MARY MAGDALENE COLE

201 Pages·2011·11.56 MB·English

THE SOCIO-ECONOMIC AND AESTHETIC VALUES OF STREET
SCULPTURES IN KUMASI

BY

MARY MAGDALENE COLE
B.F. A. [HONS.] FINE ART

A Thesis submitted to the School of Graduate Studies, Kwame
Nkrumah university of Science and Technology, Kumasi, in
partial fulfilment of the requirements for the degree of

MASTER OF PHILOSOPHY
(AFRICAN ART AND CULTURE)

Faculty of Art, College of Art and Social Sciences
© 2009 Department of General Art Studies
June, 2009
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DECLARATION

I hereby declare that this submission is my own work towards the Master of
Philosophy(African Art and Culture) degree and that, to the best of my knowledge, it
contains no material which has been accepted for the award of any other degree of the
University, except where due acknowledgment had been made in the text.

Mary Magdalene Cole (PG9139706) ................................. .............
Student’s Name & I.D. No. Signature Date

Certified by:
DR. B. K DOGBE ............................... ..............
Supervisor’s Name Signature Date

Certified by:
Dr.Joe Adu-Agyem ................................. ..............
Head of Department’s Name Signature Date

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ABSTRACT

The study based on the findings of a qualitative research approach looked at the little
known fact about the socio-economic value of street sculptors and their sculptures to
the aesthetic relevance and the tourist potential for the Kumasi metropolis. The study
developed a keen interest in the relationships between sculptures and the environment,
sculptures and the history, sculpture and the tourism. Data were collected from
Kumasi street sculptors who produce sculptures, residents, tourists in selected tourist
centres through interviews, observation and questionnaire. The study revealed that
some of the sculptures are of poor artistic quality and badly mounted and
negleted.There is also a lack of public appreciation for street sculptures due to the
unconcerned attitude to the unattractive conditions of street sculptures in the city of
Kumasi. The study revealed that street sculptors and their sculptures apart from the
beautification of the environs of the Kumasi metropolis play a great deal of role in the
socio-economic development of the Ghana at large. It is also concluded that based on
the findings of the study that the sculptural works of the street sculptors preserve the
cultural heritage and also promote cultural growth among the people. The findings of
the study also revealed that sculptures are highly patronaged by both local and foreign
tourists which obviously promote tourism in the Kumasi metropolis. It is therefore the
conviction of the researcher that, if this document is meticulously studied by
researchers, curriculum planner, art educators, and the policy makers, street sculptors
could be helped and can therefore work to achieve a good standard of living. And also
to ensure beautification of cities and the nation at large. In sum, the fun and
excitement of the street art creativity have been swallowed up by the ineptitude of
officialdom. Red tapeism always kills aesthetic appetite.
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ACKNOWLEDGEMENTS
I express my sincere gratitude first and foremost to the Almighty God for bringing me
this far. I secondly thank my lecturer and supervisor, Dr. B.K Dogbe, of the African
Art and Culture Section of the Department of General Art Studies, College of Art and
Social Sciences, KNUST, for his guidance, meticulous scrutiny and suggestions and
finally reading through the work.
I also thank all the other lecturers through whose hands I passed. Mention would be
made of Mr. J. Asare-Tettey of the Sculpture Section, Dr. Opamshen Osei-Agyeman,
Dr.Steve Kquofi and the Liberians of the Department of General Art Studies
library and the Faculties of Fine Art and Industrial Art library.
I am greatly indebted to the street sculptors for granting me interviews and allowing
photographs to be taken of their works in their studios in Kumasi and also in the
private premises. I thank the Kumasi Metropolitan Assembly, Sanbra Hotel, Hotel
Georgia, Royal Park Hotel and Restaurant, Jofel Restaurants, St. Patrick Hotel and the
Centre for National Culture (Mr. Boakye), all in Kumasi.
I express my gratitude to my dear mother Miss Bridgid Enchill, my father Mr. Francis
Cole, my brother and Sisters Peter ShiltonCole, Elinor Ellis, Elizabeth Afua Cole and
Margaret Cole, for their support.
Last but not the least, to Mr. Agyemang Hayford, a friend and a teacher from
Oforikrom ‘B’J.H.S who also helped me a lot with his little guidance.
Finally, I thank Price Kwadwo Aduboffuor of Pax Romana Choir KNUST for helping
type this thesis expertly; to all of you and others too numerous to be named here, I
owe a debt of gratitude.
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Although I got assistance from other people as I have already acknowledged, I do not
share the blame of any shortcoming in my work with anybody.
M.M.C.
KNUST, KUMASI.
JUNE, 2009

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TABLE OF CONTENTS

PAGES
Title............................................................................................................
Declaration ...................................................................................................... ii
Abstract ......................................................................................................... iii
Acknowledgments.......................................................................................... iv
Table of Contents ........................................................................................... vi
List of Plates (photographs) ......................................................................... xvi
List of Figures ................................................................................................xvii

1.0 CHAPTER ONE – INTRODUCTION
1.1 Background of the study ........................................................................ 1
1.2 Statement of the Problem ........................................................................ 1
1.3 Statement of Purpose ............................................................................... 2
1.4 Objectives .................................................................................................2
1.5 Importance of the study ............................................................................2
1.6 Hypotheses ................................................................................................3
1.7 Delimitations .............................................................................................3
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1.8 Limitations ..................................................................................................3
1.9 Assumption ................................................................................................ 3
1.10 Methodology ...............................................................................................4
1.11Facilities Available .................................................................................... 4
1.12 Arrangement of Text .................................................................................. 5
1.13 Definition of Terms .................................................................................... 5
1.14 Abbreviations............................................................................................ 10
1.15 Historical, Geographical and Socio-Economic Conditions of
Areas of Study (Kumasi) ..........................................................................11
1.16 Environmental Development through Art in Pre-Colonial, Colonial
And Post-Colonial Kumasi .......................................................................19
1.17 A brief outline of some Colonial and Post-Colonial Environmental
Institutions of Kumasi ................................................................................26
1.18 Choice of Topic .........................................................................................32
CHAPTER TWO – REVIEW OF RELATED LITERATURE
2.0 Overview .................................................................................................33
2.1 Art and Environment .............................................................................. 33
2.2 Evidence of environmental planning in past civilization ........................ 36
2.3 Aesthetics .................................................................................................38
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2.4 Economics .................................................................................................42
2.5 Value .........................................................................................................43
2.6 Sculpture ..................................................................................................43
2.7 The Urge to travel to other lands-Tourism ...............................................48
3.0 CHAPTER THREE – METHODOLOGY
3.1 Research Design ....................................................................................50
3.2 Collection of Data ................................................................................50
3.3 Population Studied ................................................................................51
3.4 Sampling ...............................................................................................51
3.5 Instruments for collecting Data ............................................................ 52
3.6 Interviews ..............................................................................................52
3.7 Interview Centred on the following ....................................................... 54
3.8 Questionnaire ..........................................................................................54
3.9 Observation .............................................................................................54
3.10 Descriptive Analysis.................................................................................55
3.11 Areas where interviews and observations were conducted ....................56
3.12 Analysis and interpretation of field Data .............................................. 56

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4.0 CHAPTER FOUR – A CRITICAL STUDY OF SELECTED STREET
SCULPTORS AND THEIR WORKS IN KUMASI.
4.1 Overview ................................................................................................ 57
4.2 An interview conducted with selected street Sculptors and their
Works in Kumasi .....................................................................................61
4.3 Cement and wooden sculptures ............................................................... 82
4.4 Street sculptures of attraction ..................................................................84
4.5 Traditional sculptures ..............................................................................86
4.6 Relief sculptures ......................................................................................87
4.7 Comments on Murals in Hotels and Studios........................................... 89
4.8 Fountains ...............................................................................................90
4.9 Clay and cement sculptures .................................................................. 91
4.10 Cement and clay sculptures in the street sculptors’ studios................... 92
4.11 The technique used for both cement and clay works ...............................93
4.12 Tools for making cement and clay sculptures ........................................ 94
4.13 Carved Sculptures in Street Sculptor’s Studio....................................... 95
4.14 Training of school leavers ........................................................................96
4.15 Some basic lessons imparted to learners in sculpturing ........................97
4.16 Tools and materials used by wood carvers ............................................97
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4.17 Types of wood used by street sculptors in Kumasi ...............................100
4.18 Aesthetics of carvings ............................................................................100
4.19 Types of objects ......................................................................................101
4.20 Significances of all studio sculptures ....................................................108
4.21 Object produced by selected street sculptors of Kumasi .........................110
4.22 The effect of foreign patronage on carvings .........................................111
4.23 Problems facing the street sculptors ....................................................111
CHAPTER FIVE – SUMMARY, CONCLUSIONS AND
RECOMMENDATIONS
5.0 Summary of Discussion ..........................................................................114
5.1 Streets sculptors as agents of environmental beautification ...................119
5.2 Street sculptors as agents of educating tourists and as
recorders of history..................................................................................121
5.3 Street sculptors and the national economy ..............................................121
5.4 The empty spaces ...................................................................................129
5.5 Environmental sculptures and attitudes of the general public
and official levels....................................................................................130
5.6 Findings and observations.......................................................................132
5.7 Literature review compared with field work......................................... .134
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