Poem Transcription: "The Akan Archive Aesthetic"

Poem Transcription: "The Akan Archive Aesthetic" transcribed from the academic essay ‘Showing-Off Aesthetics’: Looking Good, Making Relations and ‘Being in the World’ in the London Akan Diaspora by Mattia Fumanti 2013

The academic essay was essential reading for the module 'Race, Ethnicity and Identity' taught by Pamela Kea at Sussex University. This poem transcription was added to the curriculum and the modules reading list, as well as performed and discussed in class.

The motivation behind my poem transcriptions was to present alternative ways for students and academics to interact with curriculum material, particularly traditional academic essays. I hoped to cater to different learning styles and offer potentially a more accessible, engaging and dynamic way of intaking information.

If possible, it is recommended to listen to the poem while reading it simultaneously for the best experience.

Please note, some Akan words may be misspelled from the original essay, I am in the process of fact checking these words with Akan friends

Listen to the poem here: https://drive.google.com/file/d/1Kr46KzofWyTNmYMA6uZTmVXAKDPK5ZbH/view?usp=sharing

Akan Archive Aesthetics - Erin James

I present to you this poem

A research-based approach

Of Akan Ghanaian peoples

And their cultural events composed

I speak of Ghanaians living in London

And the connections made back home

Their diasporic identity

And migrational, intergenerational hopes

Based on research conducted from attending many a Ghanaian event

And real lived experiences and voices from people of Ghanaian descent

The way Akan people celebrate, mourn, dance and dress is how they present

Through occupying churches, school halls and sports centres on the weekend

Plain spaces are transformed for the times they frequent

But first a backstory on Ghanaians, the second largest Black African community in London

And the fourth largest in Britain, their story in this nation must be archived and written

The first wave of migrants arrived in the 50s and 60s to cold and cruel friction

Working as nurses, lawyers and doctors, many stayed here and followed their vision

While others said good riddance and took their distance, returning to Ghana and returning to tradition,

Contributing to the process of post-independent-nation-building and reasserting their country's position

The second wave of migrants that this research is focussed on in this poetic description

Settled in London from the 80s as labourers, students, nurses and undocumented migrants avoiding eviction

There were less opportunities and worser conditions, which is why Ghanaian events and celebrations provided important moments of resistance

And coming together outside of division

And so in setting up the party, it’s a process of sorts

If you know the Ghanaians, you know they won’t fall short

Balloons, banners and prints are hung up high to soar

And the buffet table boasts homemade food - cause ain’t no food from the store!

The guests arrive on Ghanaian time, after the official opening of doors

It’s time for the guests to celebrate or as they call it “jubilate”

Everybody all aboard

The sound system blares and sometimes there’s an MC

Introducing yet another item on the programme in case you couldn’t see

You might hear traditional hymm singing, so sing loud if need be

And smile for the photographer (who’s probably a member of the family)

Another important time for Akan Ghanaians is the funeral event

Dresses and dress codes play an important role in how the family represents

Black or red is for the family, and dresses are often inscribed with Adinkra symbols or texts

And black or white is adorned for final funerary rites expressed

When the deceased body is absent photos are used to present

Placed in front of the Abusia table where the family pays tribute in time spent

This tradition started during colonial times, it happened now and then

Not having access to a loved ones body meant they had to reinvent

And of weddings, a different type of celebration that took place

Similar themes of personal absense are also easily traced

If a couple is married in London, family back home will also host a wedding in grace

But before the wedding can happen it has to be sanctioned by family in good faith

Central to this research is what's described as The Akan Aesthetic

Culturally embedded

And felt deep in the soul

Akan Ghanian's presentation is the story that's told

Through proverbs, mottoes and wise sayings old and untouched

Like ‘efata wo paa’ meaning ‘the dress suits you very much’

At cultural celebrations words and praises will travel

As stories unravel

And judgement is passed

Showing off is part of the party so let's raise a glass

Another part of this asthetic

Is as the Ghanaians call it - attire

There’s serious importance when it comes to clothing and dress

Like traditional Akan dresses (atadee) and clothes (ntoma) aunties will be deciding

who's presented the best

Who's shoes are a mess

And which fabrics most fresh

The most famous and precious fabric is Kente - handwoven cloth, strips of silk and cotton

This Ashanti and Ewe design and its intricate patterns are not quickly forgotten

Other options are Sika print, a less expensive choice often worn at night

When done right one might fit it tight but still breathable

Or finally, Batik print, a tye-dye style thats casual and more feasible

And speaking of clothes let’s take a little trip

There’s Nsatia, a long dress with shoulder strips

Nsasini, a short-sleeved dress showing off all that drip

Ntoma, traditional male cloth wrapped around the body that won’t slip

And Mpayechire a back slit skirt worn without a zip

The importance of dressing up is more than just looking good

It’s embodied self-decoration - a reconnection to their home nation

A chance for elation and ancestral formations

It is a chance to craft ones identity outside of racial fascination

To reclaim one's own self in stylised migration

Also central to the Akan aesthetic is making sure it's archived

By plugging in and watching on the hard drive,

Family back in Ghana can be involved in these events as part of their pastime

And important events can be broadcast on Ghana National TV if you play your cards right

West Africa has traditions rooted in photographic self-making

And prideful self-gazing

The Ghanaian film industry is actually amazing

In cultural celebrating movies and pictures

Which allowed a migratory relocating of Akan Aesthetic scripture

But let's go a bit deeper and investigate the narrative these traditions uphold

Videos of Akan events serve as “proof” of wealth and success with each upload

They contribute to a seductive story of the migration process and finding new homes

It’s a snapshot of joy that, arguably, misses the darker stories untold

So what can be understood from the above poetic components?

Photos are living visual maps of Akan life, much more than just frozen moments

In rounding up this research there's a lot to be said

A lot of stereotypes to be shred and a lot of traditions to be spread

For Akan migrants these events give opportunity to reclaim space in their world

And to be diasporic-led

For a moment, British society doesn't have to matter, they don’t have to self-police

They can dance and sing and gather

They reconstitute themselves as visible and distinct amongst their own kin

They are reestablishing relations sometimes cut off by migration for the duration of the event

Resisting isolation by rising to the occasion and through the Akan Aesthetic reclaim identity and reinvent

This is surely the meaning of time well spent