Adinkra
Adinkra
Adinkra
By Nana S. Achampong
1
2
3
Also by the Nana S. Achampong
- .F.l.o.a.t.i.n.g. (poems)
- venusplazadotcom (novel)
4
Acknowledgement
5
Dedications
6
Verse in this book
Adinkra I 012
Patience 014
Ashanti 029
Antiquity 031
Tough 069
Life 071
7
Art 102
To be king 179
Call me 196
Love 215
Adinkra II 243
8
adinkra (ī'kŏn')-cepts:
9
The cover:
Front cover design by Carolyn Jamie Aversa
Back cover picture: ‘Self Portrait 102’ by Nana S. Achampong
All pictures, except where otherwise noted are by courtesy of
www.welltempered.net/adinkra/htmls/tattoos.htm
Design on Page 9: Ashanti gold weight.
All rights reserved. No part of this book may be reproduced or transmitted in any form or by
any means, electronic or mechanical, including photocopying, recording, or any information
storage and retrieval system, without permission in writing from the Publishers.
Permissions: Achampong
Achampong & Sons
Orders: Achampong
Achampong & Sons
Pikesvile
Baltimore, Maryland 21208
www.lulu.com/achampong
10
11
Adinkra I
12
A collection of six adinkra symbols that, together, reads “God
gives me patience”.
13
Patience
One, thousand,
Two, thousand, Three thousand…
Four, thousand,
Five, thousand, Six, thousand…
Seven, thousand,
Eight, thousand, Nine, thousand…
14
15
Contents
1. introduction 018
2. ikoncepts in recent history
033
3. developments in the diaspora
054
4. ikoncepts of the Ashanti Akan
073
5. categories of ikoncepts085
6. some adinkra ikoncepts 104
7. millennium ikoncepts 217
8. bibliography 245
16
17
introduction
M
y story of adinkra symbols is not
an academic one. It is the story
of Akan life and sensibilities and
how they developed these symbols. So I
guess the best place to start is the
history of Akans. The word “Akan” is
derived from the word “kann”, which
means “clean”, “unadulterated”, or “full
of light” in accordance to their belief that
they are descendants of God. They are a
linguistic group that includes the
Akuapem, the Akyem, the Ashanti, the
Baoulé, the Agni, the Brong, the Fante,
the Assin, the Denyira, the Akwamu, the Kwahu,
18
the Buem and the Nzema of Ghana and La Côte
d'Ivoire, with branches including the Abron and the
Afutu.
19
one hundred and fifty years – between 1482 and
1632 - these Akans purchased close to 12,000 slaves
with their gold and put them to work on deep-level
mines and vast farm lands. This slave economy
helped to transform them into an industrialized
nation which occasioned the need for the Ashanti
component to consolidate operations into a
centralized kingdom.
20
By late 17th century, the Ashantis had become
the most powerful kingdom south of the Sahara with
three million subjects dwelling across 100,000
square miles. With slave labor, they developed the
state by investing in distilling and weaving
industries, introducing high arts and crafts, and
establishing a civil service structure and a
governmental system that would make any present
day bureaucrat cry with envy. Their main trade in
gold and ivory had been diversified to include
rounding up and selling other tribes for the North
American market. In all, it is estimated that they
were heavily involved in the trading of close to 40
million active citizens across the Atlantic.
21
the lost wax method of casting. Since Akan verbal
imagery is almost always linked to visual symbolism
in the employment of tales, satire and proverbs,
these gold weights are designed to contain social
messages that, like other “Akan art forms, have
provided a constantly evolving insight into the Akan
22
whom anansesem (or nyankomsem) folk tales
revolve. These tales, which literally mean “the spider
stories”, or "traveler's tales", were employed to
convey moral or controversial messages to society
without any fear of reprisals from the powers that
be.
23
one may naturally, subconsciously, absorb their
presence and their quiet impact.
24
brown silk kuntunkuni dyed fabric. The symbols used
determine the name of the cloth line.
25
there were some seven designs in connection with
the adorning of ceremonial wear in honor of the
dead. The first four were designs pertaining to the
tools proper used to imprint the textiles including
both variations of the adinkrahene, nhwimu and the
duafe; and then there were the ani bere a enso gya,
sunsum and owuo atwedie symbols which directly
conveyed the circumstances of the bereaved or their
family background. Each of these motifs, as are most
of the newer additions, may be attributed to popular
proverbs and maxims, historical events, and
anansesem, particular attitudes or behavior related
to depicted figures, or concepts uniquely related to
abstract forms and shapes of inanimate and man-
made objects. These are then graphically rendered in
stylized geometric shapes.
26
Experience (especially through journeying) is
more useful than age, so the elders say. Literally,
the expression “akyinakyin sen anyinanyin”, means
“one matures better through traveling than growing
or aging”. Which is why I hope you join me on this
journey through the peculiar concept ikons of the
Ashanti Akan which I have coined ikoncepts (from
“ikon”, meaning “a picture, image, or other
representation” and “concept” meaning “a directly
conceived or intuited object of thought”).
27
28
Ashanti
Drumbeat!
Graceful adowa dancers
Valiant asafo warriors
Resplendent funeral processions
And elaborate naming ceremonies.
Drumbeat!
Unifying Golden stools,
Feisty royal maidens
Ancient authentic dynasties
And shameless slave merchants.
Drumbeat!
Swarming Kejetia markets
Opulent Manhyia Palaces
The solemn pacts of Okomfo Anokye
And placid Lake Bosomtwi.
29
Some adinkra symbols.
30
Antiquity
31
32
ikoncepts in
recent history
T
he Old English verb "to write" is
wrītan, from a Germanic root *writ-
that derives from an Indo-European
root *wreid- meaning "to cut, scratch,
tear, sketch an outline." According to
John Henrik Clarke of the Africana
Library, “writing is a means by which
people record, objectify, and organize
their activities and thoughts through
images and graphs. It is also a means to
inscribe
33
The ancient Africans in Egypt wrote using hieroglyphics which
represented everyday objects. Later these came to represent
spoken sounds.
34
In the case of the indigenous tribes of present
day Liberia and Sierra Leone, some of whom were
shipped to North America as the Gullah people of
South Carolina and Georgia, this is achieved via the
Mande language (of the Niger-Congo group spoken
by about 150,000) of Vai (or Gallinas), considered
one of the existing sub-Saharan African languages to
have a writing system that is not based on the Latin
script. It is a syllabary the promotion of which is
credited to the Liberian native of Jondu, Momolu
Dualu Bukele, from the early 1800s. In harmony with
West African tradition, the Vai writing system is
based on the Mande mora (unit of measuring
quantity in time, space or mass). Since 1962, the
Standardization Committee at the University of
Liberia has standardized the syllabary (see script on
next page).
35
36
The font used in the phonetic Vai syllabary on the preceding pages
was created by Jason Glavy.
37
and emblems convey a complex but deliberate and
palpable pool of emotions and instructions that are
aimed at affecting the beholder. For example, the
pentacle, which is a pentagram within a circle
(representing the integration of body and spirit, and
the mastery of the four elements) is probably the
most recognizable symbol of Wicca, and is used in
numerous rituals. The pentacle (below) is often worn
as a symbol of recognition amongst practitioners,
especially those who practice a code of secrecy.
38
the religion of Kabbalah, and a whole variety of
cultures recognize its protective attributes.
39
performing under this adopted stylized alchemic
symbol (above) resembling the planetary symbols of
Mars and Venus. This was a personal symbol that
allowed the artist to get around an unfair, stifling
contract.
40
the solstices. The Celtic cross, a symbol of the Celtic
Christian Church, is borrowed from this pre-Christian
emblem. The stylized Lauburu (below), a traditional
Basque emblem, is a form of the solar cross.
41
heat, and masculine force) represent the two primal
cosmic forces in the universe. Together, they
represent equilibrium in the universe.
42
right eye of the Egyptian Falcon God Horus. This was
believed to have healing and protective powers. The
Masonic all-seeing Eye of Providence symbol found
on the United States dollar bill, is descended from
this symbol (immediately below).
43
bars of the lower tau cross with the circle (sun)
represent fertility, creative power and rebirth. The
ankh was adopted by Coptic Christians to symbolize
the resurrection of Christ and “the heavenly
marriage.”
44
In the next chapter, we shall delve more into
the concept of Haiti’s Lwa and their vévé.
45
extant Ethiopic Writing System, thereby
suggesting a link between the two writing
systems in the Abbay-Atbara river complex.
One can see the link through systematic
compilation, categorization, analysis, and
interpretation of the various forms of writings in
Africa. Writing systems are not only facilitators
of speech and communication, they are also
tools in the creation and utilization of
knowledge systems, such as philosophy,
astronomy, and numbers.”
46
Adinkra symbols are no different from those
above. The symbols and their meanings are still used
to convey messages through a wide range of
products - including clothing accessories, interior
decoration, book covers, packages, and business
logos – based on systems passed on from old,
replete with rich cultural and informational
references. On the following pages are some of the
original, official symbols that form the basis of the
entire tradition.
47
48
Vèvè [stanza 3]
From the book The Arrivants
By Edward Kamau Brathwaite,
[1973]
So on this ground,
write;
within the sound
of this white limestone Vèvè,
talk
of the empty roads,
vessels of your head,
claypots, shards, ruins.
walk
the hooves will come, welcomed
by drumbeats, into your ridden head;
and the horse, cheval of the dead,
charade of la mort,
49
tongued with the wind
possession of the fire
possession of the dust
sundered from your bone
plundered from my breast
on this ground
on this broken ground.
50
Cloth with Adinkra symbols.
51
Jewel by the sea
52
53
developments
in the diaspora
T
he transatlantic slave trade
featuring West African cargo was
mainly created, managed and
undertaken by small bands of Ashanti,
Funj, Malinke and Fulani guerrillas under
their chiefs’ complicity, who created
subterfuges to capture close to 40 million
members of other tribes just so they
could be sold to European merchants in
exchange for more guns, sugar, rum,
mirrors and beads. Usually, there would
54
be no warning and the poor captives would have to
endure the ordeal with nothing familiar other than
the inbred rites and observances and the knowledge
of the ikoncepts passed to them from old. These
mixed tribes and their sundry traditional deities
mainly from the Fon, the Ewe, the Ga, the Yoruba,
the Igbo and the Bakongo peoples of West Africa,
have, over the years, been flavored with the French
variant of Roman Catholicism and have evolved and
blossomed into hundreds of Lwa that sustain
religions such as Haiti’s Vodou, the Cuban Regla de
Ocha, the Brazilian Candomblè and the Trinidadian
Shango.
55
resistance. The same goes for the Black Panther
defiant folded fist.
56
Vèvè hagiographa of Haiti
57
Legba Ati-bon
In Haiti, this is the first spirit called at all
ceremonies. This gatekeeper stands at the
"crossroads" where he allows for the interaction
between the physical world and the metaphysical
world. He is the crafty master linguist, who appears
aged and feeble but displays the acumen of the most
powerful, not unlike the famed Kwaku Ananse in
Akan folklore.
58
Agoueh Aroyo
This is a variation of the Yoruba Olokun which
represent the depths of the oceans. In this case, it is
perhaps in reference to millions that perished in the
transatlantic passage. It is described as "a ready
strength"; his female equivalent is the water deity
Lasirenn.
59
Aizan Velekhete
This represents the "female principle" essential in the
initiation of Vodou clergy. In the Haitian Vodou
temple, she is represented by the frond of the royal
palm tree which is the West African symbol of
freedom and of the interaction between worlds, and
incidentally centrally displayed on the Haitian flag.
60
Baron Cimetiere
Baron Cimetière is the male principal (in cemeteries)
of the Gede family of spirits who controls the “other”
crossroads, the passage from life to “after life”. All
cemeteries have a family of spirits that control the
"other" crossroads.
61
Manman Brigitte
Manman Brigitte is the female principal of the Gede.
In accordance to the way of the spirit world, as is
with the Hindu goddess Kali, Brigitte, who gives
death also gives life. The end of physical existence
therefore becomes the beginning of the new spiritual
birth.
62
Danbhalah and Aida Hwedo
Danbhalah is the male side of the divine serpent;
Aida, the rainbow, is his female counterpart. These
two represent the incarnation of wisdom and
knowledge, going back to ancient Egypt as is evident
in caduceus, the symbol of medicine.
63
Erzulie Freda Dahoumin
Freda, the female principal, is the ravishing,
challenging seductress who "defines" the sensuality
of love. In her role as mistress – instead of wife -
she is courted/invoked via deluxe and plush objects
such as exotic fragrances, fine champagne and rare
ornaments. Her sister and spiritual counterpart
Erzulie Dantor, on the other hand, is the expression
of motherly, self-sacrificing love.
64
Grand Bois
65
Maraca Dosou/Dosa
The name Maraca originates from the Kongo basin,
where it is referred to as mapasa. They are
represented throughout Africa. Among the Yoruba of
Nigeria, they are known as the ibeji. This primordial
couple, the Twins, is "completed" by the next child,
the dosou (male) or dosa (female) whose powers are
conflated with the original pair: 1+1=3.
66
These intricate and mysterious hagiographic
vèvè of Haiti’s Lwa spirit structure is an extension of
the African writing parallels that evolved over the
Atlantic amidst slavery and oppression with
emphasis on the religious. The same goes for the
other derivatives in the African diaspora.
67
68
Tough
69
The Wawa seed (with a wreathed) border, symbol of
HARDINESS, TOUGHNESS and PERSEVERANCE.
70
Life
71
72
ikoncepts of
the Ashanti
T
he Akan people of Ghana and La
Côte d'Ivoire developed skills in
weaving in the fifteenth century
with the invention of the loom, with
Nsoko - present day Begho – as one of
the more important weaving centers.
Adinkra, originally produced by the
Gyaaman clans of the Brong Akan, was
the exclusive right of royalty and spiritual
73
leaders, and were only used for important
ceremonies such as funerals.
74
conjured down from the heavens by the Akan
prophet Okomfo Anokye in the early 1700s. A small
band of the King’s army was dispatched to quell
what amounted to sedition; the Gyaaman chief was
beheaded near Bonkutu; his replica stool was
smelted down and made into two masks; his toga,
which was also brought back to the Asante hene as
part of the trophy, bore a few new symbols which
eventually spearheaded a socio-political movement
in the development of new designs and
revolutionized the process and materials of printing.
75
including new philosophies and foreign influences.
Over time, their application expanded into the areas
of pottery, ceramics, metal work (abosodee), and
ventured into newer territories including corporate
logos, architecture and sculpture. Over the following
century, the official number grew to forty five.
76
For an adinkra symbol to be accredited and
official, traditional scholars and palace griots
maintain that the design has have been
commissioned by a King, or meet at least two or all
of three criteria: it has to have emerged from any of
the recognized master artisans, craftsmen or
designers; it has to have been used by a “significant”
portion of the general populace within a particular
context with specific allusions; and, it has to be
recognizable by at least three entire clans. Lately,
artists and some textile artisans have taken liberties
and produced their own originals and variations and
expanded on earlier contexts with corollaries and
extensions.
77
Traditionally, the adinkra aduru, the ink used
for stamping on solid plain cloth, is obtained by
boiling the bark of the badie tree with an etia iron
slag. The symbols are created by cutting a stamp out
of the thick skin of a calabash gourd. The stamp is
dipped in the adinkra aduru and then repeatedly
pressed onto the cloth to create patterns. It is not
insignificant to note that this process, as was in the
past, does not utilize an ink fixing agent so the dye
may transfer onto skin or other material it comes
into contact with, and as such, it may only be dry-
cleaned. Also note that African fabric designers often
vary their style to suit the larger market: those
made for local use - usually replete with hidden
meanings or local proverbs, allowing locals to make
particular statements with their attire – tend to be
more reminiscent of the original symbols and are
therefore “cruder” in finish; and those produced for
overseas markets are usually mass produced and
tend to have a “finer”, more stylized and “polished”
finish.
78
Ghana and La Cote d’Ivoire, for a wide range of
social activities, including sacred applications, in
festivals, at church, weddings, naming ceremonies
and initiation rituals. They are still relevant because
the corpus of symbols covers all aspects of life in
terms of values and the collective knowledge of a
people that has been handed over from antiquity.
79
Artisan at work on an adinkra cloth.
80
81
Ohemaa Yaa
82
Current Ashantehene Otumfuo Nana Osei Tutu II
83
The further the sun
84
85
categories of
ikoncepts
T
here are several groups under
which the Adinkra ikoncepts may
be categorized, but for the purpose
of this work, I shall limit myself to five:
the tools that actually imprint the
designs, spiritual/religious glyphs,
funereal/war signs, political symbols, and
social icons. Ashanti chieftaincy experts
believe that the more spiritual and
original war signs may have been lost
along the way.
86
Ikoncept names and their symbolism are
italicized. Under the category of tools, we may put
together the following official symbols: the adinkra
hene (King of the adinkra symbols, below),
t o o l s
been given a finer finishing. When one wears a toga
with these symbols stamped in it, there is a
87
suggestion that one is a person of some substance.
On the other hand, the nhwimu (crossing), which is
the design that makes patterns of division on the
cloth before other symbols are stamped, did not
have an ulterior meaning. Lately, it has been
employed to represent skill or precision. The duafe
(Wooden comb, below), a symbol of beauty and
cleanliness, is used to make lines on the textile, in
the fashion of the nhwimu.
relIgIous/spIrItual
which is a symbol of God’s supremacy. God, among
the Akans, is all-present, all-knowing and all-
powerful. Nothing can therefore be accomplished
88
without Him. And also, no one or thing can do evil to
you unless He permits it.
89
providence symbolizing hope. God is everywhere and
one of His most telling attributes is the symbol
Nyame nnwu na mawu which literally means “God is
everlasting, therefore I am”. It represents perpetual
existence in the spirit which assures the Akan that
they are all nsoromma, literally, “children of the
heavens” or “stars”) and thus they benefit from His
guardianship.
90
Under funereal symbols, Akans believe, despite their
understanding of God’s everlasting spiritual nature,
that, man is after all, mortal as is represented by the
owuo atwedie (death’s ladder, below). But the
f u n e r e a l
attitude is that ani bere a enso gya (the eyes do not
ignite because you are serious, or bereaved) so they
settle for the consolation of the symbol of Sunsum
(Soul) which establishes man’s spirituality, and
therefore everlastingness.
91
s o c I a l l y
The symbols with social connection form the
bulk of the body of the adinkra ikoncepts. For the
purpose of this book, I have excluded all references
to war, death, and God and concentrated on those
that focus on reflecting the society and its communal
intercourse. These symbols are grouped for their
meaning for Akan society. The moon symbol, osrane,
for instance, even though it is celestial and would
normally belong in the religious category, represents
patience; while Gyawu atiko (below), the design
92
shaved on the back of Kumasi’s Bantama sub-chief
Kwatakye’s head, represents valor, the type
associated with social risks, not war or politics.
93
(bad Muslim), for instance represents hypocrisy and
deceit. The proverb from which this is taken says
that the actions of a few bad Muslims have made it
impossible to trust anyone from that religion. If one
were to wear a cloth with this symbol in it at, say a
political rally, the message one would be giving
would be one that recognized that the speaker was
from a particular party that was known for
deceitfulness and treachery; similarly, the kuntin-
kantan (boastful, extravagant and puffed up, below)
symbol signifies arrogance and extravagance, not on
the part of the wearer, but regarding the host.
94
The bese saka (bunch of cola nuts) symbolizes
power and affluence and therefore would be a
preferred design to wear at a wedding, just as the
dwanni mmen (ram’s horns), which represents
strength with humility. Others in this sub-group
would be the odenkyem (crocodile), adaptability; the
nsaa krapa (high quality hand-woven blanket), good
quality and durability; mpuannum, also known as
nkotimsofo puaa (five tufts of hair), symbolizing
priestly office, loyalty and adroitness; ntesie, or
mate masie (I have heard and retained it), wisdom
and knowledge; owo foro adobe (a snake climbing
the raffia palm), representing steadfastness,
prudence and diligence; pempamsie (sew to
preserve), symbolizing precaution and readiness; ese
ne tekrema (teeth and tongue), meaning friendship
and interdependence; and the nkyinkyin (twistings),
depicting initiative, dynamism and versatility.
95
(game of draught), represents intelligence and
ingenuity; and, bi nka bi (do not bite the other),
describes peace and harmony. As would be
expected, cloths with these symbols are popular at
weddings, out-doorings and birthday parties.
p o l I t I c a l l y
The sankofa symbol, below, represents the
necessity for Akans in particular - and all people of
African descent in general - to dig from the values
96
and culture of the past for use today and for the
future. Politically, the ikoncept which literally means
“go back and claim,” signifies renaissance and
revival. Pop star Janet Jackson spots a variation of
this on her right wrist.
97
mmra krado (padlock of the law), is about authority
and justice; mframadan (wind-resistant house),
represents resilience and steadfastness; and the
akoben (war horn), for instance, symbolizes a call to
service and loyalty to the throne. Others include the
aban (fence), which means protection; the ohene tuo
98
swords), for instance, represents authority and
gallantry, while the sepow (executioner’s knife),
suggests the privilege of freedom of speech.
99
100
The future
The future
Is when, you,
Crushing into your waterloo -
101
Adinkra cloth.
102
art
103
104
adinkra
ikoncepts
F
ollowing are illustrations with
explanations and significance of
the classic adinkra symbols
arranged in alphabetical order.
Remember, everyday new symbols and
variations evolve and a few of the non-
traditional ones have been added to this
collection.
105
ABAN
Castle or Palace
106
ABODE SANTAAN
Totality of the universe
107
ABE DUA
Palm Tree
108
ADINKRAHENE
Chief of the adinkra symbols
109
AKOMA
Heart
110
AKOMA NTOSO
Linked hearts
111
AKOBEN
War horn
112
AKOFENA
Ceremonial sword of war
113
AKOKO NAN…
The chicken’s leg…
114
ANANSE NTONTAN
Spider's web
115
ASENNUA
Cross
116
ASASE YE DUR
The earth is mighty
117
AYA
Fern
118
AGYIN DAWARU
The gong of Agyin
119
AWI A REPUE
The Sun is rising
120
BOA ME NA ME MMOA WO
Help me so I may help you
121
BESE SAKA
Sack of cola nut
122
BI NKA BI
None should bite the other
123
BLOCK DAN
Cement block house
124
DENKYEM
Crocodile
Symbol of ADAPTABILITY.
125
DWENNIMMEN
Ram's horns
126
DUAFE
Wooden comb
127
DAME-DAME
The board game of drafts
128
DONO
Drum
Dono is a drum.
129
DONO NTOASO
Double drum
130
ESE NE TEKREMA
Teeth and tongue
131
EPA
Handcuffs
132
EBAN
Fence
133
EBI TE YIE
134
FAWOHODIE
Independence, or freedom.
135
FUNTUNFUNEFU-DENKYEMFUNEFU
Siamese crocodiles
136
FIHANKRA
Compound House
137
FOFO
Yellow flowered plant
Symbol of JEALOUSY.
138
GYE NYAME
Only God
139
GYEWU ATIKO
Hair style of an Ashanti war captain
140
HYE WON HYE
That which does not burn
141
HWE MU DUA
Measuring stick
142
KRAMO BONE
Bad Muslim
143
KOKOO DUA
Cocoa Tree
Symbol of AN ALBATROSS.
144
KOFORIDUA FRAWASE
Koforidua Flowers
145
KURONTIRE NE AKWAMU
Council of State
146
The potsherd
Woe unto him that striveth with his Maker!
Let the potsherd strive
with the potsherds of the earth.
Shall the clay say to him that fashioneth it,
What makest thou?
or thy work, He hath no hands?
Isaiah 45: 9, 10
147
KYEMFERE
Potsherd
148
KINTINKANTAN
Puffed up extravagance
Symbol of ARROGANCE.
149
KETE PA
Good bed
150
KRA PA
Sanctity [good fortune]
151
KRADO
Seal of law and order
152
Will you marry me?
I dreamt of you
Before dawn unraveled
And fantasized before the dew evaporated
153
ME WARE WO
I shall marry you
154
MMOMU DAN
Unity
Symbol of UNITY
155
MFRAMADAN
Wind-resistant house
156
MPUANNUM
Five tufts (of hair)
157
MATE MASIE
What I hear, I retain
158
MMERE DANE
Time changes
159
MMUSUYIDEE
That which sanctifies
160
MMRA KRADO
Seal of law and order
161
MPATA PO
Knot of pacification/reconciliation
162
MAKO NYINAA MPATU MMERE
163
MENSO WO KENTEN
I do not carry your basket
164
God is king
He
Created clay,
Molded the elements,
Designed its infrastructure,
Breathed life into it,
Charged man,
And…
Smiled -
For it was good,
Very good.
165
NYAME YE OHENE
God is King
166
NYAME AKUMA
God's Axe
167
NYAME NTI
By God's grace
168
NYAME BIRIBI WO SORO
God’s “something” is in the heavens
Symbol of HOPE.
169
NKYINKYIM
Twisting
170
NSOROMMA
Children of the heavens [stars]
171
NKONSONKONSON
Chain link
172
NSAA
A quality hand-woven fabric
173
NKYIMU
174
NYAME NNWU NA MAWU
175
NYANSA PO
Wisdom knot
176
NEA ONNIM NO SUA A…
Even the ignorant may know…
177
NYAME DUA
God’s Tree [altar]
178
NEA OPE SE OBEDI HENE…
He who wishes to be king …
179
To be king
To be a king
To command from East to West,
Sands of subjects
Quickening, vying, wrangling
Just for my teeth to smile
O to be king
Endless cogitation, tireless alertness
Consumed by storms of deliberation
Cascading through a mêlée of reasons
And serving, slaving for unknown quantities…
O What I wouldn’t give for a careless snooze.
180
ODO NNYEW FIE KWAN
Love never loses its way home
181
OKODEE MMOWERE
Eagle talons
182
ONYANKOPON ADOM…
By God's grace…
183
OSRANE NE NSOROMMA
The Moon and Stars
184
OSRANE
Moon
Symbol of PATIENCE.
185
OHENE (OHEMMAA) ADWA
Stool of the King (or Queenmother)
186
OWO FORO ADOBE
Snake climbing the raffia palm
187
OWUO ATWEDEE
The ladder of death
Symbol of MORTALITY.
188
OKUAFOO PA
Good farmer
189
OHENE TUO
King's Gun
Symbol of GREATNESS.
190
OBAA NE OMAN
Woman is the Nation
191
OWUO KUM NYAME
Death killed God
192
OSIADAN NYAME
God the builder
193
OHENE
King
194
OHENE ANIWA
The king’s eyes
195
OTUMFUO WUO YE YA
The king’s death is devastating
196
Call me
Just call me
And I will be there
To assure you
That it isn’t so bad after all
And everything has a reason
197
PA GYA
Ignite, [or flint]
198
PEMPAMSIE
Sew in readiness
199
SANKOFA
Go back and take it
200
SEPOW
Executioner’s Knife.
201
SUNSUM
The Soul
202
SESA WO SUBAN
Change or transform your character
Symbol of TRANSFORMATION.
203
TUO NE AKOFENA
Gun and State Sword
204
TUMI TE SE KOSUA
Power is like an egg
205
TAMFO BE BRE
Haters will suffer
206
U.A.C. NKANEA
U.A.C. Lights
207
TABON
Paddles
208
WAWA ABA
Seed of the wawa tree
209
WOFORO DUA PA A….
He who climbs a good tree…
210
WO NSA DA MU A…
If your hands are in the dish…
211
YEN YIEDEE
Our well-being
212
213
Something told
Something new
Something old
Something bought
Something sold
Something hot
Something cold
Something weak
Something bold
Something junk
Something gold
Something heard
Something told
214
A collage of adinkra symbols on a ceiling
at the International Conference Center in
Accra, capital city of Ghana.
215
Love
216
217
millennium
ikoncepts
A
s you must know by now, adinkra
symbols have gone beyond the
boundaries of the Akan nation and
West Africa and mushroomed in the
wider world. By the onset of this
millennium, the symbols had broken into
popular culture via body tattoos,
corporate logos, architecture, fashion
and fine art. The application has
attracted cult following on the internet
and consensus awaits the final explosion
218
with its adoption by responsiveness by the hip hop
community. Adinkra is relevant because it addresses
every aspect of life: values, ideas, love, leadership,
fundamental rights, family, nationhood, relationships
and knowledge.
219
body art
220
mainland Ghana (and Africa) go back to Egypt for
reasons of beauty, tribal identity, professional
association, spiritual fortification, innoculation and
societal status. It is said that they distinguish the
civilized from the “animal."
221
their passages of life through elaborate
scarification (below).
222
The Luba of Congo are best known for their
stools, divination bowls (mboko), beautifully carved
bow stands, and memory boards (lukasa). They also
have some of the most intricate scarification, as seen
in their sculpture, to symbolize beauty (next page).
223
224
Adinkra tattoos however have transcended
Akan prerogative and spread widely among other
cultures, especially those of European origin.
Following are a few samples.
225
Clockwise: Kramo Bone, sesa wo suban, Nyame dua and
wawa aba.
226
227
228
Previous page, clockwise: Nyame nti, denkyem, sankofa,
sankofa, nyansa po, adinkrahene-ese ne tekyerema-
nyansapo-funtumfunafu-Nyame nwu na mawu-osrane ne
nsoromma.
Below, clockwise: funtumfunefu, ananse ntontan, and
gye Nyame-nsoromma.
229
Clockwise: nsoromma, boa me na me mmoa wo,
sankofa, gye Nyame, sankofa-dwanni mmen-hye
wonhye, dua fe,
230
231
Clockwise: Nyame nnwu na mawu-odo nnyew fie kwan-
gyawu atiko, mpata po-funtumfunafu-sankofa, sankofa-
232
akoko nan, akoko nana-kramo-bone-gyewu atiko, Nyame
ye ohene, osrane ne nsoromma-abode santaan-nteasee
(understanding), and sesa wo suban.
233
Above, sankofa, bi nka bi-ese ne tekrema-denkyem-fihankra-gye Nyame,
and sankofa.
234
fashion industry
235
Traditional adinkra is often printed on black,
red, brown or white cloth. The choice and color of
cloth in modern printing, though, is purely based on
the aesthetics of the designer, and the subject
matter addressed by the symbols used. Generally
speaking, darker designs are mainly reserved for
solemn observances such as funerals. The brighter
ones, the Kwasiada (Sunday) adinkra, are used for
all other occasions.
236
corporate logos
237
Dwennimmen: The Ram's Head, humility,
strength, (wisdom, excellence and learning). The
North Carolina-Africa Educational Opportunities
Foundation.
238
Nsaa: Extol excellence and discourage
satisfaction with the second rate. Faculty Design
Research Projects.
239
architecture
240
variations
241
What God has United we stand, God's eye see all
fore-ordained, no divided we fall secrets
human being can Nkabom ma yetumi Onyankopon aniwa
change gyina ho, hu
Asem a mpaapaemu ma asumasem biara
Onyankopon adi yehwe ase
asie no,
onipa ntumi nnane
no
242
We shall meet
again Respect yourself
Yebehyia bio Bu wo ho
Truth
Nokore
243
Adinkra II
To the rich artisans of Asokwa -
For the vibrant, lively glyphs
You valiantly bestowed on us
With your amazing, intricate,
Time-honored tongue -
It is time to say goodbye!
244
245
Bibliography
http://africanhistory.about.com/library/weekly/aaAdinkra.htm
http://www.fredsmith.com/adinkra.htm
http://website.lineone.net/~gambiagts/Adinkra.htm
http://www.uwm.edu/Dept/Africology/symbols.html
http://www.dddesign.org/dictionary/dddelicatessen/indexadin
kra.htm
246
http://altreligion.about.com/library/glossary/blsymbols.htm
http://social.chass.ncsu.edu/wyrick/debclass/veve~1.htm
http://www.jackpicone.com/gallery.php?alp=S&g=36
http://www.caribbean-colors.com/adinkra.html
247
On the stands soon
248
If you enjoyed reading this book, order a copy for a loved
one.
Go to www.lulu.com/achampong
- .F.l.o.a.t.i.n.g. (poems)
- My Kikuyu Princess
- venusplazadotcom (novel)
249