Nancy Owusuaa, a PhD candidate at the University of Ghana is researching the digital renaissance of Akan Adinkra Symbols. Her study explores how these traditional Ghanaian symbols are being reimagined and repurposed for modern media. She tells us how she gained a fresh perspective presenting her work to an international audience at the African Studies Association UK Conference earlier this year.
Ever wondered what it feels like to travel overseas for the very first time? Let me take you on a journey that I’ll never forget. In August 2024, I hopped on a plane from Ghana, bound for the United Kingdom. As a first-generation university student in my family, this was a huge opportunity for me, and my excitement levels were off the charts. So what was the reason for my trip? I was attending my very first international conference, the African Studies Association of the United Kingdom (ASAUK) conference at Oxford Brookes University, UK. The four day event took place from August 28 to 31, 2024, and it was an unforgettable experience filled with academics and professionals from across the globe. I couldn’t believe it — here I was, surrounded by experts discussing all the things I had been studying and more. The Andrew W. Mellon Foundation at the University of Ghana funded my trip, and their support was greatly appreciated.
About my PhD Journey
I am currently a final year PhD student in African Studies at the University of Ghana, Legon, where I also hold a Master’s degree in Communication. My academic focus is on the intersection of digital technology and communication, with a particular emphasis on content creation in digital spaces. I have always enjoyed working in the digital domain and have an active YouTube channel, where for the past six years have shared insights and advice for incoming students, particularly freshmen, navigating their university experience.
My doctoral research explores the evolving role of Adinkra symbols—traditional emblems of wisdom and cultural significance among the Akan people— in contemporary digital contexts. These symbols are found in various forms, including textiles, ceremonial objects, and architectural elements. They convey profound cultural values, proverbs, and moral teachings. Traditionally used for communication and cultural expression, Adinkra symbols are now being reinterpreted in digital spaces by young people, contributing to a cultural renaissance. This reimagining of Adinkra in the digital realm reflects the dynamic nature of the Akan people’s rich cultural heritage, which spans Ghana and Côte d’Ivoire.
The ASAUK Conference Buzz
As part of my PhD I was encouraged to attend an overseas conference and decided to submit an abstract to the ASAUK conference organisers titled, “The Dialectics of Tradition and Modernity: An Analysis of Some Adinkra Symbols in Digital Spaces.” The conference attracts a diverse group of scholars from various disciplines, all centred on African studies. My talk was part of a panel discussion on “Digital Humanities and Translation in Africa: Bridging the Past and the Future.” The feedback I received was both positive and insightful, offering critical perspectives that have begun to shape and refine my research further.
During the Q&A, Sela Adjei, a Lecturer at the University of Media, Arts and Communication in Accra, encouraged me to expand my scope by considering the epistemological aspects of Adinkra symbols, particularly in relation to design, spirituality, writing, mathematics, philosophy, religion, and aesthetics. He also noted that his students have designed over a thousand new Adinkra symbols, and they are working with the National Folklore Board to patent these designs. His question, “When you refer to digital spaces, what exactly do you mean—archives, design, games, etc.?” was especially thought-provoking and prompted me to reconsider the breadth of digital platforms relevant to my research.
Kwesi Ampene, who is Chair of the Department of Music at Tufts University in Boston USA, also offered valuable suggestions, particularly urging me to think about Adinkra as a form of pictographic writing. He raised the question of whether we should refer to these as simply “Adinkra”, rather than Adinkra symbols. Additionally, he encouraged me to explore whether Adinkra was historically used solely for cloth stamping.
Presenting at ASAUK definitely offered me new dimensions to explore and deeper insights into the academic discourse surrounding Adinkra symbols and their place in both traditional and digital contexts.
Generation and Regeneration
The ASAUK conference theme, “Generation and regeneration” invited reflection on the changes in knowledge production about and from Africa, considering generational divides and inter-generational dynamics. The conference is significant in African Studies as it brings together scholars, researchers, and practitioners to discuss cutting-edge research, foster interdisciplinary dialogue, and build networks. It serves as a platform to challenge existing paradigms and shape future directions in the field. I attended the ASAUK conference 2024 to present my research work but also to learn from other scholars and the many fields of research about the continent they are researching. A wide range of topics within African Studies, including history, politics, economics, culture, and social issues are covered in sessions.
I attended five sessions in all. As a lover of broadcast journalism, I was totally in awe when I heard Ellen Yitah from the University of Ghana speak about African women and folk music on radio programs. The next session was Joel Noret (from the Université libre de Bruxelles in Belgium) who talked about urban development in Cotonou in Benin, and this completely changed the way I thought about city planning. But the session that really struck a chord with me was Bethlehem Attfield’s presentation on ‘Translating African Reality: Indigenous Framework and Digital Archives.’ I was in the same session with her so listening to her made me feel like hearing my research come to life through someone else’s voice. Adinkra symbols, digital spaces, traditional knowledge — it all clicked.
Preparing for the conference was a thorough process of refining my research, practising my presentation, and staying current with relevant studies. I rehearsed with peers to ensure clarity and confidence. When presenting, I felt a blend of excitement and nerves but was mostly driven by a sense of purpose. The experience was incredibly rewarding, as the audience showed genuine interest in my work. Ultimately, I left feeling encouraged and motivated to continue presenting my research. The constructive feedback was invaluable, reaffirming the importance of sharing my work and growing through academic exchange.
Oxford: The City of Dreaming Spires
Often called the “City of Dreaming Spires,” Oxford is a town steeped in history, known for its prestigious University of Oxford—one of the oldest universities in the world. The city’s architecture, including the renowned Christ Church and Magdalen College, adds to its timeless charm. Oxford’s winding streets, quaint shops, and the peaceful flow of the River Thames give it a serene, almost magical atmosphere that attracts visitors from all over the world. After exploring the city, I couldn’t resist a bit of shopping at the Westgate Shopping Centre.
I also had the pleasure of dining at Victor’s, a modern Asian-inspired restaurant, thanks to the generosity of Professor Kwesi Ampene from Tufts University who has an impressive background in both music and African cultural studies. He is currently the President of the Ghana Studies Association and Chair of the Society for Ethnomusicology Council, and a member of the Editorial Board for the SOAS Studies in Music Series. Specialising in the rich musical traditions of the Akan people of West Africa, Professor Ampene’s expertise extends to the cultural significance of Adinkra. During our time together, he shared his deep knowledge of these symbols, guiding me through their historical context, origins, and the intricate processes behind their creation. His insights added layers of understanding to my research, and I walked away with a much richer appreciation for Adinkra.
Touring London and the British Museum
After my time in Oxford, I spent six unforgettable days in Central London, staying in Holborn and immersing myself in the city’s iconic landmarks — The National Gallery, Big Ben, The Science Museum, and the Natural History Museum. It felt like stepping into a living postcard with every corner offering something awe-inspiring.
The highlight of my visit was undoubtedly the British Museum, where I discovered a treasure trove of artefacts directly related to my research. Imagine my excitement when I was greeted by Adinkra symbols prominently displayed on a wall at the forefront of the African gallery. Seeing Adinkra showcased in such a prestigious institution deepened my appreciation for their global significance and enduring impact. It was a powerful reminder of how cultural heritage transcends borders and connects us all.
A New Perspective
The biggest takeaway from the conference is that tradition and technology are not enemies; they’re allies. The discussions at the conference highlighted how seamlessly these two worlds can intersect, revealing the immense untapped potential we have in the Global South. Leveraging our rich cultural heritage in tandem with modern technology can fuel innovation and create solutions uniquely tailored to our contexts. This realisation has been both inspiring and energising.
The ASAUK conference vividly showcased the intersection of tradition and technology, particularly through the lens of Adinkra symbols. Through engaging presentations, including my own session, and the enriching discussions that followed highlighted how these traditional Akan symbols, with their deep cultural significance, can be reimagined in innovative ways for modern contexts. For instance, insightful conversations with Dr Sela Adjei demonstrated how Adinkra symbols are being integrated into educational platforms through the use of advanced technological tools, underscoring their potential as both cultural preservers and drivers of digital-age innovation. Hearing researchers and practitioners who attended my session discuss how Adinkra symbols are bridging the gap between traditional African identities and contemporary global trends made these possibilities even more tangible and inspiring. The experience deepened my belief in the transformative power of cultural heritage in shaping a progressive future.
A heartfelt thank you to the ASAUK organisers for creating such an inclusive and welcoming environment that encouraged collaboration, exchange, and meaningful dialogue.
Looking Ahead
I’m already counting down the days until my next international conference in Prague in June 2025, where I hope to attend the European Conference on African Studies. For researchers and students, the ASAUK conference is a must-attend event; it’s an intellectual feast and an incredible platform for networking and growth. This experience has been transformative for me, and I’m eager to dive back into my research on Adinkra symbols, armed with the valuable insights I’ve gained. As I continue working on my thesis, I look forward to completing and submitting it next year.
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About Nancy Owusuaa
Nancy Owusuaa is a final-year PhD candidate at the Institute of African Studies, University of Ghana, Legon. Her research investigates the reimagining and utilisation of Akan Adinkra symbols in digital spaces within contemporary Ghana and beyond, with a focus on how young people integrate these symbols into their daily communication through technology. Through interviews, surveys, and observations, Nancy is investigating the evolving meanings and cultural impact of Adinkra symbols in contemporary Ghana. In addition to her academic work, Nancy is a YouTuber who shares insightful content on everything freshmen need to know before starting their journey at the University of Ghana. She is also deeply passionate about boy-child education, advocating for equal opportunities, guidance, and mentorship for young boys to thrive academically and socially.
