“Onetouch” Quality and “Marriage Silver Cup”: Performative Display, Cosmopolitanism, and Marital<i>Poatwa</i>in Kumasi Funerals

Gott, Suzanne

doi:10.2979/aft.2007.54.2.78

Cited by 6 publications

(6 citation statements)

References 35 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Other studies include how the Gurensi express aesthetic judgments through wall paintings, pottery and facial decorations (Smith, 1978, p. 36-41). Gott (2007) takes advantage of the strong appetite for fashion among the Asante and demonstrates how they make a 'show', even at the demise of a husband or close relative, through the strategies employed and dynamics of funerary presentations (p. 79-106). Gott's (2010) work on Ghanaian kaba introduces a new genre in fashion.…”

Section: Ghana's Art Scholarshipmentioning

confidence: 99%

Art Studies in Ghana: Whose Responsibility?

Labi¹

2016

Legon J. Hum.

View full text Add to dashboard Cite

While Ghana has centuries of tradition in producing some significant art, the literature on Ghanaian art suggests a preponderance of Euro-American writing about it, and on the contrary a paucity of Ghanaian scholars' contribution to the country's art studies. This paper examines some of the scholarship and Ghanaian participation in art discourse. It proposes some measures to change the trend by introducing art history departments focusing on degree programmes and graduate studies, and creating a local platform for indigenous voices and perspectives to cross-fertilize the knowledge in the discipline for the enrichment of the global discourse on Ghana's art.

show abstract

Section: Ghana's Art Scholarshipmentioning

confidence: 99%

Art Studies in Ghana: Whose Responsibility?

Labi¹

2016

Legon J. Hum.

View full text Add to dashboard Cite

show abstract

“…A well-known feature of Ghanaian consumer culture both in Ghana and the diaspora is the importance attributed to dress in the performance of status and subjectivity (see Fumanti 2009;Manuh 1998;Perani and Wolff 1999;Preston 1990;Ross 1998). As Gott (2007Gott ( , 2009 underlines in her analysis of fashion and wealth in Asante, this is a highly gendered discourse:…”

Section: Distinction and 'Bling' Culturementioning

confidence: 99%

‘A Light-Hearted Bunch of Ladies’: Gendered Power and Irreverent Piety in the Ghanaian Methodist Diaspora

Fumanti¹

2010

Africa

View full text Add to dashboard Cite

This article explores the making of gendered and religious identities among a group of Ghanaian Methodist women in London by bringing to the fore the complex and irreverent ways in which the women of Susanna Wesley Mission Auxiliary (SUWMA) negotiate their recognition within the predominantly patriarchal settings of the Methodist Church. If, on the one hand, the association and its members conform to Christian values and widely accepted Ghanaian constructions of womanhood, on the other hand, flouting expectations of pious femininity, they claim a unique, elevated position within the church. Their transgressive hedonism can thus be read as a performative assertion of their claims to respect, recognition and leadership beyond the narrow parameters of gendered modesty. Many of the women are senior church leaders and respected members of the diaspora. All are successful professional career women and economically independent. Their association is simultaneously about promoting the Christian faith while being recognized as successful, cosmopolitan, glamorous middle-class women. It is this duality which the present article highlights by showing how members of the association negotiate and construct their subjectivities both within the Methodist Church and the Ghanaian diaspora, while they also negotiate their relationship with the Methodist Church in Ghana.

show abstract

“…The mortuary rites are an essential requirement in ensuring that the deceased journey to the ancestral world is safe. It elevates the dead to the status of an ancestor (Gott, 2007). Generally, Ghanaians believe that the mortuary rites are the only culturally endorsed route that ensures that blessings are received from the spirits to the bereaved family and the community as a whole (Arhin-Sam, 2014).…”

Section: Introductionmentioning

confidence: 99%

“…Though a good death that qualifies the dead to attain the status of an ancestor is believed to be satisfied with old age (Crentsil, 2007), high social status ( Van der Geest, 2004), and successful life accomplishments (Gott, 2007), the good organization of the mortuary rites, often referred to 'befitting burial' or 'proper burial' is a key requirement of ancestorship (Potocnick, 2017). Thus, great care is taken to carry out all the established cultural protocols in the mortuary rites of the dead (Addai, 2016).…”

Section: Introductionmentioning

confidence: 99%

COVID-19 private burial with 25 persons in the lens of the mortuary rites culture in Ghana

Adom

Adu-Mensah²,

Kquofi

2021

African Identities

View full text Add to dashboard Cite

This is a phenomenological study pivoted in the spiral time theory on the effects of the private burial of 25 attendees on the mortuary rites culture of Ghana during the COVID-19 restriction on the mass gathering. Sixty-one study participants were purposively sampled for the study. Their views were gathered through face-to-face, telephone, and video interviews. The findings revealed that 82% of the study participants objected to the private burial arrangement for cultural reasons such as disrespecting the dead, resulting in social mockery of the bereaved family and its failure in preparing the dead toward the journey to his afterlife amongst others. The remaining 18% who supported the private burial cited health reasons as a result of the mortuary congestion and the COVID-19 pandemic as well as the huge financial costs associated with the extravagant mortuary rites observation. The study concludes that the mortuary rites culture in Ghana exerts a great influence on the decisions of the Ghanaian people toward the private burial arrangement within the period of COVID-19. Culture-driven alternatives to the extravagant mortuary rites that would best compensate for the established cultural protocols must be pursued by the Ghana government after broad consultations with all stakeholders.

show abstract

“Onetouch” Quality and “Marriage Silver Cup”: Performative Display, Cosmopolitanism, and MaritalPoatwain Kumasi Funerals

Cited by 6 publications

References 35 publications

Art Studies in Ghana: Whose Responsibility?

Art Studies in Ghana: Whose Responsibility?

‘A Light-Hearted Bunch of Ladies’: Gendered Power and Irreverent Piety in the Ghanaian Methodist Diaspora

COVID-19 private burial with 25 persons in the lens of the mortuary rites culture in Ghana

Contact Info

Product

Resources

About