Christopher Effah Oppong, Alice Korkor Ebeheakey, Dickson Adom, Steve Kquof (2024)

Tattooing has been practiced for several years across the world. It is considered an art form that transmits cultural expressions and reflects the differences between groups of people globally. In Ghana, the popularity of contemporary tattooing has soared for various reasons. However, there is little scholarly research on tattoo culture in Ghana. Therefore, the study attempts to appreciate the aesthetic elements of selected contemporary tattoos in Kumasi and Accra metropolitan areas to reveal their social, philosophical, and other underpinnings. Qualitative ethnographic approach was employed in which a total of twenty-two (22) tattooed respondents were obtained for data collection using homogenous purposive and exponential discriminative snowball sampling techniques. Unstructured-Interviews and naturalistic observations constituted the data collection instruments. The study found that contemporary tattoo designs in Kumasi and Accra metropolises diversely included minimalist designs, religious symbols, portraits, decorative designs, philosophical symbols, among others, which aesthetically convey the religious identity, philosophy of life, and self-expression of tattoo wearers. While the study concludes that contemporary tattoo art in Ghana (Kumasi & Accra) is an embodiment of a dynamic and evolving art form that symbolically resonates with the persona, philosophy of life, sociocultural and religious expressions of tattoo wearers, it is recommended that further research should be conducted on the side effect of tattoo art on the health of tattoo wearers in Ghana. This will help determine whether or not tattoo art should be formalised as an acceptable academic field of study as well as be promoted by art institutions, galleries and museums in Ghana.

Alex Kwasi Azaglo, Dickson Adom, Steve Kquofi, Alice Korkor Ebeheakey (2024)

The chiefs and people of the Klikor Traditional Area in the Volta Region of Ghana celebrate the Fiasidi tradition, an annual religious and cultural festival. A yearly ritual performance known as Tagbayiyi (pilgrimage to the sacred grove) is a part of the Fiasidi tradition. Despite the abundance of research relative to the human and cultural rights aspects of the Fiasidi tradition, there is a glaring lack of research on the aesthetic elements reflected in the Tagbayiyi ritual performance. The study investigated the aesthetic aspects of the Tagbayiyi ritual by highlighting its visual and performing arts to gain a deeper understanding of the Anlo-Ewe cultural identity. The study employed a qualitative ethnographic design to interact and access the viewpoints of the participants. A total of fifteen (15) participants, comprising high priests, tradition keepers, ritual functionaries, and supplicants in the Klikor Traditional Area were sampled using a homogenous type of the purposive sampling approach. The study found that the Tagbayiyi exhibits aesthetic elements such as indigenous costume regalia, sacred stools, local beads, priestly emblems, rhythmic and graceful musical dances among others, which symbolically represent the sociocultural identity of the Klikor people. The study, therefore, recommends that the leadership of Klikor (high priests, council of elders & ritual functionaries) should liaise with the Ghana Museums and Monuments Board, Ghana Tourism Authority, National Commission on Culture, and other cultural institutions to preserve and promote the rich aesthetic elements showcased during Tagbayiyi rite for the benefit of the current and future generations of Klikor.