The Journey of Asante Figures: A Story of Change and Meaning

Six Asante shrine figures, known as abosom and asuman, have quite the story to tell. These figures didn't just sit in one place; they traveled far and wide, changing hands and meanings along the way. They started in what was then the Gold Coast, now Ghana, and passed through the hands of many different people. Spiritual entrepreneurs, colonial police, art dealers, missionaries, and museum curators all played a part in their journey. As they moved from one context to another, their significance shifted. What began as spiritual assets for the Asante people were later labeled as "fetishes, " "tribal art, " and ethnographic specimens. Each new label came with its own set of values and understandings. The figures weren't just objects; they were active participants in these changes, accumulating new layers of meaning with each transition. In the 1960s, Catholic missionaries played a big role in promoting these figures as "African art. " This was a double-edged sword. On one hand, it brought attention to African art and culture. On the other hand, it sometimes reinforced colonial ways of thinking. The concept of "cumulative conversions" helps explain how these figures gained and lost different meanings over time. Think of it like layers of an onion. Each new context peels back or adds a new layer of significance. This process is ongoing, with the figures' roles and meanings continuing to evolve. One big question is how to treat these figures today. Should they be seen as museum objects or as active channels for spirit forces? This tension has important implications, especially when considering their potential roles in contemporary Ghanaian society and the diaspora.