The Evolving Art of Ashanti Kente Weaving in Ghana

Ross, Mariama; Adu-Agyem, Joe

doi:10.1080/00043125.2008.11518985

Cited by 6 publications

(3 citation statements)

References 7 publications

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“…Inferences from the field interactions with respondents reported Kete, Fugu, Tie-dye, Batik, Nwomu, Kobine, Brisi, Kuntonkuni, Adinkra Cloth, Obama (embroidery cloth) and Tapestry as noticeable indigenous Ghanaian textiles. Some other studies further made similar observations of the kete traditional cloth as indigenous Ghanaian textile (Ross & Adu-Agyem, 2008;Adom et al, 2019;Frimpong et al, 2020). These findings go in line with a study that affirms the existence of indigenous Ghanaian textiles across regions of Ghana (Ware, 2022).…”

Section: Resultssupporting

confidence: 73%

“…They claim to have gotten the concept from a spider's web (Asihene, 1973). This idea is supported by the fact that at this time, among other textiles, the Ota Kraban century produced lace, woven products and needlework (Ross & Adu-Agyem, 2008). They claimed that the earliest known use of handlooms for weaving thin strips was in ancient Egypt.…”

Section: Traditional Textiles Made By Hand (Kente)mentioning

confidence: 96%

“…The local cotton farmers provided the weavers with fibre for weaving. It is reported that rough raffia was used before cotton (Ross & Adu-Agyem, 2008). Weaving was established in the seventeenth century at Bonwire in Ashanti.…”

Section: Traditional Textiles Made By Hand (Kente)mentioning

confidence: 99%

See 2 more Smart Citations

Promotion and Preservation of Indigenous Textiles and Culture in Ghana

Ayesu

Acquaye

Howard

et al. 2023

EAJESS

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This study investigated on promotion and preservation of indigenous textiles and culture in Ghana using qualitative approach. Tour guides, curators, historians and artisans were selected as accessible population as they possessed knowledge of the cultural significance, historical context and traditional methods of textile preservation. The study used a combination of convenience or purposive sampling with random stratified sampling to select 12 respondents (3 from each group) across different regions of Ghana, ensuring a representative sample. The study concluded that indigenous Ghanaian textiles are an essential part of the country's cultural heritage. The use of indigenous textiles in various cultural activities is crucial for preserving and promoting Ghanaian culture. These textiles are deeply intertwined with Ghanaian cultural practices and play crucial roles in transmitting customs and traditions to the outside world. Therefore, it is recommended that efforts should be made to document and preserve indigenous textiles and promote their use in various settings, including formal occasions and cultural events. This will help preserve Ghana's rich cultural heritage and promote cultural tourism in the country.

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Section: Resultssupporting

confidence: 73%

Section: Traditional Textiles Made By Hand (Kente)mentioning

confidence: 96%

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Promotion and Preservation of Indigenous Textiles and Culture in Ghana

Ayesu

Acquaye

Howard

et al. 2023

EAJESS

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Sustainable Supply Chain Process of the Luxury Kente Textile: Introducing Heritage into the Sustainability Framework

Nunoo

2022

Palgrave Advances in Luxury

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Kente Weaving Among Akan and Ewe Peoples of Ghana: A Gender-Based Insight into Embedded Intangible Cultural Heritage and Implications for the Implementation of the UNESCO Intangible Cultural Heritage Convention

Oguamanam,

Yeboah-Appiah

2024

Int J Cult Prop

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The UNESCO Convention for the Safeguarding of Intangible Cultural Heritage is designed to secure the protection of intangible cultural heritage (ICH) worldwide.1 The Convention aims to safeguard and ensure respect for ICH of communities, groups, and persons and promote awareness of their significance and international protection in that regard.2 The Convention outlines intangible cultural heritage (ICH) in terms of oral traditions and expressions, including, but not limited to, epics, tales, and stories, and performing arts categories such as music, song, dance, puppetry, and theatre. Other forms of ICH under the Convention include social practices, rituals, and festive events. In its inherently nuanced nature, ICH also includes knowledge and practices relating to nature and the universe. In these categories are folk medicines, folk astronomy, and various natural phenomena. ICH’s wide and nuanced ambit encompasses traditional craftsmanship as well as the sites and spaces in which culturally significant activities and events occur.3 ICH forms part of the daily life and lived realities of people in virtually all parts of the world. It is the beliefs and perspectives, ephemeral performances, and events that are not tangible objects of culture, such as monuments or paintings. ICH is often described as the underlying “spirit” of a cultural group,4 which cannot be detailed in all subtleties.

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The Evolving Art of Ashanti Kente Weaving in Ghana

Cited by 6 publications

References 7 publications

Promotion and Preservation of Indigenous Textiles and Culture in Ghana

Promotion and Preservation of Indigenous Textiles and Culture in Ghana

Sustainable Supply Chain Process of the Luxury Kente Textile: Introducing Heritage into the Sustainability Framework

Kente Weaving Among Akan and Ewe Peoples of Ghana: A Gender-Based Insight into Embedded Intangible Cultural Heritage and Implications for the Implementation of the UNESCO Intangible Cultural Heritage Convention

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