Adinkra symbols download pdf

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Arthur [3] describes Adinkra as a coded system that induces meanings which preserve and present aspects of the belief, philosophy and history of the Asante people of Ghana. Adinkra symbolism has a name and meaning derived either from proverb, a historical event, human attitude, animal behavior, plant life, forms and shapes of inanimate and man-made objects [4].

The origin of the Adinkra symbols as stated by various authors and anthropologists sounds a bit controversial. History has it that, Nana Kofi Adinkra, the King of Gyaman wore a patterned cloth which was interpreted as a way expressing his sorrow.

This is a theoretical truth which a lot of authors believe but how far this is true has yet not received a concrete basis since the philosophy and history of the individual symbols can mostly be traced to the Akans better than any other culture.

There are other several conflicting ideas to the origin of the symbols. According to Rattray [6] before the Asante-Gyaman war in these symbols were already in existence as introduced by the Mohammedans through trade.

These traders had already introduced amulets that had designs similar to the Adinkra symbols. This implies that perhaps the symbols were copied from the Mohammedans through the Northern trade. Thomas Edward Bowdich has also given different perspective of the date in which Asantes first came into contact with Adinkra symbols in relation to the Gyaman war. Bowdich has speculated that he had collected a piece of Adinkra cloth in [7]. In the history of the Asantes, there is a belief that Okomfo Anokye, the greatest chief priest ever lived in the history of the Asante called upon the heavens to bring down the golden stool, an artifact that came to symbolize the power of the first King of the Asante nation, Osei Tutu as well as the power of every succeeding Asantehene.

Journal of Asian Scientific Research, , 9 4 : It is believed that Adinkra cloth was folded on top of the golden stool, brought down from the heavens; which means that the symbols were divinely given and not copied from any other culture. There are no existing facts to support these theories but authors cling to the fact that these symbols were obtained from the King of Gyaman simply because his name was Adinkra. Upon analyzing the various accounts as to the origin of these symbols, it can be deduced that the Adinkra symbols originated from the Akans and not the Gyamans as many authors speculated.

Also considering the account of Bowdich and Danzy, it can be deduced that the Gyaman war which dates [9] came about years after the golden stool was chanted down by Komfo Anokye. There are still not any tangible artefacts or historical items which can be found in the Northern part of Ghana to substantiate the fact that Adinkra begun in the North. Adinkra cannot be said to belong to or founded by the Asantes alone rather all the Akan people in Ghana since their philosophy and history can be traced to almost all the Adinkra symbols.

Kente, Adanudo and Adinkra clothes are some of the very few traditional cloths associated with the people of Asante which convey the thought and feelings of the wearer.

Adinkra cloths were traditionally worn by royals and spiritual leader for special ceremonies, but in recent times, it is worn by non-royals and even tribes afar for any befitting occasion [10] and African History [11]. Until the introduction of the symbols in cloth printing, Adinkra symbols were used in architecture such as in the shrine of Yaa Asantewaa at Ejisu in the Asante Kingdom as well as on ceremonial article such as swords and consecrated items such as the stools used at the shrine and at Asantehene palace at Manhyia.

After sometime, it is recorded he later went for the bark of the tree and deliberately stained all of the dress and this act triggered a huge family venture that is practiced by the people of Ntonsu till date [12].

Series of production activity takes place before one can obtain a complete Adinkra cloth, such steps include the carving of the design unto a calabash Figure 1 and then erecting the carved design unto a palm front pedestal. The stock collected is again boiled until a thick paste residue is achieved Figure 2. Stamping can be done on either strips of plain woven Kente Figure 5 which are latter joint together into full cloth or machine woven fabric which is died and then stamped Figure 6.

Stamping is done by dipping the carved design into the dye paste Figure 3 and then pressing the design unto the fabric Figure 4. Journal of Asian Scientific Research, , 9 4 : Figure Carved Adinkra Symbols. Source: Field Research Adinkra Stamping.

Stamped woven Kente. Stamped Machine made fabric. Some Sample Adinkra Symbols and their Meaning Adinkra symbols appear on some traditional Akan gold weights, cloth and linguist staff. Some are carved on stools for domestic and ritual use. Sankofa Going back to my roots, Going back to my to undo or correct beginnings mistakes, to build and plan a better future.

The king has eyes every where Akofena Symbol of authority and Sword gallantry. Mortal nature of man. Journal of Asian Scientific Research, , 9 4 : 2. Aesthetic Elements and Values Till date, Africans have developed and are using both oral and visual images to convey, and store their emotions and attitude.

These images are used symbolically to communicate knowledge and teach values and morals. A symbol help in giving clear information about the environment, feelings of people, and hide and protect some important secrets. Ghanaian symbols known as Adinkra are visual symbols that represent concepts and are used in fabrics, on walls, logos and can be found everywhere.

There are several bright colour cloths which are used for Adinkra projects. Aesthetically the symbols are printed in cloths, carved in stools and on building for beautification purpose side the message they carry, a typical example is the architectural designs at Yaa Asantewaa shrine in Ejisu Figure 7.

The Adinkra symbols are all formed from lines, dots and shapes. Majority of the symbols are rounded in form comprising of curves, horizontal and vertical lines which are inter twine and intersect at an angle giving them the unique features that cannot be seen in any writing style.

It cannot be said to have followed or copy Chinese writing style. Some of the symbols such as Akofena sword and the symbol of gun and tortoise were all developed and design from the immediate environment to which man owe a great sense of deal as humans and the design of the sword is not foreign but a traditional one which is easily identified with and by the people.

Adinkra symbols in Architecture. The artisans developed ideas or took inspiration from myths, proverbs and already existing adinkra symbols which were primarily used in clothes. There were no preliminary sketches made.

Whatever idea the artisans had was first tried out in wax as sample work. The artisans use manual-traditional technology for the production of the artefacts. They work in open spaces, court yards and in front of their houses. An artisan workshop comprises a simple wooden shed, under which the artisan works, a working table and chair, a modified crucible and a container for keeping tools. Journal of Asian Scientific Research, , 9 4 : furnace is sighted a few meters from the shed.

They use local materials such as bee wax, clay, charcoal, palm fibers and cow dung. The initial funds required for the establishment of a workshop is therefore not very high [13, 14]. The artisans basically use the lost wax casting method for the production of their artefacts.

The designs are beautifully sculpted out of soft beeswax Figure 8. Then they are dipped into a mix of very fine charcoal and water to give a coating which holds all the fine details Figure 9. This is then covered in a mould of coarse palm fibers and clay Figure The mould is heated and the wax is poured out.

Scrap brass is then melted in a crucible and poured into the mould bearing cavity of the intended pattern Figure This allows the metal to melt and drain down into the spaces left by the wax. The mould is taken out of the kiln and after cooling broke open to obtain metal mould.

Charcoal is removed from inside hollow mould and metal is filed down to get smooth finish which is then polished using lemon juice, an iron brush and water. The artefacts produced are visually aesthetic, unique, and simple [15].

They carry messages which represent the content of their culture that is knowledge, views, values of life orientation, and the belief system. Each art form symbolizes the culture of the people as represented in Figure 12 and Figure Wax forming.

Coating in charcaol clay mixture. Source: Google. Coating with clay and palmfiber. Casting process. Cast Adinkra Pendant. Cast Adinkra Signet Rings. This research is qualitative and used descriptive research methods for data collection According to Babbie [17] descriptive research is the accurate and systematic description of data and characteristics about the population or phenomenon being studied.

Semi-structured interviews were employed as a means of gathering data for this research. Face to face interaction was held with craftsmen and resource persons so that the needed facts could be obtained and documented. Various related literatures were reviewed and results analyzed and synthesized. The nature of the research topic demanded that several traditional Adinkra Printing centers be visited at Ejisu, Manhyia, Bonwire, Ntonsu and Kumsi Culture Center to allow the researcher examine, analyze and describe various production processes and products that make use of Adinkra symbols, and document all.

Several examples have been stipulated below to substantiate this claim. The design chosen for that particular symbol is the traditional sword. The sword in its self is not ordinary and cannot be identified with the Northerners in Ghana nor other cultures other than the Akan tribes of Ghana. One may ask why the sword to represent authority and not a gun or currency money?

More over even if the designers wanted a weapon other than gun but within cutting tools perhaps they could have gone for pen knife or even machete and not a traditional sword. Again if the choice was for a sword may be they could have chosen the sword design used by the Queen of England since they are our colonial masters? With all this questions unanswered, it brings us to the history and philosophy of the symbols.

In the very old days before the introduction of guns by the West into Africa, swords, bow and arrows and spear were the weapons for battle.

Journal of Asian Scientific Research, , 9 4 : authority over their lives. It was used for swearing in because it represent the freedom of his subjects and he has to protect it with his life and if by chance he is defeated in a battle and beheaded all his subjects becomes slave to whosoever has his head. Hence the sword stands for the freedom of the people and whosoever has power over their freedom has authority and as a symbol of permission to lead. This is the reason why even till date it is used for swearing Presidents into office, chiefs and leader of various organizations.

Looking at the symbols it can be seen that a lot of deep thinking went into design and it brings out how the Asante think of God and who they believe him to be.

For instance, two main shapes can be seen in the design being: round balls and two curved poles like a horn. The balls seen in the gye nyame design is similar to that in the Ohene Aniwa design which means that God is also perceived as a king who also sees everything. The arrangement of the balls too when one draws line to follow the pattern, the outcome was similar to the Nkyemkyem symbol which indicate how deep God is that no one can fully map out Gods ways and strategies he deals with man.

Also the curved poles on each side like a horn is also similar to the Akoben design which also implies that God is known to them as a strong force that none can recon with. The design is made of a distorted circle thus elliptical shape and a dot.

The position of the dot in the circle seem similar to an open mouth with the tong. Then it is not by mistake that the dot is found within the circle and not outside. May be this could have informed the designers of the symbol to attach four circles as seen in the symbol.

Also another loud thinking can be that the circles represents the ears and the dot as the hearing drum, and each individual has two ears and four circles represent two people reasoning together. It also shows that the Asantes mostly regard quiet people as wise because it is said that silence is gold. It also confirms the Akan saying that, great tasks are resolved in silent and refrain from rebutter keeps the stick to sleep. There are also other Adinkra symbols aside the ones discussed in this report that represent the philosophy and history of the Asante.

The symbol tell the history of the Asante in terms of occupation as they were one hunters and also it relate to the numerous battles they fought. But the designers chose tortoise and snail around a gun because the use of a gun is not needed in hunting for this animals and also teaches the lesson of patience and being hopeful.

The animals are slow but with patience and hopefulness can achieve everything. It represents a traditional culture that is gradually diminishing because of the growing global capitalist economy. Journal of Asian Scientific Research, , 9 4 : and on institutional and public buildings an example is Golden Tulip Hotel both in Kumasi and Accra, University of Ghana buildings [18]. According to Frimpong, et al. The Adinkra symbols can be manipulated and modified without losing its basic features and used in other disciplines than just in Architecture and traditional funeral clothes printing and be used in T-shirt printing, product branding, sculpture, leather, ceramic, jewellery and metalsmithing industry.

The designer can stop using the symbols in isolation, and only representing the symbols and their meanings more in only books rather can be coined with its meaning to form one icon which will showcase the meaning and symbol as one design.

Jewellery that have been pierced in Adinkra symbols can be exported for foreign earnings, and also help other cultures develop the taste for symbols and not necessarily the meanings they convey. In as much as the symbols have become a major identity with the Ghanaian people as a whole and not only to the Asantes from Akan, the niche market created through the application of these symbols in different art forms has not been harnessed fully.

Finishing of the works of art must be improved appreciably. In this era of globalization of trade and services where complex machinery have been developed and imported artefacts are competing aggressively with the locally produced contents, packaging as well as surface finishing techniques must be developed through the use of available local mechanism so as to bring up uniqueness in the products produced locally. It is an undisputable fact that there are limited machines available yet much can be done with the simple tools available than the blunt finishing and poor packaging executed by local artisan.

Again, jewellers should not restrict the use of the symbols to only rings, necklaces, chains, earrings, bracelets but should also be producing belt-buckles, wrist watched, sun glasses, hair pins and the likes. This will help open up their customer size and in effect influence their income. Funding: This study received no specific financial support. Competing Interests: The authors declare that they have no competing interests. Ong, Orality and literacy. DeFrancis, The Chinese language: Fact and fantasy.

Arthur, Cloth as a metaphor: Reading the adinkra cloth symbols of the Akan of Ghana. Legon: Centre for Indigenous Knowledge Systems, Richardson, "Adinkra history. Autry, Farewell medicine. African Diaspora ISPs. Rattray, Religion and art in ashanti. London: Oxford University Press, Danzy, "Adinkra symbols: An ideographic writing system.

Unpublishedtheses , Kumasi: Ghana Museums and Monuments, Boadu, "Outburst: Adinkra as a good communication tool in Ghana. Boateng, History and origin of adinkra symbols. Ghanacul: Ghana Cultural Politics, London: OVP, Fening, S. Kissi, and E.

Kissi, P. Fening, and D. Funtunfunefu Fig. Relate area to the operations of multiplication and addition. Find the area of a rectangle with whole-number side lengths by tiling it, and show that the area is the same as would be found by multiplying the side lengths. Multiply side lengths to ind areas of rectan- gles with whole-number side lengths in the context of solving real world and mathemati- cal problems, and represent whole-number products as rectangular areas in mathemati- cal reasoning 3.

Introduce Adinkra symbols are designs created by the Asante people and used to decorate many items of daily use in Ghana. Adinkra cloth is beautifully designed cloth stamped with patterns of symbols, often ones that represent things seen in nature such as trees, ferns, and animals.

Each symbol has a speciic meaning and a proverb related to it. Asante artists carve Adinkra stencils from gourds and then use these stencils with hand- made dyes to place patterns on an area of cloth they are designing. You can imagine how much calculation the artist needs to use as he or she decides on the size and shape of the stencil design, where to locate the designs to produce the desired pattern, and how many designs are needed to cover the surface of the cloth they are stenciling.

Show students several photo examples of Adinkra cloth, asking them to pay particular attention to the geometry of the patterns. Explain that each design represents a particu- lar image, object, or idea to the Asante people who produce and wear the cloth. Discuss proverbs and ask your students what they think several of the Asante proverbs actually mean.

Asante artists are expert at designing and placing patterns across the cloth they decorate so that entire areas become patterned. Ask them to then begin placing and gluing the squares so that the entire surface of the colored paper is covered.

Discuss with students the concept of area, making sure to focus on the concept of area rather than on the formula for inding an area. How many students counted the squares to determine their answer? Did any students do this diferently? Can any students suggest a faster way of calculating area other than by counting? Encourage divergent and lexible thinking. Introduce the terms length, width, area, and perimeter. Discuss the concept of using a variable to represent a particular term i.

As students work within their teams and as a whole class, ask them to write a sentence describing how they would tell a friend to ind the area of a surface when using a speciic dimension. Together, have the class translate these word sentences into a formula they can apply when calculat- ing the areas of diferently shaped surfaces.

Ask the students what would happen to the previously calculated area if the stencil pieces they were using were now doubled. When the dimension of a shape is doubled, does this mean that the area also becomes twice as large? What have they discovered? What did they discover? What possible explanation could there be for this result? Summarize and Assess Discussion Questions Q We now have a better understanding of the way that Adinkra artists calculate area and how they determine how many designs will cover an area of cloth.

In what other ways do these artists use math? Using an online applet, students will graph their design, providing a connection between transformational geometry and coordinate graphing. Introduce Adinkra symbols are representations of beliefs and values held by the Asante people of Ghana.

Many of these designs draw on aspects of nature, and they often incorporate ele- ments of geometric transformations such as relection, dilation, rotation, and translation. In this exercise, students will have an opportunity to design a symbol using these transformations, allowing them to creatively portray their own connection with nature.

Explore and Create 1. Have students read through the pages on each transformation, noting how transformational geometry is present in Adinkra symbols. Separate the class into four groups. Assign each group a geometric transformationпїЅ relection, dilation, rotation, or translation. Hand each group a piece of poster board, and instruct the students to create a poster on their geometric transformation.

For each symbol they choose, have students draw the symbol, write its literal meaning, and write its symbolic meaning. Have the groups present their posters. As each group presents the symbols on their poster, ask the entire class to suggest what element of nature the symbol represents and how the geometric transformation can be seen in that element.

For instance, if students were presenting Aya, the fern ig. Tell students to think about their own values and possibly identify an element of nature that somehow depicts these values. On sheets of paper, have students incorporate linear shapes and arcs to design their own symbol that depicts these values. After they complete their initial sketches, have the students use a ruler, a protractor, and a compass to plot their designs on a piece of graph paper. Have the students record the coordinates for each point of their design on the graph paper.

Also have them record the radius and angle of each arc. Have the students use the applet to plot their symbol. Ask students to describe the shapes and arcs within their symbol, along with the elements of transformational geometry that it incorporates. Have students also share the values that their symbol represents and how they created the design to repre- sent those values. If a design is related to an element in nature, have the student describe the connection.

Ask to students to describe what they had to do diferently to plot their design on the graph using program- ming concepts. Have students share their indings during the following class. Summarize and Assess Discussion Questions Q Did many of the symbols incorporate more than one element of transforma- tional geometry? Which transformations were often paired, and why do they complement each other? Q How does knowledge of transformational geometry make it easier to measure and place shapes on the graph?

Explain your thinking. Grades 9пїЅ12 Objectives Students will explore and model scaling factors with arithmetic sequences such as the Fibonacci numbers. Students will use an online applet to study and create Adinkra patterns relecting designs found in nature and the Asante culture. Common Core State StandardsпїЅGeometry Use coordinates to compute perimeters of polygons and areas of triangles and rectangles.

Introduce As part of their cultural practice, the Asante of Ghana often wear cloth stamped with the symbols called Adinkra to ceremonies and festivities. Artisans carve symbols into pattern blocks, which are then coated with a black dye and the pattern is pressed onto the cloth.

Many of the shapes in Adinkra symbols are logarithmic spirals. In the third symbol ig. For the Adinkra artisans, the symbols involving life always use the arc of a logarithmic spiral, as they have generalized that spiral as a geometric abstrac- tion of the essence of biological growth.

Dwennimmen: Fig. Akokonon: Fig. One way to generate those shapes mathematically is with Fibonacci numbers. As it happens, Leonardo Fibonacci, the medieval Italian mathematician who devised his sequences, was himself educated in northern Africa. It is not unusual to ind the results of such studies patterned closely to numbers in the Fibonacci sequence or model- ing the creation of iterative golden sections.

If the growth of an organism generates a curve, then a very simple model can generate a logarithmic spiral. Scaling factors are also apparent in designs where iterative patterns are scaled. When we look at a fern leaf, for example, we see a repetitive shaped pattern that either increases or decreases in size along the length of the leaf.

In the following activity, students will use the online applet to create patterns reminiscent of Adinkra patterns. Students will begin their exploration of spirals through a review of the Fibonacci numbers and their ratios.

Before starting the activity, review with students how to build the sequence of numbers known as the Fibonacci sequence. A sequence with fourteen numbers should give students a good idea of how the sequence is built and suicient numbers for fur- ther exploration e. Begin with a discussion of Fibonacci sequences. Fibonacci patterns and numbers are found in many places in nature, and they are also often incorporated by cultures into art and design.

Biologically, we can frequently see the successive terms of the Fibonacci sequence appearing in plants. As the plant grows from a small center, young buds move away from the populated area of the old buds to a new location where they are free to expand. Have students explore the Fibonacci sequence found in some common, and easy to count, examples from nature.

Real-life examples or photos may be used for the investigation. Table 5. Students are now familiar with the numbers of the Fibonacci sequence. Have stu- dents explore the golden ratio as they ind the quotients of successive Fibonacci numbers.

Encourage them to look for a pattern as they continue the exploration, and have them consider what number seems to be the limiting value. Using the numbers from the Fibonacci sequence, have students construct a golden rectangle, either using grid paper or a computer application.

Have the students draw a rectangle that measures 55 by 89 units. Within this rect- angle, have them construct a square that is 55 units on a side. Repeat the process using squares of 34 units, 21 units, 13 units, and 8 units. Students should use a calculator to verify the ratios made from the Fibonacci numbers.

Have students connect the vertices of the squares to form a logarithmic spiral. A spiral is deined as a curve traced by a point that moves around a ixed point from which it continues to move away. Have students compare the logarithmic spiral to the Adinkra designs provided to them.

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Dismiss View all alerts. Contact Us. Adinkra Symbols Explained. Adinkra Symbols at African Burial Ground NPS As one walks along the African Burial Ground National Monument, seven mounds made from grass encompass the side of the memorial where a granite prism structure stands, firm and grounded, the sound of rushing water can be heard. Last updated: June 30, The Adinkra cloth. The Adinkra cloth is stamped or printed with Adinkra symbols.

It is one of the few examples of traditional cloths in Africa. The Adinkra cloth was hitherto the preserve of the royalty and spiritual leaders of the Asantes. They wore it during very important sacred ceremonies. Today the Adinkra cloth is used for a wide range of social activities such as festivals, marriage, and naming ceremonies among others. The 3 most important funerary Adinkra are the dark brown kuntunkuni the brick red kobene and the black brisi. There are however, other forms of which cannot be properly called mourning cloth.

Their bright and light backgrounds classify them as. Kwasiada Adinkra or Sunday Adinkra meaning fancy cloths which cannot be suitable for funerary contents but appropriate for most festive occasions or even daily wear. Other uses of the Adinkra symbols Adinkra symbols can be described as small, symbolic pictures or motives used to decorate colourful patterned cloth by fashion designers in Ghana.

Designers in modern times use Adinkra symbols in creating and decorating other accessories than cloth. Some corporate institutions in Ghana now use the Adinkra symbols as their institutional Symbol or Logo. Adinkra Printing. The Asante people have developed their unique art of adinkra printing. They use two traditional printing methods; the block-stamp technique, which involves the use of wooden or metal stamps and the screen-printing.

The Adinkra cloth was originally printed from hand carverd stamps from calabash or gourd apakyiwa. The dye or ink adinkra aduru for printing is derived from the bark of the Badie and the roots of the kuntunkuni trees. The bark and roots are soaked in water for days to soften. They are then pounded to increase the softening process. The kuntunkuni roots are also boiled into a dark solution to dye the cloth black. The Cloth is dipped and soaked in the solution. It has to be dried several times before it turns completely black.

The cloth is normally dyed in either red or black. For the red Adinkra cloth, a chemical called Sudi is used instead of the kuntunkuni root. The Stamps. The various stamps carved from the calabash are tinted with dye and pressed in sequence onto plain cotton cloth, pegged on the ground. Today raised platforms with sack covering act as the printing table.

In recent times imported cloth is used as the background of the cloth. Sometimes the various symbols are used on one fabric and this also has its significance.

The designing is done according to the message the wearer or owner of the cloth intends to convey to the participants of the event. The quality of the cloth also shows the status of the one wearing it. The original Adinkra cloth is not meant to be washed since it faded easily as a result of the natural ink used without any chemical additives.

Today, other types of cloth are used with the same adinkra motives but stamped in indelible colours using the batik method. Ntonso, a town in the Ashanti Region is noted for Adinkra cloth production.

It is popularly acknowledged as the Home of Adinkra. Sundays are normally characterized by drumming and dancing, playing of owari and dame traditional games and other exciting social and religious activities.

In contrast to the above is the dark and dull colours of black, dark brown and brick red which are the make-up of the Birisi, Kuntunkuni and Kobene cloths. Black for instance among the Asantes evokes an aesthetic response of sadness and hopelessness, The red colour is normally associated with blood and death. That is why during funerals Kobene in particular is worn by the closest relatives to show how aggrieved they were and the others appear in different cloths Kobene is also worn during the Asantehenes funeral or when there is a national calamity.

The Omanhene of Abeadze of Domenase said the cloth means our eyes are red. Below is a table displaying in alphabetical order some of the old and new Adinkra and other cultural symbols of the Akan. They have been arranged by names in Twi, literal translation in English, significance and proverbial meaning where available. Parental admonition is not intended to harm the child.

Parental discipline. You can always correct your mistakes. Wisdom Using past experiences to build the future. Better late than never. Knife used in executions. This is plunged through the throat of the victims cheeks to prevent him from invoking a curse on the King. Power is as fragile as an egg, when held too tightly it might break; if it is held too loosely, it might fall and break. Home Documents Adinkra Symbols. Match case Limit results 1 per page. The Asante people around the 19 th century then took to painting of traditional symbols of the Gyamans onto cloth, a tradition that was well practiced by the latter.

Author: emily-jane Post on Dec 56 views. Category: Documents 3 download. Tags: adinkra cloth nana adinkra adinkra cultural symbols kwasiada adinkra important funerary adinkra asante ghana legend traditional symbols gyaman nana kofi adinkra. The Adinkra cloth The Adinkra cloth is stamped or printed with Adinkra symbols. Their bright and light backgrounds classify them as 3 Kwasiada Adinkra or Sunday Adinkra meaning fancy cloths which cannot be suitable for funerary contents but appropriate for most festive occasions or even daily wear.

Adinkra Printing The Asante people have developed their unique art of adinkra printing. The 4 Badie bark is boiled with iron scraps. When the colour deep brown emerges from the pulp it is sieved and engraved onto a piece of calabash or pot. The Stamps The various stamps carved from the calabash are tinted with dye and pressed in sequence onto plain cotton cloth, pegged on the ground.

The human being is not like the palm that is self-sufficient. Nnua nyinaa bewu agya abe. All trees will wither safe the palm tree. Adinkrahene Adinkra King. Chief of all the Adinkra designs; forms the basis of adinkra printing. Greatness Royalty 7 Adikrahene Dua Adinkra king stamp. This is used only for printing on the Adinkra cloth. Greatness Royalty Adwera Watery shrub Purity and Sanctity Chastity good fortune Consecration Cleanliness Adwera nsuo, wo ne nkwansuo, nsu korogyenn a wohuru nso wonhye.

Water of life, you are the pure crystal clean water that boils but, does not burn. Adwo Peace. Gallantry Valour Bravery Akofena kunini ko a, wobo a fena kye no safohene The great warrior always has a royal sword of rest even when he retires Akoben War Horn The sound of Ako-ben is a battle cry. Call to arms Readiness and preparedness for action or battle. Vigilance Akoko nan The hens feet Parenthood. Akoko nan tia ba, na ennkum no.

The hen treads upon its chicks but it does not intend to kill them. Akoma The heart. Akoma ntoaso Extension of the heart.

Understanding Agreement or charter Unity. Seriousness does not show fiery eyes; else you would see my face all red. Bi-nnka-bi obi nnka obi Bite not one another Peace Harmony Caution against strife and provocation Biribi wo soro There is something in the heavens. Reliance on God for inspiration. Nyame, biribi wo soro, na ma embeka me nsa. God, there is something in heaven, let it get to me.

Everlasting love. Ese ne tekrema The teeth and the tongue. Friendship interdependence Advancement progress Strength in unity. The Fofoo plants wish is that the gyinantwi seeds should turn black. Democracy and oneness irrespective of cultural differences. Funtumfunafu denkyemfunafu, won afuru bom, nso woredidi a na woreko. They share one stomach and yet they fight for getting food. Loyalty Faithfulness Kete pa Good bed Good marriage. One head does not make up council Krado mmra krado Seal of law and order Authority of the court.