from athens to accra

following a fashion student's journey to Ghana, West Africa

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6/6-7: Homeward Bound

Today we took one last trip to the Accra Culture Center market before checking out of the hotel. 

Typically, several women work in the market; many have moved from the more conservative northern cities to find work in Accra. (Not specific to the culture center, but markets in Accra in general). The women are from a variety of ethnic groups: the Akan, the Ashanti, and Fanti, and Ewe, and the indigenous population (Robertson, 1984). It is argued that “market women also represent unique examples of social and economic transition as traditional Ghanaian roles are challenged, restructured, lost, and reinvented as a result of modern urban demands” (Reddy, pg. 3, 2007).

Inside the culture center market

Author Jennifer Reddy poses that the women of the market (she specifically, speaks about the Madina market in Accra) undertake a triple gender role, one that encompasses reproductive work, productive work, and community management (Reddy, pg. 4, 2007). These three points cover all responsibilities from childbearing, child rearing, domestic labor, income, to the organization and production of goods and services for collective consumption (Reddy, pg. 4, 2007). She further poses that these women are accepting of the triple gender roles because they are “intertwined with both practical and strategic gender needs, varying according to socio-economic context, class, ethnicity, and religious structures of societies” (Reddy, pg. 4, 2007).  

What I found fascinating was the sense of community fostered within the marketplace. The market women are supportive of one another; according to Reddy’s findings after interviewing six women working at the Madina market, it is not uncommon to participate in collective upkeep, clean-up, and maintenance of the market area (Reddy, pg. 7, 2007). The traders will also take turns watching each other’s children and merchandise stalls (Reddy, pg. 8, 2007). 

“The market is recognized as a place for learning and sharing knowledge, building identity, belonging, and connecting with other women” (Reddy, pg. 8, 2007).  Image of the Madina market place in Accra. 

We had to check out of the hotel at 11:30, but our flight was not until about 10pm. So...we had a lot of waiting to do! We finally left the hotel around 5pm.

A selfie taken en route to the airport

The first leg of our flight home was a little rough. The plane inspection did not pass, but we were already boarded. Because the plane ‘could not be pressurized’ while it was being fixed, we did not have air conditioning. We ended up waiting for three hours on the runway. With no air conditioning. The flight staff was friendly and bringing around glasses of water, but it was exhausting. I never really felt like I cooled down for the rest of the flight, which made it difficult to try to sleep.

Because we were delayed for so long in Accra, Sarah and I did not feel like we had enough time to comfortably leave the airport in London. So instead, we found a place to relax.  

We were excited to start the last leg of the flight home!

Here I am showing off what I believe to be flea bites from the last flight

And here is my big brotherly welcome home! 

Home again, home again.

Reference:

Reddy, J. (2007). “Madina Market Women: An Urban Journey toward Independence.” Undercurrent, 4, no.1.

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6/5: Farewell Dinner

Tonight we all dressed in our handmade Ghanaian regalia for a special dinner, complete with Ghanaian dancing and drumming! 

Our individual glamour shots of the garments we had made

Behind the scenes of the glamour shots

I bought this pineapple from a street vendor on the way home from City of Regufe Ministries last night. It was delicious! 

Because it started to rain, we had to move the party to the covered patio. We had the opportunity to join in on the dancing and show off the moves we learned at our lesson in Cape Coast. 

Here I am with the woman of the hour: Ginatu Doe of Ginatu Exclusive! I am in love with the dress that she made for me--it fits perfectly (and even has pockets). The order for my garments to be sold at Community was still unfinished, so Gina will mail them once they are complete. More photos of the garments I had made will come once we have our own photoshoot in Athens.  

Remember when I described how Gina cut a dress pattern by measuring Briana and looking at a fashion illustration? Briana (far left) is wearing the dress and it fit her perfectly! Amazing! 

Accra’s geo-tag snap filter (in the photo above) accurately depicts how fun an exciting our night was. It felt like the dinner summed up our experience and allowed us to soak up elements of Ghanaian tradition one last time. To say the least, this experience has been incredibly eye-opening. This unique opportunity has allowed for me to not just see more of the world, but to foster an appreciation for a culture that highly contrasts from that of my own. I truly felt welcomed by the Ghanaian people. We met several individuals with so much potential; I believe their potential reflects what will soon lead to rapid economic development in Ghana. I have also grown an appreciation for Ghana’s dynamic tradition and culture. I am eager to tell friends and family about my experience in Ghana; however, words and pictures will simply not do this incredible experience justice. 

While I am excited to get home, I can’t believe that the trip is almost over. 

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6/4: The Torgorme Village

Today, we visited the Torgorme Village, where we were honored in a naming ceremony.

On our way, we spotted a mother baboon carrying her baby.

The village opened the naming ceremony with traditional dancing and drumming.

My given name was Akos Mawuko. ‘Akos’ means that I was born on a Sunday and ‘Mawuko’ translates to ‘Only God.’  

We were each given a hand made pot with our names painted on them (both our American names and newly given names) and a bracelet. Gordon took a much more artistic photo of his pot and bracelet than I did, but this is what the pot and bracelet look like!  

After the ceremony, one of the women did a demonstration on how our pots were made. She finished this one in just a few minutes! We then presented the village with the children’s school uniforms that we had made in Kumasi.

It was an honor to visit the Torgorme village and to be included in a naming ceremony. It is slightly unreal that we were sitting across from a panel of village elders, a chief, and were welcomed with traditional dancing and drumming. The Torgome village illustrated the value of preserving Ghana’s history in modern day.  

Next, we visited the campus of The City of Refuge, a school and campus that fosters children who have been rescued from human trafficking. Many of the children’s parents were deceived into sending their children into slavery at Lake Volta. The parents believed that their children were being taught an occupational trade, but they were really being exploited to work endless hours in horrendous conditions. 

Shocked at the intensity of modern day child trafficking, it was remarkable to learn the extent to which CORM must act to be able to rescue children from trafficking. CORM is in the process of building a new cafeteria so that all of the children can eat in one place, and even have a place to watch movies when it is raining. They had several classrooms, thousands of books, and even a computer lab. The establishment of CORM provides hope for a future to call the end of child trafficking in Ghana. The missionaries have taken deliberate consideration to help build awareness of the negative impacts of human trafficking while paving the way of a bright future for those children rescued.

Found on the CORM campus near the classrooms

We may or may not have quietly crashed a wedding upon our return to the Coconut Grove Hotel.

For our last Saturday in Accra, we decided to check out the local night life. Here is a photo of us cheers-ing at Republic before going dancing!

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6/3: Entrepreneurship in Ghana

This morning we had the honor of heading from Franka Maria Andoh, the owner of Cuppa Cappuccino. In addition to founding CC, Franka writes children’s books and publishes the magazine AWE-AWESOME Women Entrepreneurs. 

Franka discussed with us the trials and tribulations she endured before (and in the process of) founding CC. She studied in England and struggled to get a job in sales. She worked a rotating catering job, which she credited for teaching her how to make the highly acclaimed sandwiches that she sells as CC. She emphasized that passion is great, but not enough. One must be willing to make sacrifices to make their dreams a reality. She noted that Ghana is a challenging place to have a business in respect to resources like fuel, water, and electricity.

I have the upmost respect for Franka and her ability to take risks to make her dreams a reality. I admire her nonconformance to Ghana’s traditional gender roles: not getting married, adopting a daughter, and starting multiple businesses on her own. I admire her passion as well as her transparent ability to acknowledge her roots as a factor of her success. She has a sincere appreciation for the arts and has built her restaurant into a creative space for painters, poets, and other various artists. She views this artistic platform as a mode to ‘feed back history in a gentle way.’ Franka is a story teller who wants to preserve history as the contemporary landscape rapidly changes. In the future, Franka hopes to expand to include a location in the Cape Coast to build a bridge between Ghanaians.

Her publication AWE is a wonderful platform to help other aspiring entrepreneurs, like Franka, succeed.  Franka encourages her fellow Ghanaian women (and women at large) to pursue their talents and passions. I believe that Franka embodies Ghana’s entrepreneurial spirit and is a reflection of the country’s economic progress.

Next, we visited Lifeline, a refuge for women who were either rescued from or found to be at risk for human trafficking.

Lifeline befriends the women and helps them by providing security and training them in one of three skills: sewing, bead making, or hair dressing. These are some of the main trades that women typically enter in this region (Langevang & Gough, pg. 243, 2012). We were told that many of the women go on to become entrepreneurs in their fields. Entrepreneurship has been heavily promoted in sub-Saharan Africa due to limited opportunities for formal employment in the private sector and the shrinking public sectors (Langevang & Gough, pg. 242, 2012). 

It is interesting to learn how globalization has differently impacted the beauty and garment industries. Ghana has a tradition of custom-made clothing, so they have a substantial seamstress population (Langevang & Gough, pg. 245, 2012). Through globalization, Ghanaians have become more exposed to Western-style clothes, which (second hand) can be made available for much cheaper than locally made clothes. According to recent findings, “it has been estimated that around 95% of Ghanaians purchase second-hand clothing (Langevang & Gough, pg. 245, 2012). As a result of the availability of cheaper products, there has been a fall in the demand for locally made clothing (Langevang & Gough, pg. 246, 2012). On the other hand, as a result of the influence of Western-style hair treatments, more women are going to their hairdresser on a regular basis, resulting in an increase for hairdressers (Langevang & Gough, pg. 245-246, 2012).  

The members of Lifeline mentioned that on the streets there is a “survival of the fittest” mentality; however, at Lifeline, “everyone is equal.”

Lifeline hosts approximately 100 girls aged 14 – 20. After their occupational training is complete, Lifeline follows up with the girls for two years to ensure they have found a stable life outside of the program.

Tonight for dinner we went to an American-themed restaurant: Burger & Relish

I had a black bean burger for the first time in a while, and it was delicious! 

Twinkles the dog found us once again at Coconut Grove (our hotel in Accra) 

Reference: 

Langevang, T. & Gough, K. (2012). “Diverging Pathways: Young Female Employment and Entrepreneurship in sub-Saharan Africa.” The Geographical Journal, 178, 3, 242-252.

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6/2: Hello Again, Accra!

Today we had to say goodbye to towels folded like swans and flowers on our pillows so we could begin on the last leg of our journey back to Accra. 

After our day trip back to Accra, I realized that it will feel strange to be back on American highways. 

On our way back, we stopped at an art gallery, but unfortunately we were not permitted to take photos. The work in the gallery was phenomenal. One exhibit focused on caskets caskets made to resemble everyday objects that are reflective of the person being laid to rest. I found this practice to be in alignment with the Ghanaian’s belief in the afterlife. They use this method to pay respect to their loved one while ensuring that they are as comfortable as possible in their transition into the afterlife. 

Tonight we also had a sneak peek of items made by Gina! One of my items fit, but another needs adjusting. 

Time is moving too quickly. Only three more nights until we depart home. 

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6/1: Kakum National Park

Today we took a trip to the Kakum National Park to do the canopy walk: a seven-series bridge suspended over the rain forest. 

I think that nearly everyone who I told that I was going to Ghana asked me if I would be going on a safari. It was both beautiful and exhilarating to have the opportunity to do the canopy walk. We observed the rain forest from a bird’s eye view while suspended on a bridge. It was incredible to be able to intimately experience the true flora and fauna of Ghana.

I will say--I didn’t quite realize that I was afraid of heights until bridge three. 

We spent the rest of the day lounging by the pool, then had our last beach side dinner at Mabel’s Table, where we had our first lunch in Cape Coast. 

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5/31: Global Mamas

Today we toured the corporate headquarters for Global Mamas, a company that empowers Ghanaian women by employing them to develop products that are sold internationally. GM’s unique mission goes beyond helping the Mamas financially, but extends into helping them achieve optimum health and happiness. Founded in 2003, Global Mamas was the first Fair Trade organization in Ghana. 

All of the products sold by Global Mamas are handmade by the Mamas. GM strives to maintain long-term relationships with the Mamas, so they focus on helping them develop their production skills. They currently employ 43 Mamas who manufacture 209 items that are sold in 9 locations worldwide. The Mamas even have the option to work from their own homes. Meet the Mamas on the GM website! 

Looking around the corporate office, it was obvious that Global Mamas cares about complete transparency. Although all of the products are handmade, the brand has high quality control to maintain a pristine corporate image. Reports highlighting each worker’s production and percent passable quality hang in the office. The brand hopes to one day achieve 100% quality.  

A hand-batiked pattern: Cupcakes 

GM hopes to achieve a zero-waste business model. Around the office, we noticed bags of scrap fabric and learned that those were saved for future products where they could be used. So far, they have designed potholders that can be crafted out of the scraps. 

Global Mamas’ mission extends beyond simply teaching women the skills to manufacture products; rather, they place a high value on increasing the quality of life for those a part of the company. They place a high value on improving the lives of those who work for them. I admire this progressive attitude and hope that it one day will be more widely perpetuated throughout the textile and apparel industry as a whole.

After Global Mamas, we had a drum lesson! Above were our three instructors. They taught us how to drum a well-known Ghanaian song. 

It was fun to give the drum a try, but I don’t think I’ll be ready to join a band any time soon. 

Next, we had a dance lesson! 

I was amazed that our instructor was about 8 months pregnant (and it didn’t slow her down one bit). Tradition feels so alive in this environment and it was an honor to be able to participate! 

Finally, we had the chance to relax and sip some coconut water by the pool! Overall, great day!

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5/30: Slave Castles

Today we toured two slave castles: the slave castle at El Mina  and at Cape Coast. The slave castles are where slaves were held before being traded in the trans-Atlantic slave trade. They were held for three months or longer in dungeons separated by gender. A tunnel connected the dungeons to what was called “the door of no return,” where the slaves exited the castle and were put on the ship. 

A memorial inside the dungeon at El Mina

An interior view from the Cape Coast slave castle

These tours were very heavy on the heart. I couldn’t help but feel cheated by the American education system for never having thoroughly learned about this part of history, especially when it is so intimately tied to American history. I had no idea that slaves were held for months prior to stepping on a boat in the trans-Atlantic slave trade. It deeply saddens me that this part of history is so marginalized. I believe that for many of us, the first time we truly learned the extent about the trans-Atlantic slave trade was on this trip. There is no awareness about this slice of history despite the fact that it spanned hundreds of years and so severely impacted and displaced millions of innocent people. It was surreal to see scratch marks on dungeon walls and to approach the Door of No Return. It was deplorable to learn about the dehumanizing conditions that the slaves were subjected to in captivity. Then, in both castles, the colonizing country had a church literally above the dungeons. They went to church feet above the ground from where the slaves were held in captivity. It blows my mind that it took so long to question the morality of this practice.

The above image, taken outside of the Cape Coast slave castle, is very illustrative of how women carry items on the heads and babies on their backs. It makes practical sense, because then the woman is free to use her hands. I have seen women carrying bowls of melons, tires, amplifiers--I even saw one woman carrying four mattresses on her head. It is very impressive. Even when not carrying items on their heads, the women have incredible posture. 

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5/29: Cape Coast

Today we drove about four hours from Kumasi to the Cape Coast. The drive was long (and a little bumpy) but it is gorgeous here! 

We had a beach side lunch at Mabel’s Table. It was delicious! I was surprised that they served fish without bones. 

Our view from Mabel’s

We are all very excited to have fun by the beach! 

I’m very excited to spend the next few days at the resort. It’s beautiful here-- we have the option of going horseback riding and playing golf (two things I’m not very good at, but am excited to have the option to do!).

We had one of our classes today next to the beach. (Which is when I learned: having class by the beach is both amazing and terrible at the same time.) 

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5/28: Kente Weaving & Adinkra Stamping Villages

Today we toured two villages: the kente cloth weaving village and the adinkra printing village.

A strip of kente cloth purchaed at the village

Kente is a cloth most closely associated with the Ashanti people of Ghana. It is known as their royal court cloth. It is legend that the kente cloth originated from the Ashanti king admiring the beauty of a woven spider web in the mid-seventeenth century (Luke-Boone, pg. 92, 2001).

The cloth is woven into narrow strips, typically by men. It is argued to be one of the most widely known African fabrics in the world (Luke-Boone, pg. 86, 2001). Real kente cloth is woven in strips that are about 3” to 4” wide and about 8 feet long, which are sewn together at the selvage to make larger cloth that can be worn (Luke-Boone, pg. 87, 2001). It takes up to 24 strips to make a man’s cloth; a woman’s cloth can take up to 33 strips! We learned in the village that it can take up to two days to weave a single strip, depending on the complexity of the pattern. 

At the kente village, we went to a warehouse with looms the length of the room. The process of weaving kente cloth is seen as a social activity, because weavers sit together and chat while weaving (Luke-Boone, pg. 88, 2001). We found this to be evident because several men worked together in the same warehouse. 

The warp (lengthwise) yarns of the fabric were stretched out and weighted down with rocks. The warp yarns on the loom are operated by using foot pedals, then the filling (crosswise) yarns are placed with a shuttle. Above I am (attempting) to figure out the foot pedals! 

Next stop was the Adinkra stamping village! 

Adinkra symbols are Ashanti symbols associated with proverbs, parables, and sayings; their designs are inspired by plants and animals (Adinkra, pg. 9, 1997). Cloth adorned with adinkra symbols, referred to as adinkra cloth, is worn primarily at funerals and also some serious occasions (Adinkra, pg. 4, 1997). The word adinkra roughly translates to “to say good-bye” or “to part.” (Adinkra, pg. 4, 1997). 

The traditional colors of Asante mourning are red, dark brown, and black (Adinkra, pg. 4, 1997). While these colors are still the prominent funeral colors, modern adinkra cloth is also made out of bright colors, such as royal blue, yellow, or turquoise. The brightly colored adinkra cloth would be worn to special occasions other than funerals (Adinkra, pg. 11, 1997).

We had the opportunity to learn how the ink is made that is used for adinkra stamping. First, tree bark is imported from the northern part of the country. It is soaked in water and then pounded until it is very fine (that is what I am attempting to do in the photo above). Next, the pounded tree bark is mixed with water and applied with heat. After the ink has sufficiently fermented, it is filtered (and the tree bark residue filtered out is used as fertilizer). Finally, the dye is heated and ready stamp!

A table of adinkra stamps. They are carved out of calabash, a gourdlike fruit (Adinkra, pg. 9, 1997). 

We each picked out an adinkra symbol to stamp on a cloth. I chose to stamp nkyinkyim, or the symbol of versatility, or “the ability of a person to adjust and withstand difficult situations, and also to take initiatives and play important roles” (Agbo, pg. 49, 2011).   

Here we all are with our stamped fabric! 

As Sarah said, “Short girls must stick together!”

We observed that adinkra symbols are heavily integrated into everyday life. There have been adinkra prints framed in nearly all of our hotel rooms, they would be on the sides of buildings, plastic bags from the gas station, and even plastic lawn chairs. This public integration of adinkra symbols is illustrative that the adinkra tradition continues to evolve.

References: 

Adinkra: The Cloth that Speaks. (1997). Washington, D.C.: National Museum of African Art.

Agbo, A. H. (2011). Values of Adinkra Symbols. Kumasi, Ghana: Delta Design and Publications.

Luke-Boone, R. (2001). African Fabrics: Sewing Contemporary Fashion with Ethnic Flair. Iola, WI: Krause Publications.

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5/27: Kumasi Children’s Home

Today I felt better, so I was able to participate in our trip to the Kumasi Children’s Home.

Students who went to the home the day prior recounted some very resonating stores upon their return. My roommate Molly told me about her experience in the nursery and its extremely limited resources. I had a fairly different experience, as I primarily played with older children and assisted in refurbishing the outdoor classroom painting. It was heartwarming how excited the kids were to play. 

I loved interacting with them, playing on the seesaw, pushing them on swings, and learning their group games. However, I found it hard to part ways with them when they left for the day. As excited as they were when I was playing with them, I could see how disheartened they were when I had to leave. It was even harder when a little girl named Monica told me that she had a friend from the UK named Emily who one day never came back.

Playing at recess 

Refurbishing the outdoor mural

Sometimes, it is very overwhelming how much I want to help but do not know how to. How can I really help children at the Kumasi Children’s Home by playing with the kids for just one day? This experience has motivated me to want to more extensively make an effort to give back, but I am at a loss for what I can do that will have a lasting impact. 

On a lighter note, my nephew was born tonight! One month early, my sister in law learned that she was already dilating at her 36 week checkup. Welcome to the world, Ethan Robert Dodd! 

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5/25-26: Sick Days

Unfortunately, I very quickly felt my allergies flare up upon arriving in Kumasi. I have never gotten allergies at home before, so it was very strange. Afraid that this may be a sinus infection (I used to get them frequently growing up), I purchased a Z-pack from the local pharmacy. While a Z-pack is normally a prescription in the States, I was able to buy it OTC in Kumasi, which I thought was interesting.

The rest of the group went to the Kumasi Children’s Home, but I stayed back to rest. Here is a good summary of how I was feeling:

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5/24: Kejetia Market

The Kejetia Market is West Africa’s largest open space market spanning eleven miles

Here is a video from YouTube (2010) of a person walking through the market. I feel like it paints a good picture for what the market looks like; however, I felt that in our experience, the aisles were more narrow and the ground was more uneven. It was a struggle to keep up with the group with how many twists and turns our guide took us through. Fortunately, the group found each other and we were good to go. Then, it started raining. Drenched and searching for cover, a kind bead booth owner let us hang out in her booth until the rain passed. 

A view of the market from a slightly elevated position

The reason we went to the market was to place an order for children’s uniforms. There are no public schools in Ghana, and to go to a private school, one is required to have a uniform. The uniforms cost less than $5 USD, but are a major barrier to entry for a majority of Ghanaian children. We pooled together enough money to purchase 90 uniforms to donate to the Torgome Village.    

A secondhand clothing stall at the Kejetia Market 

At the market, we observed several stalls selling secondhand clothing and goods. You may or may not realize, but major secondhand clothing stores are so overwhelmed with clothing donations that between 40% and 75% are donated to the international secondhand clothing trade (Gott & Loughran, pg. 40, 2010). Countries in Sub-Saharan Africa are the world’s largest secondhand clothing destination, receiving about 30% of the world’s secondhand clothing export in 2001 (Gott & Loughran, pg. 42, 2010).

The stigma associated with wearing secondhand western-style clothing varies from country to country in Africa. Countries with longstanding regional style (like Senegalese and Nigeria) place pride on dressing in traditional style clothing. In contrast, pre-colonial Zambia lacked significant textile crafts, and people across the socioeconomic spectrum dress in secondhand western-styled clothing (Gott & Loughran, pg. 44, 2010). It is even argued that “in effect, people in Zambia have been wearing Western-styled clothing for so long that they have made it their own” (Gott & Loughran, pg. 45, 2010).

The Zambian people do not passively purchase western-style clothing to adopt Western culture; rather, they are actively involved in making it their own to reflect their personal values and tastes (Gott & Loughran, pg. 51, 2010). It is posed that secondhand clothing is “a form of cultural improvisation in which the meaning and value of this clothing is constructed anew on local terms” (Gott & Loughran, pg. 51, 2010).  It is further posed that “the local value of imported secondhand clothes is created through a variety of processes that strip this imported commodity of its prior life and redefines it, readying it to enter new lives and relationships” (Gott & Loughran, pg. 50, 2010).

The clothing arrives in bundles that have to be picked through. Garment selection “is not a process of random clothing selection but a strategic exercise that draws on specialist, practical, and localized knowledge.” Although they may alter the garments, “what is being transformed is not necessarily the garment but its meaning. This is to say that the body is the site on which cultural ideals are constructed through dress” (Gott & Loughran, pg. 50, 2010).

Secondhand clothing consumers seek unique pieces to create an entire look (Gott & Loughran, pg. 47, 2010). Just like buyers for boutiques in the States, buyers for boutiques in the secondhand market seek garments that will merchandise well together in terms of visual presentation and sales.

Photo taken at the market 

Reference:

Gott, S. & Loughran, K. (2010). Contemporary African Fashion. Bloomington: Indiana University Press.

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5/24: KNUST

Today we toured the Kwame Nkrumah University of Science and Technology (KNUST). 

Esc(art)go

Above is the piece of art that greets guests as they enter the KNUST campus. Yes, those are all snails!

We didn’t tour the business school, but I thought this sign was cool! 

We had the opportunity to tour the textiles department, housed under industrial art. The school practices screen printing by hand and we were able to learn how the artists take paper prints, transfer them to net screens made out of recycled frames and bug nets, and use those screens to print the textiles design. Above is the paper that the designs are printed on before going on a screen.

Here is an example of one of the screens (made of recycled netting and wood). It is not the design on the paper in the previous photo. This screen was in use while we were touring, so it still has ink on it. 

We were able to see a pair of artists working on a commissioned print piece. The artists layer the colors using the screens one color at a time. Their work was seamless—you couldn’t tell where one frame ended and the other began!

A statue found between buildings on campus 

We then saw their fashion design studio—it was simply incredible! I can’t even begin to describe the talent these students have and what they are able to create.

Because the electricity is unreliable (and expensive), some use manual sewing machines.

Here is an inspiration board from the design studio. I love how the designer drew her inspiration from nature before abstracting it into her design.  

Here is a finished fashion illustration from one of the design students. It was indistinguishable from a print!  

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5/23: Kumasi, Day 1

We started the day with a city tour of Kumasi. So far, it feels like the size of Accra. (I just Googled it, and Accra has a population of 1.7 million and Kumasi has a population of 1.1 million, so they’re about a half million difference in population size.) It feels dustier here, though. Also, the infrastructure feels more incomplete.

We toured some of the city’s historic sites: The Ashanti Palace and the Kumasi Culture Center. The Ashanti Palace where the kings of the Ashanti people lived before it became a museum. The Ashanti (or Asante) people live in southern Ghana. They are a major ethnic group of the Akans. 

The Palace building was modest but had a very regal atmosphere. The Palace has all original fixtures and furniture of royals from hundreds of years ago—including office spaces. I was interested to learn that the Ashanti respect a matriarchal lineage—the Queen Mother is the sister, mother, or auntie of the king (reasoned that the King cannot raise his hand to any of those women). Then, she is the one to pick the next king because a mother is the only one who truly knows the father of her child.

If I have yet to mention it, it is rude to use your left hand in Ghana. It is seen as dirty. I am left handed and it has been difficult for me to use my right hand to do things like eat, shake hands, and carry things. That being said, at the end of the tour, we were asked to sign the guest book. The tour guide for the Palace was watching as we signed. Remembering not to use my left hand, I signed the guest book with my right hand. That was the first time I have ever tried to write with my right hand. I did not want to be rude by not signing the book (or even worse, signing with my left hand). So, I gave it my best try and hoped it didn’t look like the signature of a first grader (it did).

The culture center was interesting. We learned more about the Ashanti kings and their artifacts. Unfortunately, we were not allowed to take pictures inside of the culture center’s museum. The kings are allowed as many wives as they want, and only have male cooks. A lead chef must sample all of the king’s food and wait 30 minutes before it can be fed to the king to ensure it has not been tampered with.

At the end of the tour, we learned about how the Ashanti people name their children. There are male and female names for every day of the week. So, you are named based on your sex and the day you are born. (I believe that there are also special names for twins, or those born after twins). Akosua (pictured above) is my Ashanti name, because I am a female born on a Sunday. After visiting the Palace and the culture center, I can say that I admire the extreme value that the Ashanti people place on preserving their culture and integrating tradition in their everyday lives.

A souvenir from one of the gift shops outside of the culture center (that I did not purchase)

We have observed many women in Kumasi wearing the traditional kaba (pictured above). The term kaba refers to a three-piece ensemble that combines elements of indigenous and European female fashion (Gott & Loughran, pg. 11, 2010) A traditional kaba requires 6 yards of fabric to make, reasoning why the fabric market would only sell us fabric in six yard increments. The modern kaba uniquely blends cultural heritage with fashionable innovation (Gott & Loughran, pg. 27, 2010).

The most prestigious kabas are made out of African-printed cloth (Gott & Loughran, pg. 14, 2010). The cloth that a kaba is made out of is a significant indicator of social status and personal wealth. It is also noted that the fabric that a woman owns is her property; it is seen as an asset that increases in value and could be redeemed in times of financial crisis (Gott & Loughran, pg. 19, 2010).

The African-printed cloth a woman owns is strongly linked to her perceived maturity (Gott & Loughran, pg. 19, 2010). Suzanne Gott details that “it is generally understood that a woman’s personal and interpersonal well-being and success are often evaluated in terms of the number and quality of African-print textiles that she owns and displays by wearing” (Gott & Loughran, pg. 18, 2010). It is noted that if you are married or give birth to your first child without owning and displaying quality cloth, then you are not mature enough to be getting married or having a child (Gott & Loughran, pg. 18, 2010). This perception relates to the fabric as a signal to personal wealth. 

As the country faces severe poverty, it is more socially acceptable to wear inexpensive secondhand clothing imported from Europe/North America; however, “the African print kaba ensemble has retained its special status as the more highly regarded form of women’s dress” (Gott & Loughran, pg. 19, 2010)

I found it interesting that Gott noted that most women will have their nicest African print fabric sewn into simple kaba styles, as they will become staple pieces to their wardrobes that will unlikely go out of style. Women use cheaper fabrics to make garments that reflect currents trends, as they will go out of style within a few seasons. (Gott & Loughran, pg. 23, 2010). This practice reflects the Western habit to spend more money on quality staple garments that will last several years but to spend small amounts on trendier garments that will go out of season relatively fast (like garments from Forever 21 or H&M).

“A kaba ensemble is judged to be an artistic success when the seamstress, or tailor, achieves a harmonious balance between ensemble style, cloth design, and the personality of the individual client” (Gott & Loughran, pg. 24, 2010).

Image source

Reference:

Gott, S. & Loughran, K. (2010). Contemporary African Fashion. Bloomington: Indiana University Press.

[goinggoingghana-blog1]

5/22: Later, Accra!

Last night, Molly and I experienced two power outages and a leaky roof. First, power outages are very common here—the power crisis is referred to as dumsor. Apparently, the cost of electricity can exceed rent and there were two whole months that the country was in a blackout. We were told that we would likely experience more of this in Kumasi, as it is more rural than Accra. (It was a shock to imagine a life without reliable power. And not just at home—schools, businesses—everywhere.)

The ceiling of our hotel room started to leak near Molly’s head (pictured above). We checked outside and it was quite literally monsooning. The rain was so strong and nearly sideways! We were quickly moved rooms. 

Today in our social work class, we discussed how Ghana doesn’t have the same liability laws as in the States. By that I mean that establishments are not held liable if you were to slip and fall as a result of their infrastructure. I quickly began to notices all of the small steps, slippery tiles, lack of stair railings, limited outdoor lighting, lack of traction in the shower, etc.  

A view from the bus in Kumasi

Today we said goodbye to Accra (for now) and started on our journey to Kumasi, about 5 hours north of the city. We drove through villages, mountains, and countryside. We saw lots of goats, trash (unfortunately), and what appeared to be unfinished infrastructure. Later we learned that there is not exactly a concept of loans or mortgages for homes here—so Ghanaians will save up money and build as they can afford, explaining the unfinished buildings.

For a second, we thought our driver Frances was driving on the wrong side of the highway. We quickly learned that the other side of the highway that we were on was ending and merged into one. We need to commend Frances for his driving skills, because we drove through some pretty intense terrain to get to Cedi Beads safely. (I swear it felt like the bus was going to tip over at a few points). The point is, I now believe in Frances’ driving abilities!

People are starting to get sick. I would say that they are “dropping like flies,” but the flies here are pretty resilient. One of our group members went to the hospital but came home within a few hours—he was likely dehydrated or had the flu. What we know is: no malaria! Others are starting to get sick too, though. Maybe it’s time I start doubling up on my multivitamins?

We are staying at Noda Hotel in Kumasi. So far no leaking roofs, and we have a movie channel!

[goinggoingghana-blog1]

5/21: Ginatu Exclusive

Ginatu Doe is the CEO and lead designer for her own fashion label: Ginatu Exclusive. She has had a love for fashion her entire life and has been sewing since childhood. She operates out of her home, fitted with additional space for sewing machines, dress forms, and cutting tables. While she generally operates on a small scale, she has in the past fulfilled orders for international brands, including Pier 1 Imports.

Traditionally trained, she showed us her talents by cutting out pieces for a dress (measured to fit Briana, a fellow student) by taking Briana’s measurements and looking at a fashion illustration. Amazing! We will see the finished product later in the trip.   

Next, we each had the opportunity to discuss our designs for the Ghana Community Trade Program with Gina. 

Gina is simply wonderful. I brought to her the fabric that I purchased from the market as well as my garment sketches for Community. We talked about product details such as length, pleat styles, zipper placements, and lining. My designs were simple enough that we did not need to make any compromises; rather, we communicated through the designs to ensure that we were on the same page regarding style lines and details. She estimated that the designs would take much more fabric than I had anticipated—but in hindsight, I realized that she would need to place the garment components in a way that the pattern pieces matched and were not distorted. Her careful precision would be necessary for prominent seams on my garments, such as the princess seams on the torso of the dress design and the side seams of the skirt and shirt designs. 

After realizing that I was under budget for the project, I purchased 8 yards of hand-batik’d fabric from one of Gina’s sisters. Batik is a method of designing fabric using wax as a resist to the dye. 

I am eager to see the product of her work! I know it will be phenomenal.

So I asked Gina, where does she gather her design inspiration from?

March Vogue is the issue that our fashion professor brings Gina every year

Gina mentioned that she stays abreast Western fashion by reading magazines like Vogue and surfing the web. 

“Model Saundra Lang in a Damali ensemble of re patterned embroidery-resist dyed Mauritanian voile and a bolero jacket of re patterned machine-woven kente cloth. (1984) The historical lithograph is a cloth grader from Senegal from the 1850′s” (Gott & Loughran, pg. 210, 2010).

Another noteworthy fashion designer is Brenda Winstead, owner of Damali Afrikan Wear. Brenda founded her company in 1991 and is based out of Washington, D.C. Her pieces are luxurious and made-to-order under the practice of ethical production.

Her work stands out for how it embraces African textiles and translates them into U.S. fashion. Winstead is known for mixing textiles of different African cultures. She notes that “as Afrikans born in Diaspora, we are not constrained by allegiance to any colonial or post-colonial national identity. As such, we have a unique opportunity to explore and connect African cultural expressions from diverse region of the continent” (Gott & Loughran, pg. 208, 2010). During her travels to West Africa, Winstead notes her inspiration: “When you experience the creation of a particular fabric…it is the embodiment of the lives that formed it, the cultures that inspired it and the relationship that sustained it along the way” (Gott & Loughran, pg. 216, 2010).

Model Geraldine Thompson wearing a two piece Damali ensemble decorated in mudcloth (1984). The historic lithograph is a Bambra woman drawn in the 1950′s (Gott & Loughran, pg. 213, 2010).

“Her work counters the prevalent American stereotype of African artifacts as coming from a timeless, homogenous continent immersed in unchanging tradition…[Brenda] commented on the meaning of the fabrics as signifying not only change through time, but also the immense and rich variety of local arts in African communities” (Gott & Loughran, pg. 216, 2010).

As Brenda’s company was founded in 1991, she was well ahead of the curve to develop a business model centered around ethical production. She distinguishes her company’s business model by respectfully treating each linkage in the supply chain. She uses her business to humanize the production process and pay respect to those who bring the culture and fashions to life. She views those who create her fabrics as very talented and hopes that she “provide opportunities for their artistic expression” (Gott & Loughran, pg. 218, 2010).

Brenda commits that the mission of her brand is to “expose Americans to the rich variety of textiles in Africa…it’s constantly evolving…As the hand weaving and dyeing processes are very labor intensive, I wonder how long the traditions will continue if the artists don’t receive proper compensation.” (Gott & Loughran, pg. 216, 2010).

Reference:

Gott, S. & Loughran, K. (2010). Contemporary African Fashion. Bloomington: Indiana University Press