LEATHER WORK IN THE CULTURAL HERITAGE OF GHANA

1. LEATHER WORK IN THE CULTURAL HERITAGE OF GHANA ERNEST OKAE-ANTI 9121750007 (PHD VIVA)

2. Background of the study Ghana has a rich cultural heritage built over a long period of time, whose common values represents the people’s collective national heritage (National Commission on Culture, 2004). However, culture is dynamic and often affected by local and external influences. Our cultural heritage is expressed in intangible as well as tangible forms (Anoquandah, 2006).

3. Statement of the Problem Institutions such as Ghana Export and Promotions Council and the National Commission on Culture exist in Ghana however, not much is done to promote and develop indigenous arts especially, Leather work. It is crucial that through Ghana’s heritage, its history, and arts are continuously researched, analysed and preserved from any form of adulteration, and as such given much recognition.

4. Statement of the Problem-cont’d Though literary materials exist on the topic of leather work, scholars have not researched into leather work as a means of promoting the cultural heritage of Ghana, making comparative analysis of leather works from different regions in Ghana and finding out the opportunities and challenges in the production of leather work.

5. Objectives of the study 1. Identify traditional and contemporary leather works produced in Ashanti, Northern and Upper East Regions of Ghana. 2. Make a comparative analysis of both traditional and contemporary leather works of Ashanti, Northern and Upper East Regions of Ghana. 3. Analysethe extent of acculturation in the production of leather works in Ghana. 4. AnaIyse the opportunities and challenges that exist in the preservation of indigenous leather works in Ghana.

6. Research Questions 1. What are the traditional and contemporary leather works produced in Ashanti, Northern and Upper East Regions of Ghana? 2. What are the outcomes of a comparative analyses of traditional and contemporary leather works in Ghana? 3. To what extent, has acculturation influenced the production of leather works in Ghana? 4. What opportunities and challenges exist in the preservation of indigenous leather works in Ghana?

7. Delimitation Vegetable tanned leather is the predominant material used in leather work. The study focused mainly on how craftsmen in Ghana use the material to portray their cultural heritage. The study was delimited to the Kumasi Metropolis, Tamale and Bolgatanga Municipalities.

8. Review of Related Literature • The Concept of Cultural Heritage • A nation is recognized through its achievements-past and present. (Cultural Policy for Africa, 2010). • Torre (2002) stated that the educational value of heritage lies in the potential to gain knowledge about the past into the future or for an artist’s creative interpretation of the historical record embodied in the heritage.

9. Review of Related Literature-cont’d Cultural heritage is an expression of the ways of living developed by a community and passed on from generation to generation, including customs, practices, places, objects, artistic expressions and values. Cultural heritage is often expressed as either intangible or tangible cultural heritage (ICOMOS, 2002).

10. Review of Related Literature-cont’d • The Place of leather work in Ghana’s cultural setting • Leather work as an art form has a strong traditional foundation in Ghana (Boahin, 2008, 2010; Asuobonteng, 2010; Atiase, 2004; Lawson, 1990) • Other scholars such as Vilbrandt(2011), Idris and Belisle (2003) were also reviewed.

11. Methodology • Research Approach adopted was the qualitative research. • Research Design • The research study employed case study. • Population • The population comprised all traditional and contemporary producers of leather work, Art Educators, District/Municipal Cultural Officers and Administrator/Director of Centresfor National Culture in Ghana.

12. Table 1. Sample Size.

13. Methodology-cont’d • Instruments for Data Collection • Direct observation in the field. Taking of photographs and videos and interviews. • Data Analysis • Descriptive and narrative method. • The data collected were thematised, analysed, synthesized and conclusions drawn from them. The entire information was presented and supported with a few frequency tables and figures.

14. Challenges in Preserving the Ghanaian culture Opportunities in preserving Leather work Comparison in Leather work Familiarity with crafts works; Elements of traditionalart in the Ghanaian culture Patronage; traditionalartist and culture; influence of acculturation Traditional and Contemporary Leather work Distinct art form among ethnic groups; inherent meaning in craft work Acculturation in Leather work Methodology-cont’d SUB THEMES Figure 1: Thematic Categories and Emerging Themes

15. Findings 1. Traditional and contemporary leather works produced in Ashanti, Northern and Upper East Regions of Ghana were as follows:

16. Findings Source, Field work, 2015

17. From the Upper East Region Fig. 9: A puff- Field study, 2015 Fig. 10: A contemporary puff- Field study, 2015

18. From the Upper East Region Fig. 11: Bolga bag and basket- Field study, 2015

19. 2. Findings-cont’d Source, Field work, 2015

20. 2. Findings-cont’d Source, Field work, 2015

21. Findings-cont’d 3. Ashanti Region showed limited variety in the use of natural leather as against artificial leather amongst craftsmen. In the Northern Region, Islamic religion plays a major role on the kinds of designs used on the leather works by the craftsmen. In Upper East Region, some leather works showed ornamentations with beads.

22. Findings-cont’d 4. From the study centers there is much opportunity for product designing.

23. Conclusions 1. A variety of leather items exist in the three regions which include leather containers and holders.

24. Conclusions-cont’d. 2. In the Ashanti Region, the proportion of leatherette was more than the production of vegetable tanned artefacts. In Northern and Upper East Regions, works from vegetable tanned leather were more dominant than works produced in leatherette both in traditional and contemporary designs. Again, though similarities exist in leather work in the three regions (Ashanti, Northern and Upper East), yet the differences showed in the works produced and the techniques used.

25. Conclusions-cont’d 3. Acculturation was visible in the three research sites visited, some were stated as a result of external influences.

26. Conclusions-cont’d 4. Vast opportunities exist in the production of leather works in the three regions of study, in spite of the challenges the craftsmen face.

27. Recommendations 1. Regardless of the variety of leather items from the three regions of study, other forms of leather works should be explored to support current domestic products.

28. Recommendations-cont’d 2. Leather products that are produced in these three regions are unique and must be preserved to sustain the growth of leather works.

29. Recommendations-cont’d 3. Craftsmen in leather work should pick inspiration from their environment to enable them create new forms of designs in order to preserve our cultural heritage.

30. Recommendations-cont’d 4. Institutions of government, such as Ghana Export and Promotions Council and the National Commission on Culture should provide greater opportunities for leather craftsmen to be able to promote and preserve our cultural heritage to protect the Ghanaian society.

31. Recommendation for further Studies It is suggested that there is substantial documentary that the creative impulse and resources for the traditional craft is rooted in the cultural heritage of Ghana, there is the need to embark on research into other Ghanaian traditional art forms and document such findings.

33. Operational Definition Traditional: Refers to locally produced art works dating to pre-colonial, involving local methods perceived to have emanated from that particular group. Culture: The totality of distinctive material, intellectual, and aesthetic features that characterise a society or group. Acculturation: Cultural modification of designs and concepts of a group or society by adapting to or borrowing traits from another culture.