Aesthetic and educational values of indigenous sculptures among the Bimoba People of Northern Ghana

Bibliographic Data

ID22257404
AuthorsKenneth Dam Sakoalia (0009-0006-0785-5089, Bagabaga College of Education), Joe Adu-Agyem (0000-0003-4376-8127, Kwame Nkrumah University of Science and Technology), Dickson Adom (0000-0002-0559-4173, Kwame Nkrumah University of Science and Technology), George Nangpaak Duut (0009-0007-1770-912X, Bolgatanga Technical University), Macharious Nabang (0009-0008-4233-219X, Bagabaga College of Education)
Year2026
Volume7
Issue4
Pages1032
Publication date2026-05-19
Open AccessYes
TypeARTICLE
VenueE-Journal of Humanities Arts and Social Sciences (JOURNAL)
Journal identifiersISSN: 2720-7722 • E-ISSN: 2720-7722
PublisherNoyam Publishers (PUBLISHER)
DOI10.38159/ehass.2026746
OpenAlexW7161996731
LanguageEN
References cited19

This study explored the aesthetic and educational values of indigenous sculptures among the Bimoba people of Northern Ghana. Grounded in the interpretivist paradigm, the research employed a qualitative ethnographic approach to investigate the visual, symbolic and pedagogical meanings embedded in selected Bimoba sculptures. Data was collected through unstructured interviews, participant observation, and documentary analysis from twenty-five purposively selected respondents, including indigenous sculptors, diviners, elders, family heads and art collectors. The findings revealed that Bimoba sculptures such as chicherii, tingbana, pataa, gingana, yerii and sanpana are not only visually compelling but also carry deep spiritual, historical and moral significance. These sculptures embody aesthetic values through form, balance, symmetry, proportion, unity, symbolism and emotional expressiveness, consistent with African theories of aesthetics. Moreover, they serve educational functions by transmitting indigenous knowledge, moral codes, historical narratives and identity markers, while promoting cognitive, affective and psychomotor development when used instructionally. Feldman’s method of art criticism and Panofsky’s iconographic theory were employed to critique the works and analyze their symbolic meanings within cultural and historical contexts. The study affirms that indigenous Bimoba sculptures are rich artistic and educational resources capable of bridging traditional and contemporary art education practices. It recommends their integration into Ghana’s visual arts curriculum and establishing community-based art documentation centres to support cultural preservation and sustainable knowledge transfer. This research contributes to decolonising the curriculum by validating indigenous artistic expressions and their role in holistic art education

Curriculum · Ethnography · Indigenous · Narrative · Participant observation · Sculpture · Traditional knowledge · Visual arts education · Architecture, Art, Education · Art Education and Development · Artistic and Creative Research