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This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License
Jerry Orhin Yorke; Patrique deGraft-Yankson, Joseph Essuman, Emmanuel Kodwo Amissah
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DOI:10.17265/2159-5836/2017.12.014
JID Multimedia Consult, Takoradi, Ghana University of Education, Winneba, Ghana
This study explores the aesthetic dimensions of Kwame Nkrumah’s cultural policies in the creation of Ghana’s Presidential Seats and the State Sword. The study is an Art Historical research situated within the qualitative research paradigm. It had a population of a defined class of cultural policy makers, art historians, traditional rulers, nationalists, visual artists and Ghanaians resident both in and outside Ghana. The study examined how the creation of Ghana’s Presidential Seats and the State Sword were influenced by Kwame Nkrumah’s cultural policies and the cultural significance of the aesthetic interplay of ethnic insignias used in capturing the Ghanaian concept of Political authority. The study revealed that, Nkrumah recognised the cultural art forms and elements of ethnic Ghana as assets for national development. In line with his policy of building the Nation State of Ghana, he used ethnic cultural art forms and elements. At independence, Nkrumah commissioned some visual artist to create some artistic pieces (politico-cultural artefacts) for the Ghanaian political authority with inspiration or based on what pertains in the traditional authority (Chieftaincy) of Ghana. Politico-cultural artefacts as used in this study refer to the artefacts produced based on the cultural concepts of the ethnic states for the use of the political authority of the Republic of Ghana. Among these artistic pieces are the three Presidential Seats, The State Sword, The President’s Personal Standard Pole and the State Mace.
Adinkra, Presidential Seats, State Sword, politico-cultural artefacts, Kwame Nkrumah’s cultural policies
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