Evaluating Creative Works of Adinkra Symbol in Relation to Maslow’s Theory

This study employed quantitative method to assess various creative works that utilize Adinkra symbols and find out if the usage of the symbol is in agreement with Hierarchy of Needs Theory. The objectives of the study are to explore the symbolism of Adinkra symbols through literature review and to analyse the relationship between the actual philosophical meanings of Adinkra symbols and the artist’s philosophy behind the use of these symbols. The sampling method used was Stratified sampling and Random sampling. Sixty (60) creative works were stratified into these strata: Sculpture, Graphic design, Jewelry and Textile works. Random sampling was also used to sample 15 creative works from the total number of creative works in each stratum. The data was collected through “Pinterest” (online visual discovery tool). The study found 53% of Adinkra symbols properly used in relation to the functions of the product. However, 47% of the Adinkra symbols were not in agreement with the Maslow’s needs. In addition, most of the adinkra symbols used in textiles and jewelry works are basically for aesthetic purposes irrespective of the meaning of the symbol. The textile products accounted for the highest percentage (55%) of adinkra symbols that do not conform to Maslow’s Needs.


Introduction
This paper expands the knowledge of Aboagyewaa-Ntiri et al (2018) research which was based on compilation of Adinkra symbols by aligning them to the "Maslow's hierarchy of needs theory". However, this study focuses on artefacts or creative works that incorporate adinkra symbols and the artist's philosophy of using the symbols instead of a mere compilation or arrangement of the symbol. Does the artist's philosophical meaning of Adinkra symbols always relate with the creative ideas that are produced?
Artworks or creative ideas that utilise adinkra symbols were evaluated to find out whether they conform to "Maslow's Hierarchy of Needs" theory. The intention for this assessment is to help create more awareness on the correct usage of Adinkra Symbols in order to promote the significance of the Symbol and the heritage of Ghanaian symbolism at large.
The use of Adinkra Symbols in Ghana and even beyond has increased over the years. The Adinkra symbols have even been spotted in Hollywood movies such as Black Panther, Avengers: Age of Ultron and the Sorcerer's Apprentice. The screen short of the symbols displayed in the Hollywood movies is displayed in figure 1.
Figure 1 -Hollywood movies that showcase Adinkra symbols Source: www.adinkra brand.com/blog/african-adinkra-symbols-and-meanings/ The respective symbols are Wawa Aba which literally means "Seed of the Wawa tree" and figuratively, means Hardness, Toughness and Perseverance. The other symbol is called Tamfo Bebre which literally means "The Enemy will suffer" and metaphorically means Jealousy and Envy. The last symbol, Nkyinkyim which means "Twisting" symbolizes Initiative, Dynamism and Versatility. Glover (1971) documented the Adinkra symbols and meanings that seemed to be in random order. Quarcoo (1972) on the other hand, suggested a classification of the Adinkra symbols based on religion. Quarcoo (1972) documented 60 symbols by using religion to file the first eight and randomly arranged and discussed the meanings of the other symbols. Even though works of Glover and Quarcoo were novel, it was based only on the arrangement and compilation of the symbols. Adinkra symbols are popular Ghanaian symbols that represent concepts or proverbs. Again, the Akans of Ghana and La Cote d'Ivoire integrated Adinkra symbols in their artworks such as textiles, metal casting, woodcarving and architecture (Arthur, 2001).
Adinkra fabrics were conventionally worn by only royals and traditional leaders during funerals and other special occasions.
History, philosophy and various religious beliefs were the core factors in the development of these symbols. Their roots stand The Black Panther Avengers:Age of Ultron Sorcerer's Apprentice strong to this day, with many modern-day individuals utilizing them to provide a range of products with definitive meanings.
Such industries include Jewelry, Arts, Fashion, and even the world of architecture. Even though Adinkra symbols have an aesthetic function, it basically represents objects that capture suggestive messages which express traditional wisdom and aspects of life.
The symbols are also used on traditional stools for ritual and domestic purpose. The Adinkra symbols have also been designed with the aim of showing different teachings and themes that have been passed down throughout history. The traditional Asante culture was full of proverbial teachings which were used to instill wisdom in the people. The symbols are also used in the designing of sculptures. The images have been turned to sculptures which are sold for a profit to people who value the symbols.
The symbols are so revered in Ghana that some corporations use the symbols as their official logos. Usage of Adinkra symbol is the way to promote it, hence it is important to sensitize users on the need to factor the meaning of the symbol and use it appropriately.

Theoretical Background
Maslow's hierarchy of needs is a motivational theory in psychology propounded by Abraham Maslow in 1943. The theory was originally made up of a five-stage model namely:  Physiological or biological needs  Safety needs  Love and belongingness needs  Esteem needs  Self-actualization needs.
Cognitive and Aesthetic needs were later added to the five-stage model (Maslow, 1970) and subsequently included Transcendence needs (Maslow, 1970). The current 8-stages of Maslow's Model are shown in figure 2. ii. Safety needs: This includes individual security and safety measures to protect oneself.
iii. Love and belongingness needs: They are the need for affection and interactions from friends, family and work mates.
iv. Esteem needs: This need is categorized into Self Esteem needs such as achievement, independence and dignity. And Reputational needs such as social prestige and respect from others.

v.
Cognitive needs: This involves being curious to learn and have thoughtful mind and knowledge. It includes ability to predict and explore to find meanings.
vi. Aesthetic needs: This is the desire to look good and pleasing physically and in material needs such as good clothes and fashionable. The need to be appreciated and quest for beauty.
vii. Self-actualization needs: This involves self-satisfaction and fulfillment. The need to seek for personal development to realise potentials and achieve the peak.
viii. Transcendence needs: The need to experience certain values beyond physical and personal needs. It includes the quest for spiritual upliftment, mystical experiences, science and religious faith. Maslow (1943) indicates that the hierarchy follows in order of necessity beginning from the foot to the top level. However, Maslow (1987) suggested that the sequence in the hierarchy is not as inflexible as he might have inferred in his previous explanation. Maslow stated that the order of necessities could be amenable depending on external situations and individual differences. For instance, some individuals may set their priorities for esteem and even aesthetics needs. To such people, they achieve their personal fulfillments in these needs than the most fundamental need such as safety needs. In this regard, the Esteem and Aesthetic needs may fall under the bottom of the hierarchy.

Methodology
Document review was used alongside Random sampling and Stratified sampling for the data collection. Stratified sampling was used to stratify the Adinkra creative works into the following strata: Sculpture, Graphic design, Jewelry and Textiles works. Random sampling was also used to sample the total number of creative works in each stratum. Table 1 indicates the number of samples in each stratum. Jewelry 15 Textiles 15 Total Samples 60 products for advertising purposes and allows users to share information and find new interests by displaying images or videos to their 'boards' or others. (Andy, 2019). Hundred and ten (110) Adinkra creative works were searched through Pinterest.

Data Analysis
The data was analysed by comparing the original uses of the sampled creative works with "Maslow's Hierarchy of Needs" in respect of Aboagyewaa et al (2018)

Dwennimmen -Physiological Needs
Physiological needs according to Maslow (1970) are requirements for Human survival, such as food, air, clothing, shelter and sex. This symbol is perfectly related to the function of the sample in figure 3 since money is an 'object' for human survival (economic or monetary use). This means the sample is in agreement with Maslow's need, thus ( ).

Gye Nyame -Esteem Needs
Moreover, Esteem needs are honour for oneself such as dignity, achievement, mastery, independence (Maslow, 1970). This symbol is also in agreement with the function of the sample because the designer might have thought of achievement and independence of the state (Ghana) which is Esteem to the country. Therefore, that sample was also checked ' '.
On the other hand, in figure 4 the symbol "Epa" (Handcuff) was used to create earring for decoration and beautification but this symbol falls under Safety Needs (Aboagyewaa, 2018). Safety Needs includes individual security, law, freedom from fear and safety measures to protect oneself (Maslow, 1970). The philosophical meaning of the sample in figure 4 is for decoration or beautification (Aesthetic Needs according to Maslow, 1970). Therefore, the sample in figure 4 is not in agreement with the Maslow Needs. The sample was therefore checked ' '.

Analysis on the Creative Works
The samples of Adinkra symbols on the various creative works in comparison with Maslow's Hierarchy of Needs -Aboagyewaa-Ntiri, (2018) are indicated in Tables 2, 3, 4, and 5.     Most creative works are found to contain two or more symbols on one art. Textile fabrics may contain even more than three adinkra symbols to symbolize different meanings or just for aesthetic purposes. In fact, most people only use the Adinkra symbol based on its beauty, uniqueness and the love of the Adinkra Symbols. Even though some of the Adinkra symbols on the creative works were not in line with Maslow's Hierarchy of Needs, they still look good on the product. This means that aesthetically any Adinkra symbol can be used in any creative work irrespective of their function. However, the researchers will urge creative designers to link the significance of the Adinkra symbols with the usage of the products. Kuwormu-Adjaotor et al. (2016) also made similar assertion that, contemporary artists, designers, craftsmen, teachers and all who appreciate the traditional symbols must be encouraged to use the adinkra symbols in a more meaningful way. The correct usage of the adinkra symbol will promote its significance and consequently promote the rich cultural heritage of mother Ghana.

Conclusions and Recommendations
Most users of Adinkra symbols relate the meaning of the symbol very well with the actual purpose of the creative work. A lot of Graphic Design works with adinkra symbols were linked with its philosophical meanings. A higher percentage of textile products designed with Adinkra symbols do not conform with the philosophical meaning of the symbols.
In order to promote adinkra symbols, textile designers should link the philosophical meanings of the symbol to the purpose of the work. Creative artist should be encouraged to bear in mind the philosophical meanings of the Adinkra symbols and incorporate them in their works. For creativity and originality of art works, artists could apply his own philosophy and the philosophical meanings of the adinkra symbols.