Cultural Heritage Research Journal

HYBRIDITY IN ARTS: AN OF ANALYSIS ADINKRA SEMIOLOGY
BY CYNTHIA ADJOVI MAWUL

“Hybridity, in its most basic sense, refers to mixture. The term originates from biology and Its contemporary uses are scattered across numerous academic disciplines and is salient in popular culture” (Ashgate 2007 p.77). The concept of hybridity can be applied to aspects of art today. Many contemporary artists have experienced movement between and among cultures in their lives, and their work often explores issues of personal and cultural identity. Hybridity in Adinkra semiology, demonstrates how the culture of the Akan of Ghana came to be represented by processes of semiotic and communication through which their meanings convey the philosophical stance of Akan of Ghana.

Hybridity in arts, is for artists working with and responding to new technologies and, the hybridization of physical and digital elements has become a reflexive reaction to this strange separation not only on a formal level, but as a subjective enquiry into the impact of its growing presence. This hybridity in art practice is about transcendence, beyond the visual logic of the digital or material (Amy knight 2012). Hybrid therefore, involves a mixed composition that adds variety or complexity to a system. In science, a hybrid is the offspring of genetically dissimilar plants or animals, especially produced by breeding or grafting different varieties or species. In language, a hybrid word is one whose elements are derived from different languages. In an automobile, a hybrid combines an electric motor with a gasoline engine. “In art forms, … hybridity could mean the blurring of traditional distinct boundaries between artistic media such as painting, sculpture, film, performance, architecture, and dance. It also can mean cross-breeding art-making with other disciplines, such as natural and physical science, industry, technology, literature, popular culture, or philosophy” (Walker 1927).
Given this definition, Barlow said, “Hybrid art forms expand the possibilities for experimentation and innovation in contemporary art. Today’s artists are free to make art with whatever material or technique they can imagine. This freedom creates new opportunities to express ideas and concepts. It also opens many challenges, choices, and decisions for artists: How can I define myself as an artist if I am shifting, combining, and recombining techniques from inside and outside the worlds of art? Blurring boundaries, breaking rules, and creating hybrids occupies much artistic work today. However, making meaning in art whatever tools, materials, or techniques are used remains central to artistic practice”.
Culture therefore, includes "knowledge, belief, art, morals, law, custom, and any other capabilities and habits acquired by man as a member of society (E.B. Taylor 1871)”.
Thus, the cultural norms of a specific group can be traced back to its origins and early development. Although there are gradual changes in these cultural elements as times passes, humans incorporate their cultural values into updated norms that reflect changes hence the symbols of Adinkra. The symbols showcase the rich, distinctive culture of the Ashanti’s.
According to Jasmine Danzi “…Adinkra are often defined as symbols which through stylized pictures convey the philosophy of life of the (Akan) of Ghana. The symbols are styled representation of objects, plant, animals, natural shape or buildings and their meaning convey messages”. In Africa a great deal of philosophical material is embedded in the proverbs, myth, and folk-tales, folksongs, rituals, beliefs, customs, and traditions of the people. Many of these designs draw on aspects of nature, and they often incorporate elements of geometric transformations such as reflection, dilation, rotation, and translation. (Robert Sutherland 1927).

These symbols have become a choice of branding the modern on traditional clothing in Ghana. Artisans who make local footwear like sandals have also included these symbols in their designs. “For instance, a locally made sandal ‘Ahenema’ has a careful design of the Adinkra symbol of three concentric rings encircling each other, known as ‘Adinkrahene’ at the nose of each slippers. The symbols have formed part of the fine and visual arts used for decorative purposes into which these symbols have be designed into”. The creativity of artist using symbols affect how symbols communication affects human behavior and how the mind of identity shifts in relation to innovation.
“The adinkra symbols are mostly used communicatively during religious activities like festivals, depicting the culture, philosophy, values and beliefs of the people. ‘Nkra’ in the word adinkra means message. Hence, the symbols were used to convey specific messages to people”. When you make art, you are capturing a moment or a story. Victoria contends that, if people connect with your improvised piece of art, regardless of if it’s a huge audience or not, they’ll remember you and your artwork forever. We are in a state of turmoil and artists practicing hybrid art are responding by using the tools that are most easily accessible and understandable using communication technology that is ubiquitous and connecting everyone in good and bad ways (Victoria Vesna 2011).

In  analyzing Adinkra semiology, hybridity gives artist new perspectives of representing their culture in a different cultural context . This opens up for further analysis as to how culture can be used inter-contextually. Forms that have developed from hybridity of symbols can lead to negative suppression of culture of its people. The blending of ideas makes the artist superior and has a potential or increasing value in the market business.

Reference
1.Thomas Barlow walker, “Art today,” walker art center (1927)
2.Amy Knight, “New Hybridity in Arts,” (2012)
3. Vesna Victoria, “Hybrid Category Arts,” (2011)