow was made to go through a one week ritual performance.  She was kept indoors in the room that her late husband was laid during the funeral. The widow was not allowed to sleep on a bed or seat on a chair. She was made to seat and sleep on a mate on the floor. During this period, the elderly sister of her late husband and two other elderly women in the community were appointed to cater for her. She was made to eat one type of food throughout the one week period, that is, “fufu” and palmnut soup with dry fish no meat and incase there was no palmnut, palm oil was used in replaced to prepare the soup. The food was prepared and served by the elderly women appointed to cater for her. But before she eats, she was made to sprinkle some of the food on the floor, which means that she is feeding her late husband first before she consumes her food and after eating she was not allowed to wash her hands so she rubbed them on her legs.
Irrespective of the weather or age, she was bathed everyday at dawn by one of the elderly women with cold water and a plantain stem was beaten to soft like sponge to be used for her bath. Soap was not allowed to be used. After each bath she was given a white stone clay, “meere” to smear on all the parts of her body.
Again, the widow was not allowed to talk to any man during this period because it was believed that if she speaks with any man, the curse that followed her husband to die will be transfer to the man too. Thus, the man will die and her wife will become a widow as well. But if the issue she wants to talk about is very important, a stem grass was put in her mouth before she could talk. She was also made to cover herself throughout the ritual with only her late husband’s kente cloth and a pieces of the kente was torn to tire on her neck like a chain and on her waist like the beads that women wear around their waists. The widow carries this piece of kente around her waist to protect her from spiritually having sexual intercourse with her late husband because it was believed that the dead husband may return and spiritually sleep with the wife and get her pregnant.  Many cases of such had happened.
At the end of the one week, the piece of kente on her waist and neck were removed and the cloth she used in covering herself was given to her to keep for the future to be used to wrap her body when she die.  At this stage the widow’s hairs were shaved with blade and a piece of cloth was tired as a turban around her head and then a black scarf was used to tire her head too.  In fact the widow has a special way of tiring the hair different from other woman in the community in order to identify her as widow.  Before she leaves for her house, she is taken to the bush to fetch fire wood to sell. The reason was to remind her that from hence she has to work hard to fend for herself and the children if any since her husband was not in existence.
After the ritual week, the widow was made to walk bear footed to everywhere; she was not allowed to travel or go any long distance; not allowed to speak or shake hands with any man throughout the one year period and she was mandated to wear black dresses and cloths to show that she is morning her husband. All this was done for a period of one year.
In the time past, it was mandatory for a widow to participate in the widowhood rite because it is a tradition that was laid down from generation to generation. The essence of this rite was to break the spiritual relationship between the dead (husband) and his wife.
Furthermore, the research discovered that although this custom still exists among the Krobos, there have been some changes within the past years due to the advent of Christianity. Gradually, the old process of performing widowhood rite is fading away while many families adopt the Christian process. This process is more prevalent than the old approach. The process involve in performing it in the Christian way is very simple and short compared to the old system of the rite. 
In the Christians manner, the widowhood rite is performed few days after the burial ceremony the widow’s husband. First, three days fasting is declared for the widow and during this three days fasting period at each day (both in the morning and evening), a pastor and some elderly women from the church go to the widow’s house to fellowship and pray with her and the family. There, she is encouraged with the word of God and water is blessed for her to use for bathing.
After the three days fasting, the widow and her family decide when to present the mourning cloth to the church to be blessed. When they do, it is blessed and declared holy to be worn.  Here, the widow wears the mourning cloth for a period of six months and her movement is not restricted.
From the findings of the study, the responses from the widows interviewed revealed that widowhood rite should be abolish in the society because is a form of punishment. It also undermines the rights of women and fosters gender inequality in the society.

CHAPTER FOUR
RECOMMENDATIONS      
 First and foremost, the widowhood rite undermines the fundamental human rights of women because in most cases many women are forced by families and perpetuators to do it  and so the government should enact policies or laws that will protect the rights of widows.
Secondly, pressure groups  and opinion leaders in the community should come together to organize programs to educate the local people especially women more about their basic rights so that they will be alert to fight against any practice that will infringed on their rights.
Thirdly, this rite should be remodel. Changes must be made to fit into the present time. I therefore suggest that the traditional rulers and the people should come together to make some change and remove some practices that are inhuman in the rite. Women should also not be forced to do it.  

CONCLUSION
In totality, one can say that, surely this practice really served the purpose it was meant to serve in time past, however with the presence of modernity and the practice of democracy, this practice seem to go way beyond the abuse of the fundamental human rights of innocent people especially women.  This practice or tradition must be remodel to suit these times, for not all traditions or culture and beliefs are that bad.


CHAPTER FIVE
BIBLIOGRAPHY
Primary Sources
Madam, Agyeman, Comfort. Teacher Krobo-Odumasi: Interview by Researcher, 7 February, 2009
Head Pastor.Presbyterian church of Ghana. Siasi-Odumasi: Interviewed by Researcher, 7 February, 2009


Tuesday, March 3, 2009

THE ROLE OF HISTORICAL SYMBOLS OF GHANA



               
With a glorious history of more than 300,000 years the country of Ghana has been inhabited by different ethnic groups at different times. This invasion has left behind some impressive marks in the evolution of the art and cultural scenario of the country. Evidences indicate that towards the middle of 13th Century,  the Akan Kingdoms rose to prominence in Ghana with their empires being extended even to the far off coastal lands.       

In 1471, the Portuguese traders arrived in  Ghana in search of gold and ivory initially , but later lured Ghana by the trade in ivory and gold. They continued to rule for a considerable period of time and they intermingling with the local cultures and that led to a radical change in cultural spheres of country. 

The Akan kingdom contributed a lot towards the up gradation of the social culture of the country through the construction of a series of historic monuments which are now an important part of its great heritage and serves the dual purpose of being a popular architectural landmark of the country.

SYMBOLS
Symbols are things that represent or stand for something else, especially a material object representing something abstract. They are used to communicate complex knowledge, abstract truths and ideas about life and its meaning. Symbols play an important role in the Ghanaian idea of reality.  An understanding of the Ghanaian patterns of thought and feeling requires an appreciation of the nature and function of symbolism as a medium of communication in the Ghanaian culture.

 In Ghana, there are six major groups of symbols. These six groups are the adinkra symbols, stool symbols, linguistic staff symbols, National symbols religious symbols and literally symbols. Each of the symbolic group has information to convey concerning the way of life of the people at every situation they are presented or the history of the society it represents.
This presentation will discuss four groups of symbols in Ghana  as sources of insight into the Ghanaian orientations to life.
The role of symbols:
  • Symbols  identify us as Ghanaians as well as Africans
  • They promote our Ghanaian cultural heritage
  •  They  communicate and transmit information ideas, attitudes and truths
  • They are unique and therefore enrich our culture and traditions
  • They are trademarks of the country
  • They serve as the pride of the people and the country as a whole 

NATIONAL SYMBOLS IN GHANA
The national symbols of Ghana define the nation as a whole. The Ghanaian national symbols tell about the country’s history besides its rich tradition and culture. These symbols include:
  • the National flag,
  • the Coat of arms and
  • the ceremonial cloth (kente) 
        
 The National Flag of Ghana
The Ghanaian national flag was designed by Mrs. Theodosia Salome Okoh to replace the flag of the United Kingdom of Britain and Ireland after its independence.

    The flag of Ghana

  • The color Red of the national flag of Ghana represents the blood of those who died in the nation's struggle for independence
  • The Golden Yellow stands for the country's mineral wealth
  • The Green symbolizes the country's rich agriculture and forest and
  • The Black star stands for the hope of African’s freedom


Ghana Coat Of Arms
The Coat of Arms was designed by Mr. Amon Kotei, an internationally renowned Ghanaian artist.  The Coat of Arms consists of a shield, divided into four quarters by a green Cross, with Gold edges. Each quarter contains a symbol and all the symbols have their meanings, below are the names and meanings of the symbols beginning from the top left corner.
  • Crossed linguist staff and ceremonial sword on a blue background represents the Local Administration
  •   A heraldic castle on a heraldic sea with a light blue background represents the National Government.
  • Cocoa Tree represents the Agricultural wealth of the Country
  • Mine Shaft represents the mineral wealth of the Country 
  •   Gold Lion represents the continued link between Ghana the Commonwealth
  •  Black star rimmed with Gold standing on the headdress of red, Gold and Green colours represents the lode star of African Freedom 
The coat of arms

Two Eagles, around their necks hang black star medals suspended from a ribbon of red, gold and green colours signifies a protector with strength, very clear and attentive eyes keeping watch over the country.






Kente is a national ceremonial cloth hand-woven on a horizontal treadle loom. Kente cloths come in various colors, sizes and designs and are worn during very important social and religious occasions. kente is more important than just a cloth. It is a visual representation of history, philosophy, ethics, oral literature, moral values, and social code of conduct, religious beliefs, political thought and artistic principles. 

The term kente has its roots in the word kenten which means a basket. The first kente weavers used raffia fibers to weave cloths that looked like kenten (a basket); and thus were referred to as kenten ntoma; meaning basket cloth. 

The original Asante name of the cloth was nsaduaso or nwontoma, meaning "a cloth hand-woven on a loom" and is still used today by Asante’s weavers and elders. However, the term “kente” is the most popularly used today, in and outside Ghana. 

Kente
Another school of thought also suggests that kente was originated from the Volta Region, in a town called Kpetoi. Kente in the ewe perspective means ke (open) and te (press). Kente cloth is also a traditional dress for kings in Ghana and is a symbol of pride in the heritage and culture of the people. The impact of kente has gone beyond the borders of Ghana to other parts of the African Diaspora to Europe and America and it is embraced as a symbol of black identity. Its inspiration can be found in visual art forms as diverse as greeting cards, book covers, clothing and household accessories. 


ADINKIRA SYMBOLS
The Adinkra symbols are believed to have their origin from Gyaman, a former kingdom in today’s Côte D’Ivoire. According to an Asante (Ghana) legend Adinkra was the name of a king of the Gyaman (Nana kofi Adinkra). Adinkra was defeated and captured in a battle by the Asantes for having copied the “Golden Stool”, which represents for them absolute power and tribal unity. He was finally killed and his territory annexed to the kingdom of Asante. The tradition had it that, Nana Adinkra wore patterned cloth, which was interpreted as a way of expressing his sorrow on being taken to Kumasi the capital of Asante. 

The Asante people around the 19th century then took to painting of traditional symbols of the Gyamans onto cloth, a tradition that was well practiced.  Adinkra also means ‘goodbye’ or ‘farewell’ in Twi language of the Akan ethnic group of which Asante is a part. It has therefore been the tradition of the Akan especially the Asante to wear cloths decorated with Adinkra symbols on important occasions especially at funerals of family relations and friends. This is to signify their sorrow and to bid farewell to the deceased.

Today, the Adinkra cloth is not exclusively worn by the Asante people. It is worn by other ethnic groups in Ghana on a variety of social gatherings and festive occasions.  Adinkra symbols are also use these days for house decorations and carves

Significance of the Adinkra Symbols
  • The Adinkra symbols express various themes that relate to the history, beliefs and philosophy of the Asante. They mostly have rich proverbial meaning since proverbs play an important role in the Asante culture. The use of Proverbs is considered as a mark of wisdom. 
  • Other Adinkra symbols depict historical events, human behaviour and attitudes, animal behaviour, plant life forms and shapes of objects.
 

AKO-BEN AND AKOMA NTOASO
Ako-ben: war horn
The sound of ako-ben is a battle cry. 
A call to arms readiness and preparedness 
for action or battle. It also means vigilance
 
Some indigenous Adinkira Symbols
GYE NYAME "except God" symbol of the supremacy
 of God.Omnipotence and immortality of God.
 This unique and beautiful symbol is ubiquitous
 in Ghana. It is most popularly use in decoration,
 a reflection on the deeply religious
 character of the Ghanaian people.



 







 











Akoma ntsoaso: “Extension of heart”  
It stand for understanding, 
agreement or charter unity


Akofena: “Royal/ceremonial sword”. It symbolizes bravery











SANKOFA

“Return and get it” Is a symbol of importance of learning from the past. It is believe that people can always learn from their mistakes or use past experience to build the future so it is not a taboo to return to fetch something good in the past to refer to the future.




 
NKONSONKONSON AND FINHANKRA

Nkonsonnkoson: “Chains links”
It implies human relations or unity
Finhankra: “House”
It represent safety and security in a home
















Dwannimmen: “Ram’s horns”
It is a symbol of humility and strength















Items with Adinkra Symbols



Tattoo

T-Shirt












ITEMS WITH SYMBOLS

Kente Cloth with Gye Nyame symbol

Company’s logos
    



LINGUISTIC STAFF SYMBOLS
The linguistic staff is the symbol of authority which the linguist carries. The linguist (okyeame) is the king's counselor, confidant, orator and diplomat. And at public functions, the okyeame carries a staff (or mace) of authority.
               
The staff is usually carved from wood and is usually coated with gold colour. Usually the top part of the staff is a symbol designed to communicate specific messages either about the status and authority of the okyeame or the message he, as a cultural attaché, is authorized to convey on behalf of the king at specific public functions.


OKYEEA POMA
This staffs illustrate proverbs that assert the ruler's legitimacy and capabilities or praise the linguist's experience and sagacity.The staff is surmounted by two human figures nearby a large web, with a spider positioned at its center. It refers to the saying, "No one goes to the house of the spider Ananse to teach him wisdom." Ananse the spider is wise and it is believed to have brought wisdom to the Akan. Since Ananse is the ultimate repository of erudition, nobody challenged him in that domain.
SANKOFA
“RETURN FOR IT” for it A symbol of
 importance of learning from the past














OBAKOFOO MMU OMAN - ONE PERSON DOES NOT RULE A NATION
It is a symbol of participatory, democracy and warning against dictatorial rule.The Akan belief is that democratic rule requires consultation, open discussion, consensus building, and coalition formation.The use of the Queen mother as a co-ruler and the Council of state or council of elders are examples of Akan forms of participatory democracy depicted by this symbol


 STOOL SYMBOLS
The stool is conceived as a female principle and its seat part is shaped like a curve and represents the warm embrace of a mother welcoming her beloved child home from a journey or from the day's labors. The curved part of the stool is called atuu, which is a word used to embrace a person arriving from a journey. 

The middle portion of the stool is carved as a symbolic representation of an object such as an elephant, a sankofa bird, or of an abstract idea such as "Gye Nyame". The stool usually derives its name from the symbol that is used in its middle portion, which is called in Ewe titina (middle) or nufiala (teacher), because the particular message of any stool is found in its middle portion.
               
The message of the Wisdom Stool may be used as an illustration. It is rendered as: "The present generation cannot lay aside easily the wisdom of the past; and they can only do this if they have something better to replace it." The stool is therefore used as a seat as well as an aid to teach something important. 


 
 THE SEAT OF STATE OF GHANA
This Seat of State takes the form of the Akan stool. It is used by the President of Ghana. It was first used in 1960 when Ghana became a republic. The first President to use this Seat of State was Osagyefo Dr. Kwame Nkrumah. It was designed by Kofi Antubam, a renowned Ghanaian artist.It incorporates several symbols.

 





 ESONO   - ELEPHANT
Symbol of authority, power, protection, and greatness.

NKABOM ADWA - UNITY STOOL

Symbol of unity, strength in unity, and national integration
From the expression: Nkabom ma yetumi guina ho, mpaapaemu ma yehwe ase.

Literal translation: United we stand, divided we fall






CONCLUSION
Symbols do adequately represent a certain idea or discipline, but have beauty as well. Beauty itself is a concept which is often put on the side of visual, culture   and literature.  Symbols are unique and therefore play a significant role in our Ghanaian society. They represent the true nature and heritage of the Ghanaian society