Kwame Amoah Labi

• Enjoy the Dance and Look for the Flag Meaning

  Kwame Amoah Labi•ARTICLE•Ghana Studies•2022

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  The literature on Fante asafo art reveals that frankaakitafo (flag dancers) carry, dance with, and display asafo flags, creolized from European flags displayed on the Gold Coast (now Ghana), and now used as a traditional dance prop. This is different from how the Europeans carried them in marching and salutation. What is missing from the scholarship is an examination of the collaborative working relations between different performers and the natu…

• The Posuban is our Pride

  Kwame Amoah Labi•ARTICLE•Ghana Studies•2019•Referências: 3

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  This work explores the factors that motivate an asafo (a sociopolitical organization whose previous military roles have been put in abeyance) to reconstruct or renovate their posuban (shrines/monuments); what forms of art are used to decorate the posuban to visually and symbolically reflect current asafo views; and what a rival might choose to depict on their own posuban in response. The article also investigates whether the art and symbols are a…

• Trends in Twenty-First Century Contemporary Art In Accra

  Kwame Amoah Labi•ARTICLE•Critical Interventions•2019•Citada por: 1•Referências: 6

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  This paper inquires about the forms of art that embody the Ghanaian contemporary genre, particularly in Accra, in the first two decades of the twenty-first century, and what informs the different c

• The Evolution and Innovations in Fante asafo posuban

  Kwame Amoah Labi, Kwame Labi•ARTICLE•Anthropos•2018

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  Anthropos , Seite 589 - 606

• The “Commercial” and “Museum” Life of Some Akan Brass Works

  Kwame Amoah Labi•ARTICLE•Ghana Studies•2010•Referências: 3

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  In the Fall 2008 volume of Museum Anthropology , I discussed efforts by the University of Ghana’s Institute of African Studies to develop community-based exhibitions in Ghana. This, I believe, is part of the call by the continent’s museum professionals for the pursuit of a new direction by

• An Asanteman-World Bank Heritage Development Initiative in Promoting Partnership with Ghanaian Traditional Leaders

  Alex Boakye Asiedu, Kwame Amoah Labi et al.•ARTICLE•Africa Today•2009

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  Alex B. Asiedu, Kwame A. Labi, Brempong Osei-Tutu, An Asanteman–World Bank Heritage Development Initiative in Promoting Partnership with Ghanaian Traditional Leaders, Africa Today, Vol. 55, No. 4 (Summer 2009), pp. 2-26

• Toward a Museum Culture in Ghana

  Open Access•Kwame Amoah Labi•ARTICLE•Museum Anthropology•2008•Citada por: 1•Referências: 2

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  This article discusses how the Institute of African Studies mounted a community-based exhibition drawing on indigenous knowledge and narratives of culture contact and influence, with the hope that this, and similar exhibitions in Ghana, would help to develop a museum culture in local communities. The article also addresses the methods and procedures used in developing the content of the local exhibition, including consultations with leaders of Se…

• Fante Asafo Flags of Abandze and Kormantse

  Kwame Amoah Labi•ARTICLE•African Arts•2002•Citada por: 2

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• Fante Asafo Flags of Abandze and Kormantse

  Kwame Amoah Labi•ARTICLE•African Arts•2002•Citada por: 2

  Incluir item

• Trends in Twenty-First Century Contemporary Art In Accra

  Kwame Amoah Labi•ARTICLE•Critical Interventions•2019•Citada por: 1•Referências: 6

  Incluir item

  This paper inquires about the forms of art that embody the Ghanaian contemporary genre, particularly in Accra, in the first two decades of the twenty-first century, and what informs the different c

• Toward a Museum Culture in Ghana

  Open Access•Kwame Amoah Labi•ARTICLE•Museum Anthropology•2008•Citada por: 1•Referências: 2

  Incluir item

  This article discusses how the Institute of African Studies mounted a community-based exhibition drawing on indigenous knowledge and narratives of culture contact and influence, with the hope that this, and similar exhibitions in Ghana, would help to develop a museum culture in local communities. The article also addresses the methods and procedures used in developing the content of the local exhibition, including consultations with leaders of Se…

• Fante Asafo Flags of Abandze and Kormantse

  Kwame Amoah Labi•ARTICLE•African Arts•2002•Citada por: 2

  Incluir item

• Toward a Museum Culture in Ghana

  Open Access•Kwame Amoah Labi•ARTICLE•Museum Anthropology•2008•Citada por: 1•Referências: 2

  Incluir item

  This article discusses how the Institute of African Studies mounted a community-based exhibition drawing on indigenous knowledge and narratives of culture contact and influence, with the hope that this, and similar exhibitions in Ghana, would help to develop a museum culture in local communities. The article also addresses the methods and procedures used in developing the content of the local exhibition, including consultations with leaders of Se…

• An Asanteman-World Bank Heritage Development Initiative in Promoting Partnership with Ghanaian Traditional Leaders

  Alex Boakye Asiedu, Kwame Amoah Labi et al.•ARTICLE•Africa Today•2009

  Incluir item

  Alex B. Asiedu, Kwame A. Labi, Brempong Osei-Tutu, An Asanteman–World Bank Heritage Development Initiative in Promoting Partnership with Ghanaian Traditional Leaders, Africa Today, Vol. 55, No. 4 (Summer 2009), pp. 2-26

• The “Commercial” and “Museum” Life of Some Akan Brass Works

  Kwame Amoah Labi•ARTICLE•Ghana Studies•2010•Referências: 3

  Incluir item

  In the Fall 2008 volume of Museum Anthropology , I discussed efforts by the University of Ghana’s Institute of African Studies to develop community-based exhibitions in Ghana. This, I believe, is part of the call by the continent’s museum professionals for the pursuit of a new direction by

• The Evolution and Innovations in Fante asafo posuban

  Kwame Amoah Labi, Kwame Labi•ARTICLE•Anthropos•2018

  Incluir item

  Anthropos , Seite 589 - 606

• The Posuban is our Pride

  Kwame Amoah Labi•ARTICLE•Ghana Studies•2019•Referências: 3

  Incluir item

  This work explores the factors that motivate an asafo (a sociopolitical organization whose previous military roles have been put in abeyance) to reconstruct or renovate their posuban (shrines/monuments); what forms of art are used to decorate the posuban to visually and symbolically reflect current asafo views; and what a rival might choose to depict on their own posuban in response. The article also investigates whether the art and symbols are a…

• Trends in Twenty-First Century Contemporary Art In Accra

  Kwame Amoah Labi•ARTICLE•Critical Interventions•2019•Citada por: 1•Referências: 6

  Incluir item

  This paper inquires about the forms of art that embody the Ghanaian contemporary genre, particularly in Accra, in the first two decades of the twenty-first century, and what informs the different c

• Enjoy the Dance and Look for the Flag Meaning

  Kwame Amoah Labi•ARTICLE•Ghana Studies•2022

  Incluir item

  The literature on Fante asafo art reveals that frankaakitafo (flag dancers) carry, dance with, and display asafo flags, creolized from European flags displayed on the Gold Coast (now Ghana), and now used as a traditional dance prop. This is different from how the Europeans carried them in marching and salutation. What is missing from the scholarship is an examination of the collaborative working relations between different performers and the natu…

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