Journal of Social Development in Africa (1997), 12,2,49-60 Traditional Festivals in the Political Economy: The Case of Contemporary Ghana SHEILAH F CLARKE-EKONG * ABSTRACT Public events often express, reflect, and reinforce community social relationships and cultural values. Traditional festivals are performed to observe certain rituals and/or a type of event that communicates important cultural themes, often through the use of special forms of language, music, and dance. This community rite of passage - one that accomplishes a change in the situation or status the community is a vital part of contemporary Ghanaian society. Ghanaian festivals, both secular and ritual are becoming "pan-African" events during which enterprising and competitive activities are performed. As public events, festivals are accessible to traditional leaders, local citizens, elected and appointed political officials, tourists and entrepreneurs. The analysis of public events is particularly useful for understanding differing mechanisms of socioeconomic development. Theevolving role that elected government officials play is perhaps a key to understanding the continuing value of traditions in an age of modernity. Introduction Ghana's renewed and invigorating attention to cultural events and tradition is increasingly visible in the performance of popular local and national festivals. As is common in traditional societies, membership in select groups is more often than not ascribed. Individuals become a member of a group that performs the esoteric rituals of festivals by virtue of kinship ties, rank, office or other predetermined factors. They put on the festivals a religious stamp that, in the final analysis, they are intended to bear (Bame, 1991). However, the roles of those responsible for dictating the nature of these festive events is also evolving in response to the country's economic agenda (Daily Graphic, 1994). An important indicator of the government-citizen interface is being played out in an arena that calls on cultural sentiments to provide a bonding for the loyalties of the masses to local and national government policy. Ghana's chiefs are now * PhD, Department of Anthropology & Center for International Studies, University of Missouri - St Louis, 8001 Natural Bridge Road, St Louis, MO 63121-4499. Tel: 314-516-6782; Fax: 314-516-7235. 50 Sheilah F Clarke-Ekong gazetted by government, so that the ultimate power of recognising them is through a legislative instrument. The Ghanaian Constitution also explicitly addresses and accords status to the chieftaincy institution (1992:164-8). In a systematic effort to be included in the affairs of state, The National House of Chiefs is currently documenting the genealogies for ancestral stools and skins of the 180 traditional councils in Ghana. This documentation project that focuses primarily on traditional chieftaincy affairs is also expected to provide a historical record to lessen local disputes and protracted litigation. The general public and the current government are each concerned with the increasing role being played by the civil law courts in (re)defining the traditional leadership for contemporary Ghana. This paper examines the contemporary roles of those who orchestrate traditional festivals in Ghana's urban and rural communities. Focusing in on the contemporary versions of festivals in Ghana shows both the sustainability of these events and the political climate within the country between the central government and local communities. In many ways traditional festivals are the past made present, which as historical constructs, may legitimate actions of the present (Prosterman, 1995). It is my hypothesis that participation in festivals and the re-focusing of chieftaincy affairs provides only a partial explanation for the attention to cultural affairs in contemporary Ghana. Cultural events are now the arena in which many issues within Ghana's political economy are actively played out locally and beyond. My findings are based on field research conducted during the summers of 1994 and 1995, which included direct participant/ observations at the Bakatue Festival of Elmina, the Asafotufiami Festival of Big Ada, and the Twins and Homowo Festivals of Greater Accra. These festivals were selected on account of their high visibility and the multiple functions they serve within their local communities and for the entire country. Manifestly, each festival also represents: 1) a communal understanding of fertility associated with local subsistence; 2) connection to the ancestors; 3) an oral history of settlement patterns; 4) the need to reconcile inter-group animosities for peaceful co-existence; and 5) a revalidation of local leadership. Oral history informs the youth and provides an important part of community folklore that instructs them in the value of honouring local gods. A primary and recurring lesson focuses on the community in its wholeness to meet the reciprocal needs of all in changing and uncertain contexts. Equally significant but less understood/articulated by local residents is the role of festival events for the national economy. All festivals attended, except for the Twins' Festival, are recognised as national festivals by the Ghanaian government. Traditional Festivals: The Case of Ghana 51 National festivals are publicised by the National Tourist Board, and are attended by senior government officials and large numbers of Ghanaian citizens and visitors to the country. Local residents take great pride in these public celebrations that bring recognition to their communities. Local authority figures seem acutely more aware of the potential for financial gain and recognition by central government officials. Continuity and Integration Considerable literature exists that examines Ghanaian festivals as aesthetic art forms in performance (Assimeng, 1976; Asihene, 1978; and Bame, 1991). Research findings also report the role of festivals associated with subsistence and as part of the ritual spectacle in popular culture (Opoku 1970; Cole & Ross, 1977 and Cole, 1975). Traditional Ghanaian festivals, updated and modernised, continue to have the same significance of former times where the world of religious, social, moral, political, cultural, and historical events often merged. (Chantler, 1973). Less attention has been paid to the 'staying power' and economic value of festival performances. Ghanaians are socialised to value shared experiences. For the average Ghanaian the proliferation of annual local and national festivals, conservatively numbering more than seventy, represents their rich cultural heritage and the uniqueness of ethnic and regional differences. (Werbner, 1977; Therson-Cofie, 1992; & Wyllie, 1994). (See Figure 1 for a list of Ghanaian festivals). In former times annual events lessened rural isolation and contributed to a sense of extended community with migrants to urban centres. This urban-rural connection continues to represent significant financial inputs into the rural sector economy and a constant labour resource for the urban sector. Ethnic and lineage affiliation, important markers of self identity, is also exemplified today by community members who return for communal celebrations, thereby validating the legitimacy of "traditional" beliefs and practices in the midst of modernity. For most, the sense of place refers to both social and physical locations for the residential population (Mazrui, 1986 & Sarpong, 1974). Festivals, as social-cultural events, have also become for many communities a symbol for ethnic citizenship. Evidence of this phenomenon is attested to by calls to the citizens of local areas as reported in the daily newspapers: 1. Ghana Times. Thursday (August4,1994) Annual Akwanbo Festival. The chiefs and people of the twin towns, Gomua-Antseadze/Odumase are celebrating their annual festival on Tuesday, 9th August to Tuesday, 16th August. The climax of the week-long celebration will a be a fund-raising 52 Sheilah F Clarke-Ekong harvest on Sunday, 14 August to raise funds for various development projects in the twin towns. All citizens of Gomua-Antseadze/Odumase residing in every part of the country are therefore requested to return home during the period to assist in our development efforts. The general public is cordially invited. 2. Ghana Times (Friday, August 5,1994) Gomoa Eshiem. The Annual Akwanbo Festival of the chiefs and people of Gomoa-Eshiem and the installation of the Nkosohene will be held at Gomoa-Eshiem on Saturday August 6 at 10 am. All citizens are reminded to attend the ceremony. 3. Ghana Times. Friday (August 5,1994) Gomoa Dago. The chief and people of Gomoa Dago will celebrate their Akwanbo Festival on Friday August 12. There will a fund-raising harvest on Saturday in aid of development projects. A fine of 6,000 cedis will be imposed on any citizen who fails to attend. In the Ghanaian situation where press freedoms are extensive, the coverage of "traditional" events not only keep the public informed but highlights local initiatives where the festival performances provide the driving force. This kind of agenda-setting by the media can be traced back to Lippmann (1922), who suggested that the media were responsible for the "pictures in our heads." Traditionally, agenda-setting has been seen as the ability of the mass media to influence the level of public awareness about issues (McManus, 1994). Ghanaians hold a deep faith in the power of symbols and public presentations to produce the desired effects for the betterment of self and community. Festivals are a more obvious expression of symbols with practical ramifications (Bame, 1991). Politicisation at Work Through strategic manipulations Ghanaians have preserved many of their traditions despite rapid social changes within government, economic instability, and externally driven policy mandates. Notably, in the last ten years, and with the creation of the Ministry of Culture and Social Development, things cultural and/ or traditional now have government sanctioning and increased sociopolitical legitimacy. Elected politicians now give speeches at the public durbars that follow all significant festivals, and play active roles in the ritual events of their constituencies (personal communication with PR Director, Ministry of Culture, Accra, Traditional Festivals: The Case of Ghana 53 1996). Speeches include calls for a return to simpler times and communal values of assistance to aid government in meeting the needs of the people. The Ghana Daily Graphic newspaper of August 5,1994 carried as one of its lead stories, "CULTURAL FESTIVAL OPENS." The Deputy Minister of Education, reportedly said: "one aspect of the education reform program is to give our children a good grounding in the positive aspect of Ghanaian culture that would help free the minds of our youth from slavish dependency on foreign culture." He stressed the importance of culture as a powerful tool for unity, adding that "Our culture should indeed reflect the requirements of our time and aspirations of the popular masses in our efforts to build a peaceful Ghana. Government continues to struggle with the role that culture plays in national development and the ministries that oversee Ghana's cultural traditions. This is unfortunate." (informant interview, Ministry official, 1995). Additional examples of attempts to inculcate a feeling of individual and collective responsibility to local concerns is evident in the appeals and greetings extended during local festivals. The following is a speech by Awulae Annor Adjaye HI, the Omanhene of the Western Nzema Traditional Area during the annual 1994 Kundum Festival: "The Season has gone its full cycle and once again Kundumfestival is here with us. Thanks to God's bounties, mercies and steadfast love. The reunion of families, friends and loved ones are so central to the celebration of this festival that one cannot help but seize this unique opportunity to wish all sons and daughters ofNzemaland the best of the Season's festivities and a happy welcome home. I salute all of you on this occasionfor the dedicated services you have in various ways rendered to your friends, families and the state during the pasty twelve calendar months in our joint efforts to uplift the banner of selfidentity, unity and self actualisation in the areas of economics, politics and social-cultural development. I pray that you enjoy your stay and continue to contribute towards the improvement of the material conditions of our people. May God and our ancestors bountifully bless and guide you to wisely spend our leisure during this festive period. AKWAABA!" I Sheilah F Clarke-Ekong peeches such as the one above and proclamations are increasingly a medium for cal leaders, in and outside the formal government structure, to lobby for limited sources. In anticipation of these requests, elected and appointed representatives epare responses that call for unity and demand loyalty to the reigning govement In addition to public announcements, event organisers now produce glossy ogramme brochures that give historical accounts of the people of the area, the stival and other high points of local development. In the Cape Coast area, where sidents pride themselves on being the first Ghanaians to have access to Western lucation, festival publications are now formatted as academic journals. The 1994 undum Journal includes the formal greeting given by the Omanhene of the 'estern Nzema Traditional Area; an academic paper by a university professor; a lblic relation piece to attract tourists; and a development statement produced by e local government council. For another Cape Coast community, the Journal guaa Afahye professes to be an Annual on culture and history. With sixty-eight iges that include: advertisements, historical accounts, presentations, public Mvice announcements, and local news items, this publication has become a major romotional forum for local leaders. 'he Political Economy lie chieftaincy institution in Ghana has always played a pivotal role for mobilising xal communities for development. According to one informant, chieftaincy in Jhana should be thought of as a juro-political institution first, and a cultural nstitution, second (PR, Ministry of Culture). In the absence of a recognised chief, vithin any community, local government administration often becomes difficult, n modern times, even colonial administrators saw the importance of traditional ulers and used them for easy governance. At independence, some of these 'government elected chiefs", handed over the stools and skins to their rightful >wners, while others inexorably refused, and ended up creating new royal clans, roday.theroleof the chieftaincy institution iseven more important, such that it has seen given a place of prominence in the national political and administrative systems. Politically, festivals afford paramount chiefs the opportunity to reassert their authority over their sub-chiefs and the local citizenry. During this period all subchiefs and the people renew their allegiance and loyalty to the paramount chief by paying homage in the palace. The paramount chief, the sub-chiefs and the elders also use the occasion to discuss political issues affecting the welfare of the community. Petty disputes between the paramount chief and any sub-chiefs or Traditional Festivals: The Case of Ghana 55 among the sub-chiefs, themselves, are expected to be resolved. Especially important for all those who ensure that the festival continues as an annual event, it portrays the rich cultural heritage of the people. This is illustrated by the traditional dances, drumming, songs and the chiefs regalia, all which form an important aspect of the festival. It also shows that the traditional chief is still the embodiment and custodian of Ghanaian political culture and tradition (personal interview with Asst. Director of Ministry of Culture, 1995). African festivals are seasonal and elaborate ceremonies involving entire communities that rely on traditional values to sustain the people's interest These ceremonies provide an opportunity for diverse groups to acknowledge the blessings of the "Supreme Creator" and the lesser deities and ancestral spirits, manifested in good health, good harvest and abundance of children. Types of traditional festivals most often include: 1) harvest festivals that incorporate group sacrifice, supplication and some form of abstinence; 2) commemorative festivals that focus on activities aimed at honouring the memory of the dead and giving offerings to the gods and ancestor spirits for the past as well as future well-being of the participants; 3) festivals for the gods which are celebrated annually in honour of specific titular spirits or gods. All festivals have a commonality in that they also have as part of their focus the dramatisation of sacred myths, legends and traditions of origin or real historical events in the lifeof the participating group (Bame, 1991). Crucial to understanding the continuing vitality of Ghana's festival performances is the ways in which people make a living. Knowing the basic subsistence systems gives insight into other levels of socioeconomic and cultural phenomena that are inextricably bound together. Agriculture and food processing activities continue as the productive mainstay for many Ghanaians. Issues of land, fertility, and prosperity remain central to local survival. Many festivals celebrate local vocations such as farming, fishing, and hunting. Chiefs, priest, priestess, and local historians combine their knowledge to forecast the future and explain the past. Ghanaians positioned by indigenous traditional institutions to offer sacrifices, libations and prayers to the gods and the ancestors to honour them for all their help hold a very high status, locally and nationally. Those with natural and/or supernatural power to ensure the livelihoods of citizens play an increasing important role in times of financial insecurity and international financing interventions. Sheilah F Clarke-Ekong he gods and ancestors are uniquely placed in the performance of many jrations in which sacrifice plays a pivotal role. It is a time to pacify and/or ase the gods for all the crimes that members of the community might have mitted against them. These sacrifices thus renew and consolidate the bonds een the living, the deities and their spirit powers. Participants ask for long life, e, prosperity, safety in all risky undertakings, potency for men and fertility for le'n. After these sacrifices, people are relieved psychologically of all their fears inxieties and enter the new year with great hope (personal communication with pe Manste, of Ga people in 1994). ut of sixty-four festivals that we documented, ten celebrate the harvest season, nteen honour ancestors for the role they play to ensure that a good harvest and perity continue. Ten festivals mark and rejoice by offering the first harvest to incestors (Clarke-Ekong, 1995). hanaians have also followed the Marxian maxim that: "Production will create lsumer." Change from local productions of paraphernalia to mass production ;onsumption is being accompanied by other cultural changes in Ghana and the Ghanaians perceived traditional culture (Gilbert, 1992). Students of material ire, Mary Douglas (1970), and Pierre Bourdieu (1983), to Jean Baudrillard ;8) all agree that objects are not simply meaningful in their relations to human ose, but in their collective consumption, their relations to other objects as a [ of significance. larket demands and the growing tourist sector trade have enticed some to te festivals in places and for events that were never recognised or celebrated ire now. An issue of current debate among Ghanaian purist is the role that jrnment is actively playing in inventing culture, via festival performances, to ler the economic development agenda of the current administration, according to statistics available from the Ghana Tourist Board (1994), between 5 and 1992, the estimated gross foreign exchange earnings from tourism eased from US$26 million to US$170 million. With this kind of phenomenal wth potential, the power of the cedi has for many communities replaced the ely spiritual value of festival performances. In addition, some worry that the rumental qualities and the sanctity of certain objects, such as traditional aphernal ia reserved for ritual and chieftaincy affairs, has now come nder threat rsonal interview with Big Ada historian, 1995). He lamented that, "C npeting attention in the town square we now have vendors of all sorts." i festival 'event' now takes on a commercial aspect unknown in the past .. *ea iers and hotel proprietors use the occasion to make brisk business. It also atu acts eign exchange for the country since a lot of tourists flock to Accra to witness the ebration. During the 1994 Homowo opening ceremony, the American Council s represented, along with other expatriate dignitaries stationed in Accra. Traditional Festivals: The Case of Ghana 57 Economically, chieftaincies throughout Ghana now have a "Nkusuohene" and ecognise the "Nkosuo Stool" whose occupant mobilises resources for local evelopment. Financial contributions and fund-raising activities help raise funds OT infrastructure developments and scholarships. Summary ihanaian festivals perform many traditional functions, but in a more modern sense hey serve to secure a community's place in the nation and reinforce the nation tate's pre-eminence in the lives of communities. Government officials now use he occasion to deliver policy speeches, to dedicate newly completed government irojects and unveil new ones. Football matches and state dances are now organised o mark such events and raise funds. Many community elders feel that all of these lew factors have robbed local festivals of some their traditional glamour and luthenticity. My observations suggest that recognising the authenticity of local traditions and he arrangement of and participation in festivals is a contemporary political :hallenge. Gaining an understanding of the daily workings of local communities, low key persons attain prestige, and how the disadvantaged lessen their economic narginalisation are significant in any viable government development planning strategy. My research reconfirms the basic holistic and contextual tenets of group nembership that persist as the central consideration in the staging of festivals, raditional and contemporary. Paramountcy, which establishes local leadership vith rights of access and distribution, underscoring conflicting interests amongst :hiefsandthepeople,affectdevelopment. It is now time to determine the long-term mpact of tradition and modernity and understand those elements that facilitate or listract from Ghana meeting her full potential. The importance of festivals in land and group membership issues and their wsition at the nexus of local and national development agendas, is worthy of iirther research. Informed discussion must address avenues that exist or might be Dpened to reestablish the needs of whole communities at the core of what is staged in performance and practised in the use of land and human resources. These much neglected and misunderstood institutions need the attention of national and international development theorists, planners, and impact assessors just as much as the commissioning of new dams and roads, whose value is obvious. If the new value-added approach of Western government program planning has a lesson here, it may be that value will be added to those development projects that understand and apply culturally comprehensive integrative principles. This will require using constructive lessons from cultural events, such as festivals as vehicles for human and natural resource integration, much like they were effectively employed in the past 58 Sheilah F Clarke-Ekong Figure 1: Ghanaian Festivals FESTIVAL vlONTH Recognition of first harvest and the ancestors festivals anuary une une uly \ugust Jeptember September jeptember Jeptember December Rice Ohumkan Ahoboa Yam Homowo Yam Yam Yam Yam Yam rlarvest Festivals: Asikhoe Gologo/Golib Bakatue Kobine Ayukigyi Samanpiid Akomase vlarch March luly Dctober ^ov/Dec December December Ancestor Festivals: Ntoa Fokuokes Papa Kurubi Kotokro Aboakyer Ahoba Kese January February March April May August August August September September September October November November December December December December Ndim Kese Fetu Afahye Akyempim Akwanbo Odwira Kundum Bohyemhuo Odwira Odwira Addae Denkyemoso Juaso Mafi Hogbetsotso Adidome NOTE: Compiled with assistance of Mr E H Mends, Department of Sociology. University of Ghana, Legon, July-August, 1995. TRADITIONAL AREAL REGION Akpafu Volta Kyebi Eastern Abura/Anyam/Kwamankese Central Central Enyam Maina Ga/Gamashi Ho/Bankoe Aboaddse-Dominase Aburi Gt Accra Volta Central Eastern Volta Volta Kpedze Anfoega Anfoega Tongo/(Tallensi) Elmina Lawra (Ope)/Krachikrom Volta U Eastern Central UWest Volta U Eastern Central Kumasi at Bawku Senya Nkoranza Kumawu Nyamase Brong Ahafo Ashanti Brong Ahafo Yilo Krobo/Odumase Krabo Eastern Effutu/Winneba Central Central Western Abura Sekondi Cape Coast Agona Enyam Maim Akuampen/Akropong Central Ashanti Eastern Eastern Western Ashanti Ahanta/Nzema Essumeja Denkyira/Dunkwa Akan/Asante Kumasi Central Eastern U Eastern Ashanti Volta Traditional Festivals: The Case of Ghana 59 References Afahye Festival Committee (1994) "Annual Fetu Afahye Festival, Journal Oguaa Afahye, Star Publishers, Cape Coast, Ghana. 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