Artistic Overview of Ajumako-Ba Akwambo Festival

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The study makes a general survey of the arts involved in the Ajumako-Ba “Akwambo” festival, and in accordance with the research objectives, the thesis has been categorized into body, environmental, performing and the verbal arts. The thesis itself, comprising nine chapters’ starts with chapter one which deals with the problem and its setting, and this covers the objectives, hypothesis, limitations and the significance of the research. Chapter two reviews some pertinent literature relating to the topic whilst Chapter three of the thesis has been tailored to tackle the history of Ajumako-Ba town as well as the historical origin of the “Akwambo” festival. It further discusses the traditional institutional structures like the “Asafo” company and the clans which give an all-embracing support to the observance of the festival, the reason being that they provide the background from which to view the changes that the festival has undergone as well as helping to identify and examine the significance of the arts in the festival. Chapter four, five, six and seven respectively look at the body, environmental, performing and the verbal arts. In chapter eight the arts in the festival have been thoroughly examined in relation to the past and future celebrations, with the view to helping find out how they can be developed to enhance the future celebration of the festival. The last chapter concludes the discussion with the summary of the thesis and offers some suggestions for the development of the arts. It should be pointed out however that since art is dynamic (that is grows from time to time), the identification and examination of the various artifacts connected with the Ajumako-Ba “Akwambo” festival do not make the thesis a definite compendium on the artistic aspects of the festival in question but as an exploratory study, it is hoped that it will generate further investigations in order to arouse interest in this area for future field researchers.
A thesis submitted to the Board of Postgraduate Studies, Kwame Nkrumah University of Science and Technology, Kumasi, in partial fulfilment of the requirement for the award of the Degree of Master of Arts in African Art, 1993