the educational role of performing and visual arts in asante traditional politics

187

ETA 7 (2) pp 187ndash202 Intellect Limited 2011

International Journal of Education through Art Volume 7 Number 2

copy 2011 Intellect Ltd Article English language doi 101386eta72187_1

ERIC APPAU ASANTE AND NANA AFIA OPOKU-ASAREKwame Nkrumah University of Science and Technology

Cultural identity in the

murals of Sirigu women and

their role in art education

and social sustainability

ABSTRACT

Although mural art unlike pottery is not widely practised by African women the predominantly female art known as lsquoBambolsersquo in the indigenous language of Sirigu in the Upper East Region of Ghana performs a number of important social func-tions from adornment and communication to the assertion of cultural identity and the preservation of traditional values The murals employ traditional motifs and symbols and are either representational geometric or a combination of the two Despite Bambolsersquos significance in the local culture however there has been very little formal chronicling of its aesthetics and iconography and it is the aim of this study to address that shortfall In examining the cultural symbolic and aesthetic aspects of this unique art form we will demonstrate using findings based on a qual-itative research approach how it not only empowers its practitioners as artists but also plays an influential role in the regionrsquos socio-economic development

KEYWORDS

murals of Ghanacultural identitysymbolismSiriguwomenrsquos art

ETA_72_Asante_187-202indd 187ETA_72_Asante_187-202indd 187 83011 51115 PM83011 51115 PM

Eric Appau Asante | Nana Afi a Opoku-Asare

188

INTRODUCTION

The term lsquomuralrsquo derived from the Latin word murus which means wall is used to describe the ornamentation of walls and ceilings for aesthetic and instructive purposes African mural art although it may draw stylistically on a range of abstract ideas is a direct reflection of its cultural and physical envi-ronment As well as fostering community cohesion by providing a channel for social comment it performs the important practical function of protecting the mud walls of local buildings from the vagaries of the weather

Mural art with its use of traditional motifs and symbols makes a vital contribution to local cultural identity It plays an important educational role bringing artistic skills values and practices into the public eye provides a forum for self-expression and gives validation to the experiences history and cultural heritage of societies where the majority of the population may have been historically marginalized (Marschall 2002)

Colman (2006) agrees that this kind of art is valuable for many reasons it engages the makers in a collaborative cooperative activity it gives them a space for personal expression and it results in a tangible finished product they can be proud of It provides opportunities for them to internalize and visually interpret their understanding of the human condition and communicate it through their art Chanda (1993) describes how wall paintings such as the Gurensi house paintings are done by women with their fingers or with brushes made from plants or feathers The bold flat designs usually carry symbolic meanings that help to identify the clan or individuals living in the house The vividly contrast-ing colours used in this type of painting come from nature black from plants charcoal or soot white from kaolin red from cam wood and ochre from clay

Tracing the history of mural making in indigenous African societies Anaba (1995) mentions the San people of Zimbabwe and Namibia who painted murals in caves the Sonike of Mali the Bushongo of Congo the Ibo of east-ern Nigeria and several communities in Mauritania Anaba explains how in northern Ghana Christianity has boosted the development of mural art as a number of traditional mural artists have been commissioned by the church to decorate religious buildings in that part of the country The study mentions that the first church built in northern Ghana which is located in Navrongo the capital of the Kassena-Nankana District is elaborately decorated with murals executed by indigenous female muralists

ETHNOGRAPHIC ACCOUNT OF THE STUDY AREA

Sirigu is a village in the Kassena-Nankana district of Upper East Region of Ghana The area lies in the Guinea savannah geographic zone which is char-acterized by low-lying semi-arid scrubland scattered with sparse shrubs trees and grass The Sirigu community consists of five villages Guwonkor Busongor Wungingo Nyangolgo and Basengo The original inhabitants and chief custodians of the land are the Kassena-Nankana ethnic group and many of the local people are subsistence farmers who cultivate perennial crops such as groundnuts legumes guinea corn millet and yam and rear cattle sheep goats guinea fowls and chickens

The area is well known for its striking traditional architecture pottery and mural paintings and the design of the houses in the villages reflects the extended family structure of Sirigu society Men are traditionally the heads of households that may include a number of their brothers and sons along with their wives and children (Perani and Smith 1998) and elderly family members


Cultural identity in the murals hellip

189

are allocated a room of their own reflecting the respect in which they are held by the community Each compound is composed of a number of round andor rectangular houses made of earth built by the men but painted and decorated by their wives which is what differentiates Sirigu women from their counter-parts in other ethnic groups in Ghana They take great pride in their work and in the cultural identity and economic sustainability that derive from it The Sirigu murals also offer considerable potential both for attracting tourists and as a means for art teachers and their students to learn about the indig-enous painting traditions of Ghana (Anaba 1995)

DATA COLLECTION AND ANALYSIS

The study focuses primarily on a detailed description of the art of Sirigu women and on interpretation of its cultural and aesthetic significance It uses a qualitative research approach that offers a systematic process of describ-ing analysing and interpreting insights discovered in everyday life (Leedy and Ormrod 2005) Primary data were gathered through fieldwork direct observation and structured interviews with the Sirigu muralists and second-ary data were obtained from literary sources The researchers spent time as active participant observers in the community to enable them to watch the muralists actually at work This was necessary to understand how their mate-rials are processed and the various procedures that are involved This strat-egy is in-line with Brewerrsquos (2004) idea that if a study of a community is to capture true social meaning the researcher must participate directly in the setting and served to validate the first-hand information gathered from both currently active muralists and those who had retired

FINDINGS

The study found that the murals made by the indigenous Sirigu women are a unique expression of the cultural identity of the ethnic Kassena-Nankana people It was observed that the women take pride in decorating the houses built by their husbands with strikingly crafted paintings based on traditional patterns Each newly built addition to a homestead has to be decorated and older houses also have to be repainted every three years since the earth paints used are not dura-ble This repainting according to the women themselves represents the assur-ance and renewal of their love for their husbands and in the past anyone who failed in this duty was seen as irresponsible and treated with contempt (Sirigu muralist Azibonor 2008) The repainting is therefore a mark of a womanrsquos ability to care for both the members of her household and the building where they live and is a vital part of the communityrsquos ongoing cultural identity The colours most commonly used for the murals are white black and red and are almost exclu-sively derived from the materials found in the local environment These materi-als include Kugupelalime stone Garered oxide stone and Kug sablablack earth This utilization of locally available materials is an important factor in preserving the uniqueness of the Sirigu murals for future generations

KUGUPELALIME STONE

The white-tailed stone (Figure 1) produces the white paint used for Sirigu murals This stone is normally rubbed against a laterite surface to obtain a chalk-like powder which is then mixed with water to achieve the correct consistency (see Figures 1 and 2)



190

GARERED OXIDE STONE

Gare is the local name of the red oxide stone that gives the red colour used for the murals The stone is obtained along roadsides mined outside Sirigu in a village called Jua and is ground and mixed with cold water and cow dung to obtain its rich red colour

KUG SABLEBLACK EARTH

Kug sable or black earth provides the black colour for the murals The source material is mined from a mud pond in neighbouring Burkina Faso and also being used for painting that may be sold on the market usually in the form of a dry ball (see Figure 4)

NAMBETOCOW DUNG

Nambetocow dung is a very important material in the Sirigu community It is used in great quantities as a binder when preparing colours for the murals

Figure 1 White-tailed stone Figure 2 Paint from a white-tailed stone

Figure 3 Gare (red oxide stone paint) in a bowl Figure 4 Kug sabla lsquoblack earthrsquo



191

Cow dung is also mixed with water and sprinkled on plastered wall surfaces prior to burnishing The material is obtained from cattle kraals animal pens or from the open fields where cattle graze

SAASEQUARTZ PEBBLES

Saasequartz Pebbles of different sizes and shapes are used by the muralists in defining bas relief work as well as for working the various colours into the walls

Millet combs feathers twigs and bristle brushes

Millet combs feathers from guinea fowls and chickens and twigs are tradi-tionally used as tools but imported bristle brushes while frowned on by strict traditionalists are not unknown Some artists may also use their hands to apply pigments to the walls

Pots metal bowls and bucket

Various sizes of pots metal bowls and buckets are used as receptacles by the artists for mixing their colours and also serve as palettes for the paints

DISCUSSION

Mural colours and their interpretations in Sirigu murals

Both Antubam (1963) and Sarpong (1977) have noted that the Akans who are the largest ethnic group in Ghana use the colour white to symbolize purity virtue joy and victory and to honour the spirits of their ancestors while red is used to symbolize the more negative aspects of life such as loss through death of a relation an act of war national danger sudden calam-ity violence or discontent In most parts of Africa black is imagined in terms of night immorality a deepened feeling of melancholy and death with its power over men It is also used to signify old age and antiquity However Melanie Kasise founder of the Sirigu Women Organization for Pottery and Art reports a different use of symbolism in the art of the Sirigu muralists While white and red do represent purity and danger respectively black does not mean sadness but recognition of changes in life death reincarnation ancestral power tradition and memories This shows that while colours may have meanings that are commonly considered universal the women of Sirigu apply their own rules to the symbolism of the colours they use to depict the socio-cultural identity of their community

Zoomorphic symbols and their aesthetic appraisal

Naafocow

The cow (naafo) that features in Sirigu painting is usually characterized by a hump on its back In northern parts of Ghana the cow is a symbol for wealth and a householderrsquos wealth is determined by the number of cows he owns As the people are predominantly farmers their cattle assist them in plough-ing and in conveying produce to the home or marketplace They are also used as currency when arranging marriage settlements A mural that contains the symbol of a cow therefore sends the message that the owner of the house is wealthy



192

Waafopython

The python in the paintings stands for protection but some clans in Sirigu also have the python as their totem to symbolize life and death It is worth noting that although its meat is a delicacy amongst some ethnic groups in Africa the people of Sirigu worship the python and it is taboo to kill and eat it According to muralist Ayampoka Akayuure the python does not attack humans unless provoked There are two local legends about the python One is that it welcomes a newly married woman to her husbandrsquos home by lying on her lap and then coiling around with its head in the centre and the tail outside The other explained by an elderly compound head is that in times past a python would comfort a crying baby left at home by its mother by putting the tip of its tail into the babyrsquos mouth and encouraging it to suckle Some respondents added that pythons reveal themselves to those who are pure in heart People who live in houses painted with the python are believed to have spiritual protection

Ebgacrocodile

Crocodiles can sometimes be seen near dams in the Sirigu area They symbol-ize the salvation or life of a clan and are worshipped as special gods The crocodile design may have two heads to symbolize unity A crocodile in a

Figure 5 Naafocow symbolizing wealth

Figure 6 Waafopython



193

mural informs the community about the status of the clan of the inhabitants of the household

Niilachicken

Chickens and guinea fowls are reared for their eggs and meat They also have ceremonial importance and are slaughtered as an offering to the householdrsquos ancestors to thank them for a good harvest long life and good health or to ask them for prosperity In Sirigu murals guinea fowl designs are often placed above doors to indicate hospitality and visitors will often receive gifts of chicken or guinea fowl eggs

Ziifofish

Fish are caught in rivers and nearby dams Fish is commonly used in prepar-ing meals and is generally smoked or dried The fish symbol is often used in domestic mural paintings

Abstractgeometric symbols

Paintings sometimes contain abstract geometrical figures that have local symbolic meanings Some of the most common examples are as follows

Figure 7 Ebgacrocodile

Figure 8 Niilachicken



194

Akun-nyana-niiKunyanarsquos cows

Akun-nyana-nii was explained by an informant as lsquoKunyanarsquos cowsrsquo The story is told of a man blessed with many cattle which appeared to follow a distinct order on their way to the fields to graze and always followed each other in a single file It is said that the tracks of the cattle created a linear pattern which in time found its way into the art of the local muralists The design is therefore in effect a commemoration of the man his wealth and the remark-able character of his numerous cows The Akun-nyana-nii design symbolizes wealth prosperity and wisdom It is often painted on the upper parts of walls of houses belonging to high-status members of the community

Wanzagsibroken calabash

Calabash is a gourd fruit commonly found in Sirigu After it has been harvested dried and deseeded its hard shell is used for fetching water and other household chores by the women of Sirigu Even when broken it can be used for burnishing pottery When a woman dies a calabash is broken to mark her physical separation from her community and a piece of it buried with her with the belief that she will use the calabash in the next world Painting done with the broken calabash design is therefore intended to emphasize the importance and versatility of calabash

WaagneAmizia Zukaturned calabash

Two main explanations were offered for this motif Some respondents iden-tified it as an upturned calabash claiming that the design is a testimonial to the usefulness of the hollowed out gourd which usually sits with its open end uppermost Others interpreted it as Amizia Zuka a crescent shape symbol-izing a hat According to this interpretation the symbol was designed by a muralist whose bald brother-in-law wore a hat shaped in such a way The

Figure 9 Ziifofish



195

name of the bald man Amizia Zuyaka was given to the design which there-fore metaphorically covers a bald manrsquos head The motif is normally painted at the base of the structure bearing the mural

Zaalinganet

Traditionally the zaalinga is a net used by women in Sirigu to store their cala-bashes to prevent them from falling and breaking The fibre used to weave this net is derived from the kenaf plant which grows widely in the area The symbol according to most respondents was designed to show the impor-tance of the fibre net and the calabashes it serves to protect There are two varieties of the design Zaalin nyanga which is said to be the female design and Zaalin daa its male counterpart The male motif usually displays a vertical pattern and the female motif a horizontal one

Mural production techniques

The study revealed that in order to carry out a given task the women of Sirigu commonly employ the principle of division of labour This confirms the asser-tion of Perani and Smith (1998) that the painting of walls especially those near an entryway is often a cooperative effort in which the senior wife of the compound head generally supervises the work and other wives participate in various ways depending on their skills Surfaces are prepared for painting by the application of plaster formed from a mixture of loam soil cow dung and sometimes fine sand The dung is collected from the fields soaked in water for several days and strained to remove the fibre content The residue is then mixed with the loam and sand In the case of a relief work the mud mixture is usually applied by hand to the walls before modelling and after it has hard-ened is burnished with quartz pebbles

Black earth and red oxide stones are then ground into a fine powder which is mixed in small pottery plastic or metal bowls to form a paste for painting Painting is traditionally done with millet combs feathers twigs or fingers The

Figure 10 Akun-nyana-niicows

Figure 11 Wanzagsibroken calabash



196

most talented and experienced artists begin the work by sketching the basic patterns free-hand with a brush dipped in black paint as illustrated in Figure 14a If the surface to be covered is large several artists may be involved in the basic design process As the work progresses other muralists add details to the outlines composed by the master decorators first with black and red paste and later with white as seen in Figures 14b 15a and b This is in line with Marschallrsquos (2002) description of the Sirigu murals as fingerprints of many hands in a particular community working together to produce a recognizable window on their world

Cultural significance and artistic appraisal of the murals

According to Conrad (2000) human creativity is often the expression of culture People express themselves creatively in dance music costume and textiles painting sculpture storytelling poetry and drama The study revealed that the mural art of Sirigu is both aesthetic and utilitarian in nature The sing-ing clapping dancing and general merrymaking that characterize wall deco-ration sessions reveal the extent to which they are a social event fostering community spirit encouraging values of good neighbourliness and promoting healthy competition among women involved in the performing arts by serv-ing as platforms for launching new musical compositions and dance forma-tions Women who are not directly taking part in the mural making will often join in the festivities and offer vocal encouragement

There is however an underlying cultural agenda ndash the murals serve as a dynamic voice that portrays the beliefs and values of the artists in visual form thus codifying what is significant to the community in regard to cultural norms mythology and everyday events This means that both the creator of the mural and the beholder are equally important as each needs the otherrsquos attention for the purposes of interpretation and analysis Maquet (1986) states that the search for the meaning of a particular art object is almost always expressed in terms of the artistrsquos intentions Our main concern as beholders is therefore to understand and if necessary decipher the message contained in an art object and in order to do this we need to examine its social political religious and even economic context

Only by doing this can we appreciate how heavily coded with moral values are some of the symbols used by the Sirigu muralists For example the two-headed crocodile advocates unity the Calabash versatility and the turned Calabash tolerance The wish to pass on to future generations a legacy based on an iconography that is peculiar to the local community is deeply embedded in Sirigu culture (Kissick 1993)

It became clear in the course of the study that the ability to produce high-quality mural art is seen as a mark of a Sirigu womanrsquos ability to properly

Figure 12 Amizia zukaWaagne



197

manage a home Further a finely painted wall is an indication of female unity and family cohesion as it suggests that women who may ordinarily be rivals must have worked together on the same task The artists commonly use the wall designs to communicate information about both their social and religious status and that of the compound owner who as previously noted is always a man (Perani and Smith 1998)

Social sustainability and socio-economic implications

The practice of wall painting has always produced a number of purely social benefits For example the camaraderie shared by the artists often results in friendships between their children and the women are always assured of support from the rest of the community in times of trouble as when someone is bereaved

It is only relatively recently however that mural making has started to bring significant economic benefits to the Sirigu villages There has been an increase in the number of tourists who visit the area and the demand for accommodation has led to the establishment of many new guest houses hotels and motels and of quality services from the transport and cater-ing industries Through the efforts of foreign institutions such as Alliance Franccedilaise in Ghana the women of Sirigu have been able to access the inter-national market to exhibit their work while Aid to Artisans Ghana (ATAG) in collaboration with the United States Agency for International Development awarded them the contract of painting some parts of the ATAG craft village at the Ghana International Trade Fair Centre in Accra It has also become

Figures 14a and 14b Drawing basic patterns at the beginning of a project

Figure 13a Female designZaalin Nyanga Figure 13b Male designZaalin Daa



198

increasingly common for fine art lovers to commission the women to repro-duce their geometric and symbolic patterns on canvas for their private collec-tions And finally this upsurge in artistic activity has produced knock-on economic benefits for the suppliers of the materials and tools used by the muralists and for sellers of drinking water whose sales rise sharply when a wall is being painted

Figures 15a and 15b Adding details to the basic outlined drawing

Figure 16 Mural painting is a serious business but singing while you work is permitted



199

While they recognize the desirability of creating wealth the Surigu muralists have never lost sight of what is most important about their work As explained by two informants (Adiviisa and Adongo Sirigu Women Artists personal communication August 2008) their wall paintings are a unique way of sustaining and portraying their culture to the public gaze and it is vital that they do not compromise the iconography that has given them such a distinctive cultural identity by allowing the intrusion of extraneous ideas This means that although the women sometimes work to commission the buyers never have any influence on the content of the paintings

Sirigu murals as a resource for art education

Sirigu mural making is a rich resource for art education Apprentice painters learn the technicalities of preparing the media by watching and doing and acquire understanding of the essence of wall painting by immersing themselves in the conversations of more experienced artists and the stories of the master artist (Zander 2007) In this way they gradually grasp every nuance of the marks made on the wall surface illustrating Deweyrsquos (1963) argument that continuity and interaction are not separate from each other ndash whatever is learned in one situation becomes an instrument for understanding and dealing effectively with the situations that follow In this way the trainee artists are able to acquire the skills of lsquowhat to dorsquo and lsquohow it should be donersquo

It is undeniable that the mural paintings of the Sirigu people offer some lessons on social values that are not necessarily taught through formal educa-tion This reflects Eisnerrsquos (1994) assertion that many parents believe that such

Figure 17 An almost finished mural



200

values are the province of the home and not the school Although the wall painters may not be formally educated their work serves as a basis for teach-ing and learning artistic composition highlighting the careful use of universal principles of design such as harmony rhythm and variety as well as elements of design peculiar to Sirigu mural art

The value of this contribution to art education is considerable It encour-ages the binding of individuals to their own ethnic and cultural experiences and this not only fosters better appreciation for onersquos own culture but also provides a sound basis for building cross-cultural relationships The stories told by the Sirigu women in their murals resonate beyond the local commu-nity and serve as an inspiration to other artists all over the world

The business of education is to transmit to new generations the informa-tion and skills that have been worked out in the past (Dewey 1963) Clearly the Sirigu muralists are fulfilling this role with the most experienced artists and the least experienced working together to ensure that traditional knowledge is transmitted down the generations Fortunately art institutions in Ghana have shown a keen interest in the painting of murals and an appreciation of the Sirigu women as an educational resource with the potential to help students develop an insight into art forms in other cultures as well as their own

CONCLUSIONS

It has emerged clearly from the research that the Sirigu women carry consid-erable cultural wealth and power in their role as artists and storytellers Their paintings are mirrors reflecting their indigenous traditions and socio-cultural identity The study also provides insight into the significant role the artists play in cultural and social sustainability Although the materials used are not durable the murals are regularly repainted and this helps in preserv-ing their iconography for posterity The fact that the muralists are predomi-nantly women supports the observations of Nikoi (1993) and Adu (1999) on womenrsquos creative and intellectual capabilities in relation to tasks directed towards sustaining the cultural identity of their ethnic group

The findings also show that the creative process of painting murals fosters unity among the women of the community and serves as a means to explain the local culture and pass it on to the next generation On a social level since the artists work as a team they have ample opportunity to share their dreams discuss personal issues and settle any differences of opinion

The murals painted by the women of Sirigu stand out as a historical and cultural exemplar of womenrsquos collective art that appears to integrate aesthetic and economic objectives and gives the women a highly visi-ble status in their community They affirm the credentials of mural art as a medium that offers opportunities for collaborative social experiment and creative self-expression to people who might otherwise find themselves on the margins of society

REFERENCES

Adu J I (1999) Women in Human Development Accra Horizon Publications pp vi and 18ndash22

Anaba A (1995) lsquoSymbolism in murals of Nankam speaking area of Upper East Regionrsquo Unpublished thesis Kwame Nkrumah University of Science and Technology Kumasi pp 6ndash7



201

Antubam K (1963) Ghanarsquos Heritage of Culture Leipzig Koehler and Amlang

Azibonor (2008) Interview August Brewer J (2004) lsquoEthnographyrsquo in D Cassell and G Symon (ed) Essential

Guide to Qualitative Methods on Organizational Research London Sage Publications pp xxix amp77

Chanda J (1993) African Art and Culture Massachusetts Davis Publications p 84

Conrad P K (2000) Cultural Anthropology 8th edUSA McGraw- Hill Higher Education

Colman A (2006) lsquoIntegrating human rights and the visual arts a peace education summer project for Israel and Palestinian studentsrsquo International Journal of Education through Art 2 1 pp 43ndash59

Dewey J (1963) Experience and Education New York Macmillan PublishersEisner E W (1994) Cognition and Curriculum Reconsidered 2nd ed New York

Teachers College Press p 14Kissick J (1993) Art context and Criticism Hong Kong Brown and

BenchmarkLeedy P and Ormrod J E (2005) Practical Research Planning and Design 8th

ed New Jersey Pearson Prentice HallMaquet J (1986) Aesthetic Experience Westford MA Murray Printing

CompanyMarschall S (2002) Community Mural Art in South Africa South Africa Unisa

Press p 24Nikoi G (1993) Gender and Development Kwame Nkrumah Memorial Lectures

Accra Ghana Universities Press p 122Perani J and Smith F T (1998) The Visual Arts of Africa Gender Power and

Life Cycle Rituals New Jersey KR Publishing Company p 63Sarpong P K (1977) Girlsrsquo Nubility Rites in Ashanti Accra Ghana Publishing

Corporation pp 70ndash72Zander M J (2007) lsquoTell me a story The power of narrative in the practice of

teaching artrsquo Studies in Art Education 48 2 pp 189ndash203

SUGGESTED CITATION

Asante E A and Opoku-Asare N A (2011) lsquoCultural identity in the murals of Sirigu women and their role in art education and social sustainabilityrsquo International Journal of Education through Art 7 2 pp 187ndash202 doi 101386eta72187_1

CONTRIBUTOR DETAILS

Eric Appau Asante is a lecturer in the Department of General Art Studies Kwame Nkrumah University of Science and Technology Kumasi Ghana He holds a doctorate degree in African Art and Culture with specialization in Art History from KNUST His research interests include issues in gender and art production art and religion philosophies and educational connotations of African art and culture and symbolism in African art and culture

Contact Kwame Nkrumah University of Science and Technology Faculty of Art General Art Studies Department P O Box UP 79 Kumasi GhanaE-mail eaasantecassknustedughericappauyahoocom



202

Nana Afia OpokundashAsare is a senior lecturer in Art Education in the Department of General Art Studies Kwame Nkrumah University of Science and Technology Kumasi Ghana She holds an MA in Art Education from KNUST and MPhil in Education from the University of Sussex at Brighton UK Her research inter-ests include issues in culture education and development gender and art production symbolism in African art and culture dyes and dyeing processes materials and methods for art teaching studio art practice

Contact Kwame Nkrumah University of Science and Technology Faculty of Art Department of Art Education P O BOX UP 492 Kumasi GhanaEmail naopoku-asareartknustedughafia_asareyahoocouk



188

INTRODUCTION

The term lsquomuralrsquo derived from the Latin word murus which means wall is used to describe the ornamentation of walls and ceilings for aesthetic and instructive purposes African mural art although it may draw stylistically on a range of abstract ideas is a direct reflection of its cultural and physical envi-ronment As well as fostering community cohesion by providing a channel for social comment it performs the important practical function of protecting the mud walls of local buildings from the vagaries of the weather

Mural art with its use of traditional motifs and symbols makes a vital contribution to local cultural identity It plays an important educational role bringing artistic skills values and practices into the public eye provides a forum for self-expression and gives validation to the experiences history and cultural heritage of societies where the majority of the population may have been historically marginalized (Marschall 2002)

Colman (2006) agrees that this kind of art is valuable for many reasons it engages the makers in a collaborative cooperative activity it gives them a space for personal expression and it results in a tangible finished product they can be proud of It provides opportunities for them to internalize and visually interpret their understanding of the human condition and communicate it through their art Chanda (1993) describes how wall paintings such as the Gurensi house paintings are done by women with their fingers or with brushes made from plants or feathers The bold flat designs usually carry symbolic meanings that help to identify the clan or individuals living in the house The vividly contrast-ing colours used in this type of painting come from nature black from plants charcoal or soot white from kaolin red from cam wood and ochre from clay

Tracing the history of mural making in indigenous African societies Anaba (1995) mentions the San people of Zimbabwe and Namibia who painted murals in caves the Sonike of Mali the Bushongo of Congo the Ibo of east-ern Nigeria and several communities in Mauritania Anaba explains how in northern Ghana Christianity has boosted the development of mural art as a number of traditional mural artists have been commissioned by the church to decorate religious buildings in that part of the country The study mentions that the first church built in northern Ghana which is located in Navrongo the capital of the Kassena-Nankana District is elaborately decorated with murals executed by indigenous female muralists

ETHNOGRAPHIC ACCOUNT OF THE STUDY AREA

Sirigu is a village in the Kassena-Nankana district of Upper East Region of Ghana The area lies in the Guinea savannah geographic zone which is char-acterized by low-lying semi-arid scrubland scattered with sparse shrubs trees and grass The Sirigu community consists of five villages Guwonkor Busongor Wungingo Nyangolgo and Basengo The original inhabitants and chief custodians of the land are the Kassena-Nankana ethnic group and many of the local people are subsistence farmers who cultivate perennial crops such as groundnuts legumes guinea corn millet and yam and rear cattle sheep goats guinea fowls and chickens

The area is well known for its striking traditional architecture pottery and mural paintings and the design of the houses in the villages reflects the extended family structure of Sirigu society Men are traditionally the heads of households that may include a number of their brothers and sons along with their wives and children (Perani and Smith 1998) and elderly family members



189




FINDINGS


KUGUPELALIME STONE




190

GARERED OXIDE STONE




NAMBETOCOW DUNG






191


SAASEQUARTZ PEBBLES






DISCUSSION




Naafocow




192

Waafopython


Ebgacrocodile






193


Niilachicken


Ziifofish








194







Figure 9 Ziifofish



195


Zaalinganet









196










197









198






199








200




CONCLUSIONS




REFERENCES





201

















SUGGESTED CITATION


CONTRIBUTOR DETAILS





202





189




FINDINGS


KUGUPELALIME STONE




190

GARERED OXIDE STONE




NAMBETOCOW DUNG






191


SAASEQUARTZ PEBBLES






DISCUSSION




Naafocow




192

Waafopython


Ebgacrocodile






193


Niilachicken


Ziifofish








194







Figure 9 Ziifofish



195


Zaalinganet









196










197









198






199








200




CONCLUSIONS




REFERENCES





201

















SUGGESTED CITATION


CONTRIBUTOR DETAILS





202





190

GARERED OXIDE STONE




NAMBETOCOW DUNG






191


SAASEQUARTZ PEBBLES






DISCUSSION




Naafocow




192

Waafopython


Ebgacrocodile






193


Niilachicken


Ziifofish








194







Figure 9 Ziifofish



195


Zaalinganet









196










197









198






199








200




CONCLUSIONS




REFERENCES





201

















SUGGESTED CITATION


CONTRIBUTOR DETAILS





202





191


SAASEQUARTZ PEBBLES






DISCUSSION




Naafocow




192

Waafopython


Ebgacrocodile






193


Niilachicken


Ziifofish








194







Figure 9 Ziifofish



195


Zaalinganet









196










197









198






199








200




CONCLUSIONS




REFERENCES





201

















SUGGESTED CITATION


CONTRIBUTOR DETAILS





202





192

Waafopython


Ebgacrocodile






193


Niilachicken


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Figure 9 Ziifofish



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Figure 9 Ziifofish



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Figure 9 Ziifofish



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the educational role of performing and visual arts in asante traditional politics

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