VIDEO: UEW Ajumako Campus Level 400 Cultural Presentation on Anansesɛm

UEW Ajumako Campus Level 400 Cultural Presentation on Anansesɛm UEW Ajumako Campus Level 400 Cultural Presentation on Anansesɛm

Introduction

On a bright Thursday afternoon, the serene compound of the University of Education, Winneba – Ajumako Campus, was transformed into a vibrant hub of colour, rhythm, and storytelling. The occasion was the much-anticipated Level 400 Cultural Presentation, an annual showcase where final-year students of the Department of Ghanaian Languages and Culture demonstrate their mastery of indigenous knowledge, performance skills, and creative adaptation.

This year’s theme was Anansesɛm — the rich tradition of Akan spider stories that have, for centuries, carried moral lessons, entertainment, and cultural identity across Ghana.

The venue — a spacious open courtyard — was decorated with kente drapes, woven mats, calabashes, and traditional stools. The air was scented with shea butter and smoked fish from nearby food vendors, blending the academic with the everyday Ghanaian cultural experience.

The Educational Context

For the Level 400 students, this was not just a performance; it was the culmination of four years of study in Ghanaian oral literature, performance theory, and cultural pedagogy. As part of their coursework in Oral Literature and Folklore, they were tasked with researching, scripting, and presenting a full Anansesɛm performance, using traditional performance techniques while integrating modern theatrical creativity.

Lecturers emphasised that the presentation was to be evaluated not only on entertainment value but also on:

Accuracy in representing traditional storytelling norms.

• Creative adaptation for contemporary audiences.

• Integration of music, dance, and costume to enhance meaning.

• Ability to communicate moral lessons clearly.

Opening Ceremony

The programme began with a drum call from the fontomfrom ensemble, summoning the audience from across campus. Students, lecturers, and invited community members gathered, forming a semi-circle around the performance space.

The MC — a charismatic student dressed in flowing kente cloth — welcomed the audience in a mix of Twi, Fante, and English, highlighting the cultural unity embedded in Ghana’s oral traditions.

A short libation ceremony was performed to invoke ancestral blessings for the event. This symbolic act reminded the audience that Anansesɛm, though entertaining, is rooted in deep cultural respect and continuity.

The Story: “Ananse and the Pot of Wisdom”

The chosen story for this year’s presentation was a well-known tale: Kweku Ananse and the Pot of Wisdom. The narrative follows the cunning spider, Ananse, who is gifted a pot containing all the wisdom in the world, only to lose it through his own selfishness and pride.

Plot Overview:

• Act 1: Nyame, the Sky God, entrusts Ananse with the sacred pot of wisdom.

• Act 2: Ananse, suspicious of others, tries to hide it on top of a tall tree.

• Act 3: His young son Ntikuma observes him and innocently points out a smarter way to carry the pot.

• Act 4: Enraged that a child could correct him, Ananse drops the pot, scattering wisdom everywhere — which is why no single person today knows everything.

Performance Techniques

The students divided themselves into cast and crew, with clearly defined roles:

• Storyteller (Okyeame): The narrator wore a colourful smock and wielded a carved wooden staff, moving between audience and actors, sometimes breaking the fourth wall to engage spectators with proverbs and riddles.

• Actors: Ananse was portrayed by a student in a black-and-gold spider costume, moving with exaggerated gestures that blended traditional Akan mime with modern comic timing.

• Musicians: A percussion ensemble of atumpan, dondo, and kpanlogo drums created rhythmic cues for mood changes — tense beats for Ananse’s scheming, upbeat tempos for comedic moments.

• Chorus: A group of singers and dancers provided commentary in song, much like a traditional adowa performance. They chanted refrains that the audience quickly learned, turning the event into a participatory experience.

Integration of Cultural Elements

The presentation was rich with cultural symbols:

• Language: The narration and dialogue alternated between Fante and Twi, with occasional English explanations for non-Akan speakers in the audience.

• Costume: Every performer wore traditional attire — kente, fugu, beads, and headscarves. Ananse’s costume incorporated raffia and cowrie shells, blending symbolic wealth with rustic mischief.

• Proverbs: Each key scene was punctuated by relevant Akan proverbs, such as “Obi nkyere abofra Nyame” (“No one teaches a child who God is”), reinforcing the wisdom theme.

• Music and Dance: The storytelling was interwoven with adowa and kete dance movements, turning transitional moments into mini-celebrations.

Audience Interaction

One hallmark of Anansesɛm is its communal nature. The performers encouraged constant audience participation:

• The storyteller asked riddles between acts: “Me bo me bo, na me yε sε dua mu nkuto; hena me?” (“I am round, and I look like palm kernel in a tree; what am I?”).

• The chorus prompted call-and-response chants:

Chorus: “Yεbεka Anansesɛm…”

Audience: “…Se se se!”

This lively exchange kept the courtyard buzzing with energy.

Educational Value

The performance was not simply entertainment; it doubled as an applied lesson in:

1. Oral Literature Preservation: By performing in indigenous languages with traditional performance techniques, students actively safeguarded intangible heritage.

2. Pedagogical Skills: The blending of narrative, music, and audience interaction demonstrated how Anansesɛm can be adapted for classroom teaching in primary and JHS levels.

3. Moral Education: The moral — that no one possesses all wisdom, and humility is key — was presented in a relatable way, provoking post-performance discussions.

Creative Innovations

Although grounded in tradition, the students introduced several creative twists:

• Props: The “pot of wisdom” was a decorated calabash painted with Adinkra symbols representing knowledge (nyansapo) and unity (fawohodie).

• Modern References: In a humorous aside, Ananse compared his hoarding of wisdom to “keeping all the Wi-Fi password to myself,” which drew laughter from the younger audience.

• Lighting: Evening scenes were simulated with kerosene lamps and soft drumming, creating a sense of atmosphere without breaking cultural authenticity.

Reactions from Lecturers and Peers

The faculty praised the students for:

• Mastery of pacing — balancing suspense, humour, and moral reflection.

• Effective use of non-verbal cues (facial expressions, pauses, rhythmic gestures).

• Commitment to linguistic authenticity while still being inclusive for a mixed-language audience.

One lecturer remarked that the performance could be taken to basic schools in the district as a cultural outreach programme.

Challenges Faced

In post-event interviews, the cast revealed some behind-the-scenes struggles:

• Limited budget for costumes and props meant some items were borrowed from community members.

• Scheduling rehearsals around final-year project deadlines was a challenge.

• Maintaining audience focus in an open-air environment required strong vocal projection and interactive pacing.

These challenges, however, were seen as learning experiences in resourcefulness and adaptability — skills vital for future teachers.

Conclusion

The Level 400 Cultural Presentation on Anansesɛm at UEW Ajumako Campus was more than an academic requirement; it was a living testament to the power of oral tradition in shaping identity, fostering creativity, and delivering moral education. The final image of Ananse, crouched in mock defeat as the chorus danced around the broken pot, left the audience laughing, clapping, and — perhaps — reflecting on the wisdom scattered all around them.

For the students, the performance marked both a celebration of their cultural studies journey and a stepping stone into professional teaching careers. As one performer put it, “We have learned that culture is not in the past — it’s a tool we can carry into the future classroom.”

If you like, I can also prepare a shorter, press-release style version of this for a school newsletter or university media page, highlighting key quotes and photos. That would be perfect for sharing beyond campus.

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