Before the invention of the modern camera, the Akans, one of the largest and most predominant ethnic groups in Ghana, documented family portraits of the deceased through sculpture.
For generations, this practice served as a culturally significant commemoration of African ancestors until colonialism disrupted the art form and misrepresented and demonized the practice of Ancestor Veneration in most parts of Africa.
Akans view death as a transition to the realm of the ancestors, where life continues in another form. Ghanaian artist and educator Kwame Akoto-Bamfo is charting a path toward sparking renewed interest in traditional African funerary practices through his art and educational campaigns.
The artist’s work first came to public attention in 2015 through a series of online campaigns and later as a large-scale installation in Cape Coast in Southern Ghana. His “Nsiso” were first exhibited to the public as the West African nation celebrated its 60th anniversary of independence from British colonial rule.
In 2019, the Nkyinkyim Museum was founded by the artist as an initiative of his non-profit organization, the Ancestor Project. The museum, located 180 km outside of Accra in Nuhalenya-Ada, has become a space for people of African descent to engage in restorative healing processes through art and education.
The museum’s annual Ancestor Veneration ceremony has succeeded in completing the cycle of rites surrounding African traditional funerary arts. Its Sacred Area now features thousands of unique portrait heads in an evolving collection that will reach 11,111 in number, symbolizing strength in unity and the harmony of spiritual forces.
Visitors to the Sacred Area are encouraged to adhere to traditional practices, including removing their shoes and knocking before entering, pouring libations, and refraining from taking selfies or photographs that could undermine or commercialize sacred funerary art practices.
“I am Akan, so my Nsiso began with Akan traditional rites, but currently, our ceremonies have opened up to other African ethnic groups, including the Ga-Dangme, Yoruba, Ewe, and African Americans in the diaspora,” says Akoto-Bamfo.
During the third annual Ancestor Veneration in October 2024, he expressed his gratitude, saying, “I am very grateful to the Adibea of Ada, all the Ga-Dangme royals, Ewe royals, Yoruba royals, and the African diaspora for supporting the rebirth of our sacred funerary art and rites.”
Akan Nsiso funerary art and practices have direct parallels with Ife and Benin bronze heads dating back to the 13th century. “The funerary portraits at Nkyinkyim are rendered in various tribal styles as well as very hyper-realistic styles.” Addressing misconceptions, the artist added, “A lot of people think the hyper-realistic portraits are not African, but they are very mistaken. Have you seen the Ife and Benin heads?”
The various rituals performed around the portrait heads complete the rites that make them sacred. The Ancestor Veneration ceremony, organized by Nkyinkyim Museum and supported by Adibea Royals and various African royals, ensures that the spirits of the ancestors—represented by the portrait heads—are honored and commemorated.
Chief Nene Titrim Buertey III, the original Chief of Adibea, emphasized the importance of the program, stating, “It is very important for Africans and diasporans to be here, to learn more about our past, our customs, and traditions. It is very, very important. We have our relatives in the diaspora, in different places, whom we don’t even know ourselves. So I’m sure with Nkyinkyim Veneration, we can use this platform to voice it out so that any of our relatives outside Africa should know and hear of us, that this is Adibiawe, in Africa.”
The impact of Akoto-Bamfo’s diasporic vision for reclamation and healing is far-reaching. “My son’s ashes are buried here. I wouldn’t miss this ceremony for the world,” said Judith Carroll, an African American woman who attended the 2024 Ancestor Veneration ceremony in October.
Reflecting on the progress made, Akoto-Bamfo remarked, “Over the years, we have been able to remove the stigma around African drums, African music, and even African hair. Our traditional systems, especially healing arts, still carry a lot of that negative stigma. My team, along with many supporters in the African diaspora, are determined to shed light on our traditional systems.”
