Adinkra

Adinkra symbols are visual representations which symbolize well known proverbs, sayings, attitudes, religious beliefs and the social thoughts of some West African Societies. According to A.K Quarcoo the Adinkra symbols and artwork originated in West Africa among the Ashanti and Gyaman people of Ghana and can be traced back to the 17^th Century.  While there are some level of controversy and mystery surrounding the early of Adinkra beginnings oral history alludes to a war in 1818 between Kofi Adinkra, then King of Gyaman (now Cote d’Ivoire/Ivory Coast) and the Ashanti King, Nana Osei Bonsu-Panyin. The feud ignited because it was said that King Kofi Adinkra made a replica of the very symbolic and sacred Golden Stool, which enraged Nana Osei Bonsu-Panyin. This led to the declaration of war between the two groups leading ultimately to the beheading of King Kofi Adinkra. The decorated fabric that Adinkra wore in the last battle was taken by the Ashanti as a trophy.  The symbols present on the fabric and later other artwork utilizing these symbols took the name of the beheaded King - Adinkra.  The Adinkra cloths have also been linked to the Islamic practice of talismanic writing on cloth. The influence is probable as the history of trading and political links between Islamic peoples and Ghana dates back to the early 14^th century.   

Adrinkra symbols are many, numbering over two hundred (200). These symbols, however, are more than mere symbols, being representations which embody various aspects of Ghanaian cultural legacies and traditions. The symbols are said to objectify the proverbs, folk-tales, myth, folksongs, rituals, customs and beliefs of the ethnic groups involved and even wider West African society. In essence, the artworks are seen as representations of social thought ranging from history and philosophy to religious beliefs and practices. Initially, clothes adorned with Adinkra symbols were only worn by royalty and spiritual leaders in the society and only during sacred ceremonies and rituals, particularly those associated with honoring the dead. Note also that the root meaning of the term Adinkra is “farewell”, ideally linking it to ceremonies bidding farewell to loved ones. The symbols worn on the mourner's clothing usually expressed the qualities he or she attributed to the deceased. As is the custom, each cloth is designed for specific occasions and therefore conveys distinct messages. 

The art of printing the adinkra motifs on large, heavy, woven cotton fabric has evolved into a highly complex art form within these West African societies.  This art work is presently among the highest valued hand-printing and hand-embroidered works done on cloth. In addition to cloth work the adinkra symbols themselves have, over the last century, grown in significance not just in West Africa but worldwide, inspiring works of art in Jewelry, sculpture, interior decoration and design. To date the symbols have also been highly utilized in conceptualizing company’s Logos all around the world.

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