THE ASANTE KINGDOM AND THE BRITISH EMPIRE - A BRIEF HISTORY
In 1900, Britain invaded the Asante Kingdom and its territories known as the Gold Coast - now present day Ghana. The series of battles known as the ‘Asante Wars’ was centred but not limited to the trade of gold, including access to its trading ports. Known for the abundance of gold on the land, the people of the Ashanti Kingdom were well versed in its trade and often used gold as their primary currency, for trade among western, northern and sub-saharan African regions. In 1874, [in a brutal declaration of imperial power], the British launched a devastating raid on the Asante state capital, Kumasi. Faced with overwhelming odds the Asantehene [Asante King] Kofi Karikari fled, leaving British troops to loot the royal regalia and destroy the town. This was done under the command of Major-General Sir Garnet Wolseley in order to suppress any resurgence of Asante authority. Some of the items listed below are just a few of the ‘spoils’ from the war which give a rare insight on the past glory, historic artistry, as well as the complexity of linguistic interconnections from a sophisticated civilisation - a nation once befittingly known, as the Gold Coast.
Ashanti Goldweights: The Kente Kingdom Experience. Credits: Victoria and Albert Museum, London.
Gold Pectoral Disc 1850-74
This gold cast which resembles the bud of the fofoo plant, was worn around the neck by those responsible for the ritual purification of the king’s soul. Known as ‘akrafokonmu’ this translates as the soul disc or soul washers’ badge. Each segment of this gold cast is bordered by a pattern known as the ladder of death - a warning, a symbolic reference and reminder of the need to live a good life in order to preserve ones soul.
Left to right: Fan, Fly Whisk, TWIST Fan 1850-74
Brass Fan: This weight which is shaped like a fan is composed of eight flat spiral or stylised ram’s horns, symbolising strength and sacrifice. The central pyramid sits on a series of concentric circles which speaks of leadership and high status. Fans made of hide, palm leaves, wood and feathers were widely used by the Asante people with elaborate pieces like this one associated with royalty.
Fly Whisk: This brass weight is in the form of a fly whisk used for driving away flies. Asante fly whisks were made from the long coarse hairs of an elephant’s tail and was reserved for royal use or high ranking officials at court. Gold weights made during the 19th century were often made in the form of royal regalia possibly because of the increasing role Asante kings played in regulating and standardising trade.
Twist Fan: This weight with 4 four 8 shaped twists is also shaped like a fan and is decorated with six small flat spirals - a symbol of leadership and honour. Particularly elaborate weights like this were associated with royalty.
Asante Gold Pendant 1850-74
Made from a thin sheet of gold, this gold pendant has been worked by hand from the reverse, in order to create patterns of flowers and leaves. One of 15 pieces within the collection of the V&A deriving from a raid on the Asante state capital in Kumasi.
Asante Gold Pendant 1850-74
A detailed look at the gold pendant showcasing the intricacies of hand craftsmanship from ancient Ghana.
Left to right: Hornbill, Antelope, Box
Hornbill: The hornbill bird is a symbol of male and female fertility. Standing on a seven-stepped pyramid the hornbill is said to be an embodiment of peace; a symbolic reference to a thriving community.
Antelope: The extended horns on this antelope weight is thought to refer to the Asante saying, ‘Had I known’ or ‘If I’d known my horns would grow so long I might not have started’. This is a visual pun on the benefit of hindsight, an appeal for thought before action. This is though to be one of the few pieces bought and not looted, currently in the possession of the V&A (Bought for 4 shillings, April 1874).
Box: The people of the Ashanti Kingdom used gold dust as a primary currency for trade with other communities in western, northern and sub-saharan Africa for centuries. Therefore boxes were commonly used to store gold dust in small potable amounts for the purpose of trade. The spiralling decoration on the side of the box is the ram’s horn which symbolises strength and humility. The indentation on the lid recalls ‘the ladder of death’ a reminder of mortality whilst the finial is the hornbill bird which symbolises a thriving community.
Left to right: Cartridge belt, Shield, Shield, Block 1850 - 74
Brass Cartridge Belt: As powerful traders of gold met with the increasing treat of colonisation, the Asante people imported European firearms to maintain and extend their rule. This brass weight is a tangible reference to the happenings at the time. Made in the form of a miniature gun cartridge belt, it is a modified version of those carried by Europeans at this time which included extra pouches and slits for holding knives. Therefore cartridge belts came to symbolise resourcefulness and readiness [for war]. The gun cartridge-belt of Akowua (a warrior) has never been known to lack bullets’ - a local saying.
Brass Shield: Shaped like an Asante shield, this weight is decorated with nine bells, of a type thought to be used in ceremonial dance. The crossed pattern on the shield is identical to sub divisions applied to traditional kente cloth using a broad toothed comb, before adding further decorative symbols. According to Asante artisans, the crossed pattern nkyimu represents careful separation, skilfulness and precision.
Shield: the second brass weight is also in the form of a dilapidated shield. On three of its edges it is decorated with a band of zigzag lines with the centre hollow and crossed with bands reminiscent of wickerwork. The weight recalls the Asante proverb which says ‘when a shield wears out, the framework still remains’. This means the good deeds of people live after them.
Brass Block: This brass block with geometric patterns is adorned with swastikas which is an ancient symbol carrying various meanings. For the Asante people, it represents the hand of the much-scorned colobus monkey. Typically, a swastika on a gold weight like this warned against distrustfulness and trickery.
Gold Pectoral Disc 1850-74
A front view of the gold pectoral disc from the Ashanti Kingdom of Ghana, 19th century.
Gold Pectoral Disc 1850-74
A detailed side angled view of the pectoral gold disc from the Ashanti Kingdom of Ghana, 19th century.
Final thoughts: Until the lion learns to speak, the story will always glorify the hunter - an African proverb which speaks of the need to tell your own stories. This proverb springs to mind because we believe the time has come to tell our own histories through the lens of the African experience. Therefore this blog piece is written through the perspective of a black British individual of Ghanian descent, documenting the rawness of history in a way which does not seek to present it in a palatable manner for the 21st century consumer of history. But rather, it seeks to present it in the devastating rawness of events that would change the course of history for an entire continent and for generations to come. Yet with this, we are both emboldened and equipped with new knowledge of our past which will serve as fresh avenues for creative exploration here at Kente Kingdom. Such is the undiluted experience of the Asante Goldweights display at the Victoria and Albert Museum. So stay tuned as we explore these historical elements in the innovative concepts that seek to capture past histories in new cloth because Kente Kingdom is no ordinary cloth house. But in the meantime, commission your handwoven Kente Cloth here.
Credits and Mentions: The Victoria and Albert Museum, London
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