AKAN CULTURAL SYMBOLS PROJECT
Introduction

ADINMAN

The arts of a people offer an illuminating view of its culture - its thought processes, attitudes, beliefs, and values. The art of a particular culture can reveal ever changing human images and attitudes, so awareness of a people's indigenous art, visual and cultural symbols can become an important medium for cross-cultural understanding.  
"Just as written documents [that utilize phonographs] materialize history in literate communities," as pointed out by Fraser and Cole (1972, p. 313), "so in traditional societies, art forms make the intangible past more real." 
Some of these art forms utilize pictograms and ideograms, and are pregnant with text that symbolizes ideas on several levels of discourse. The focus of this project is to utilize the pictograms and ideograms encoded in the arts of the Akan to decode some aspects of the history, beliefs, social organizations, social relations, and other ideas of the Akan of Ghana. 

Map of Ghana

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       The Akan of Ghana and La Cote d'Ivoire have incorporated the ideographic and pictographic writing systems in their arts in such media as textiles, metal casing, wood carving, and architecture. The Akan's use of pictographs and ideograms reached its most elaborate forms in the regalia of the king's court. As Kyerematen (1964, p. 1) has written 

"the regalia of Ghanaian chiefs have been of special significance in that they have not been merely symbols of the kingly office but have served as the chronicles of early history and the evidence of traditional religion, cosmology and social organization ... [and] it has been customary for the regalia to be paraded whenever the chief appears in state at a national festival or durbar, so that all who see them may read, mark and inwardly digest what they stand for.

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       While the Akan are only one of the major ethnic groups in Ghana, it is largely recognized the widespread diffusion of Akan arts and culture traits into non-Akan areas of the country (Cole and Ross, 1977; Larbi, 1992). Cole and Ross, for example, point out the distinctive sociopolitical and humanistic emphasis of these arts, in which the subjects are people and ideas, not dieties. They suggest that the underlying humanism of Akan arts is most clearly revealed in a recognition of the extent to which artistic motifs correspond with verbal expressions and ideas.
Warren and Andrews (1977) note tht the aesthetic value of an Akan art piece is frequently based on the symbolic aspects of the work. Warren and Andrews also reveal that much Akan symbolism is esoteric knowledge which is only well known by a small number of art specialists and few people associated with the royal court.
The Akan Cultural Symbols Project Online is designed as an educational resource to show the relationships between Akan visual arts and Akan verbal genres. It is also to show some aspects of the rich cultural heritage of the Akan of Ghana. 
       In developing the Akan Symbols Project as educational resource, the goal is to reach as many people as possible with some aspect of the Project. The Internet is one best medium through which this goal of the Project will be achieved. The Project, therefore, comprises this web site - Akan Cultural Symbols Project Online; a series of books and catalogues; photo exhibitions, lectures and workshops; and multi-media CD-ROMs.   

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samples of adrinka cloth