An indigenous tapestry of the Mamprusi: A potential economic venture for the North-East Region of Ghana

Abstract

The Mamprusi of Gambaga and Nalerigu of the North-East regin of Ghana has a very rich tradition of indigenous tapestry just like what exist for the Dagomba (bummangli), Gonja (gbayin chibe) and Frafra (motani). However, the indigenous tapestry of the Mamprusi ethnic group has received less attention as compared to other traditional textiles of Ghana such as kente, kete, bummangli, gbayin chibe and motani. This has resulted in the indigenous tapestry of the Mamprusi to be less viable economically, also the research knowledge that exist it is scanty to be used for its development and sustainability. This study aimed at profiling the indigenous tapestry of the Mamprusi and its production system, it also aimed at developing a frame work for development and sustainability. The constructivism research philosophy was adopted because the indigenous tapestry of the Mamprusi is a social phenomenon and a complex one that requires the understanding and interpretation from the perspective of the participants in their natural setting. Since the indigenous tapestry of the Mamprusi has limited literature hence the adoption of the case study research design to ensure an in-depth study in the natural environment. Relevant data was collected by employing the semi structured interview, participant observation, focus group discussion, oral history and storytelling. The results of the study indicate the dominance of young females within the age bracket of 15 years to 45 years. The study also discovered that a good percentage of the artisans had basic education. The study also revealed that the traditional tapestry industry of the Mamprusi in its entirety is a borrowed craft specifically from Bogou in northern Togo. Currently it was inferred that the industry exists as small-scale enterprises employing a smaller number of people who are mostly family members. Production activities are mainly carried out by hand with the help of simple tools, the textile artefacts produced are hand woven fabric traditionally referred to as chinchin mangli or chinchin wugra. They are mostly plain weaves that are warp faced and comes in array of colours. It was indicated in the study that to ensure development and sustainability of the industry the Chen’s program theory was adopted to digest the current situation of the industry, propose action that will help avert the situation and prescribe activities that will help measure the rate of development that has occurred and ensure sustainability of the traditional indigenous tapestry industry of the Mamprusi.