The Nakore Mosque in the Upper West region

The Upper West region of Ghana is one of Ghana's smallest regions, yet it possesses some of Ghana's greatest tourist attractions, including slave trade landmarks, wildlife, and eye-catching architecture. The region is the largest producer of cotton, groundnuts, millet and sorghum. The dominant ethnic groups are the Wala, Sissala and Dagaaba. This article focuses on one of the landmarks in the Upper West Region, the Nakore Mosque.
The Nakore Mosque is located in this region also shares similar features with the Larabanga mosque, but unfortunately, little is known of the place. The structure of the mosque is that of the Sudanic style. The Sudanic style, though rectangular, has timber frame structures or pillars supporting the roof. It is characterized by two pyramidal towers (the minaret and the mihrab), and by a number of irregular shaped buttresses, with pinnacles projecting above the parapet which give life to the mosque’s elevations.
Apart from the usual role the mosque serves as Friday prayer grounds, the ancient mosques also serve as places of pilgrimage to the Muslim communities in the country. On eventful days, a lot of faithful worshippers gather at these mosques for prayers and listen to Koranic readings. Private readings are also organized on request for individuals who want divine solutions to serious problems or those who seek spiritual intervention in their ventures. The Chief Imam normally requests the sacrifice of a cow and other donations for the community, in return for the readings the Koran.
Most of the communities of the regions of Northern Ghana are predominantly Muslim communities. Islam, which first entered Africa through Egypt in the 10th Century AD, progressed from Egypt towards the west and the south at the same time as the trans-Saharan slave and gold trade routes. In Ghana, these trade routes were used by Mande warriors, Islamic Traders and Missionaries. Occasionally, these routes were marked by incursions by the Almoravids, a Berber Dynasty, which played a major role in the spread of Islam in the area. At rest points for the Islamic traders along the routes, and in conquered territories people were converted to Islam and this led to the construction of mosques in the Northern part of Ghana. Some of these mosques still exist today and they date as far back as the 17th Century AD. Nicely built with ancient architecture, the Nakore Mosque although sacred to the people of the region also makes a great tourist attraction.
Incase you find yourself in the Upper West region of Ghana on a trip, you can round off your trip by visiting the 16th century Nakore Mosque, a very solemn place to visit and learn much about the Muslim tradition of the people in the region.

The Baamaaya Dance - Traditional post of the month.

NVG brings to you another intriguing dance from the repertoire of dances in Northern Ghana. The Baamaya dance originates from the days of severe drought and hunger. Though some question its credibility, it is believed that the oracle had told the people that the rains will only come if the men stopped their demeaning attitudes towards the women and an evident way to do that was to lower themselves to the roles of the women and wear skirts (the cross dressing observed by the male dancers wearing skirts). A strong indication of the gender equality significance from a historical standpoint as food for thought. Some believe the fans held by the dancers was an addition to wave away mosquitoes.
The music is a mixture of drum beats and bamboo flute sounds. Similar to the Jera dance, the Baamaya dancers move their hips, this time in a quick wiggling motion with the speed controlled by the beat of the music.
Originally performed by men for the royalty while the women sing and shout praises to encourage the dancers (cheerlead), women now also participate in the dance. It is not an age specific dance and it performed in groups in a circle at festivals, naming ceremonies, social events and of course during times of harvest.
Baamaya means the river valley is wet.

The Fugu- Our Heritage and Identity

Ghana is a country with a very rich cultural heritage and this rich heritage emanates from the mosaic of ethnic cultures that make up this beautiful country. Each ethnic group has its peculiar traditions, customs and even clothes and regalia. However, today our spotlight uncovers some interesting facts about an attire that variedly spans across the Northern regions of Ghana, the Smock. “Batakari” is a hausa word which literarily means an outer garment implying an exterior gown worn over an inner wear. This hausa origins of Batakari was flowered with embroidery decorations especially at the front and consisted of a three piece wear, the flowing outer garment, long sleeve inner robe and a trouser. “Fugu” on the other hand comes from Mossi language which means cloth and it describes an amalgamation of strips of cloths woven on traditional looms to form a variety of loose garments common in Northern Ghana. The Dagombas call it “Bingmbaa”. It is important to note however that in Modern Ghanaian language “Batakari” and “Fugu” have been used interchangeably by Ghanaian fashion users and designers.
These varieties of names likely characterize the differing schools of thoughts concerning its origins, some believing that it ultimately emerged from the original weavers of the ‘Tang’ people who migrated from Karaga to Kpatinga village in the Gushegu district of the Northern Region. Others attribute its origins to the Mossis originally from Burkina Faso who migrated to settle in Northern Ghana and came with the craft who also probably copied from the Hausas during the barter trade system in the 8th Century A.D. Not a surprising mix of facts in tracing an exact historical account of its origins in Ghana considering the fact that some of the various cultures came from within Africa but at different geographical locations to present day Ghana. Despite these variations, it is fact that the process of acculturation familiarized the art in the savannah regions of Ghana thus the Upper East, Upper West and Northern regions.
The Dagombas have mastered this fashion with an artistic prowess that has given rise to expressive designs ranging from varied orientations, hand-woven characteristics, running stripes and weave structure. With most of the savannah indigenes preferring handspun yarns and hand sewn for its uniqueness and authenticity (fuzzier surface quality and pattern of holes), the tedious labor and duration as well as the presence of technology has made way for machine sewn or a combination of both in the smock fabric production. These classifications have given rise to different types of Dagomba smock with some classification based on purpose, sartorial design orientation or even general appearance including embroidery and design patterns. Dagomba smocks can therefore be classified into Yansichi/Dansichi (Sleeveless smock), Bingmaa Bari (Sleeve Smock), Kparugu (Chiefs smock for enskinment), Yebili (for title holders), Kpaakuto (Smock with large and wide sleeves) and Saandan Yibu (meaning “leaving early morning”).
Smocks are often thick and heavy but are mostly sewn as loose garments for good body ventilation making it comfortable to wear. Those with vertical pleats form draperies that swing rhythmically not only imposing in its adorner self-confidence and pride, but also these movements which is evident in the dramatic Northern swinging dance adds exceptional majesty and beauty to the dancers.
These smocks have come to be characterized as one of Ghana’s identity from its struggle for Independence, which Nkrumah wore at the Old Polo grounds in Accra as a symbolic liberation from the colonial hegemony to the construction of a new true Ghanaian identity. The Smock has also served as a unifier of the South and the North as one people despite multiethnic backgrounds with it being most recently declared as National Friday Wear to further advance this national unity. Its rich aesthetic appeal as well as philosophical connotations have fueled its global admiration and patronage. With the emergence of modern tools and technology, there is the need for further investment into the production of smock fabrics that transcend the conventional hand-weaving while maintaining its authenticity and beauty,not forgetting the more automated power looms capable of producing complex and simple fabrics with more creative designs that will continue to stun the world and promote this unique Ghanaian Identity.

The late Hon. B. A. Fusheini - Personality profile

A nation which does not recognize and celebrate its heroes they say is not worth dying for. In this light we would say a region which does not celebrate and honor its illustrious and hard worked sons & daughters isn’t worth dying for. Hence, Northern Voices Ghana has taken the pain to write about some of the celebrated sons & daughters of the northern regions.
We begin the journey with the profile of one of the energetic and achieved personality. He chalked numerous successes, occupied and served on many honored positions in the country and Northern Ghana. Chief (Alhaji) Basit Abdulai Fuseini, was popularly known as B.A. Fuseini for short.
Every great tree was once a seedling just as every human was once a baby. He was born on the 14th December, 1942 at Sagnarigu now the Sagnarigu District to the family of Alhassan Fuseini as father and Fishieta Mumuni as mother. He was born and bred in the Sagnarigu District.
In December 1969 Alhaji B.A. Fuseini tied the knot with his beloved wife in the person of Mrs. Zenabu Braimah. Their marriage was blessed with six (6) children split equally between three males and three females
The late Alhaji Basit Abdulai Fuseini, was lauded by many as an educationist and politician, whose immerse contribution towards the development of Northern Regions was immeasurable.
Educational & Political Career;
He begun in the in education at the then Practice School in Tamale (1949 – 1954), Kalpohin Middle School in Tamale (1955 – 1957), Tamale Secondary School, G.C.E (1958 – 1964) for his “O” & “A” level. In 1964 he gained admission into the University of Cape Coast, where he obtained his B. Sc. in Education which he successful completed in 1967. He furthered with an additional B. Sc. (Hons.) (1970 – 1971) and Master’s Degree (MSc) in Entomology (1970 – 1972) at the University of Ghana, Legon.
In 1972, he started his working career at TAMASCO, his Alma mater and by dint of hard work rose within a short time to become an Assistant Headmaster.
Began as a classroom teacher at Tamale Secondary School where he helped mould many students.
In 1973 he was appointed the Headmaster of Ghana Secondary School, in Tamale. He served in that capacity for eight (8) years.
He rose to a Divisional Director of Education, Ghana Education Service, after holding offices such as the Principal of Tamale Training College Metropolitan Education Director, Tamale, and Northern Regional Director of Education.
He eventually veered into politics where he occupied various positions from Member of Parliament to becoming a Minister of State at the Office of the President in 1993 to 1994. Was Ghana's Ambassador Extraordinary and Plenipotentiary to Libya (Sept. 1997 – Feb. 2001), and High Commissioner to Malta (Sept. 1997 - Feb. 2001)
He was a formidable force in the formation of Real Tamale United (RTU) in 1976 and his dedicated service as the maiden Secretary to the club with Alhaji Rahimu Gbadamosi and the first Chairman.
He took ill suddenly on Sunday morning and was rushed to the Tamale Regional Hospital where he died around noon.
Burial of Alhaji B.A. Fuseini took place in Tamale on Monday November 27, 2006, former Northern Regional Minister and Ghana's Ambassador to Libya was laid to rest at the Sagnarigu district. He died at the age of 63 years.

Motorbikes, a necessity in Northern Ghana.

Red….Yellow…Off they go when the lights turn green in a convoy fashion. Like every city or geographical location, there is the one thing that often times makes it peculiar from the common lot. The streets of sprawling Northern Cities are dominated by Motorcycles of various kinds. These automobiles have become an indispensable asset to the average Northern household. Synonymous to bicycles and donkeys in much rural areas, the motorbike has become the mode of transportation for people as well as goods.
According to graphic online, the DVLA in Tamale registered 8000 motorbikes annually on average for the past 10 years. In 2012, the DVLA registered over 10,500 motorcycles. But what accounts for these colossal numbers? The motorcycle appeals to the average earner, a much more economical option in terms of costs as compared to purchasing a private car or even taxi as a means of transport. Its low maintenance costs and fuel consumption make it an ideal means of transportation in these bustling northern cities. With the intertwined layout of the cities, the motorcycles are able to manoeuver through the maze making transport faster and easier.
Nicknamed “Mapouka” the average motorbike is moderately sized, beautiful and convenient. It comes in a variety of colours and designs depending on the brand. Some of the most popular brands are Luojia, Apsonic, Yamaha, Savvy, Haojui, Motorking, Sukida, Royal etc. These automobiles are so loved by the northern populace that a purchase for a girlfriend or wife signifies a possible gift of love and affection. Speaking of female riders, these northern hubs have proven that not even the risks associated with riding motorcycles especially in jam-packed urban areas can relegate these skills to men only. Most women ride in style that attracts admiration of their courage, taking the riding responsibility to another dimension.
As much as the motorbikes have beautifully characterized northern cities, the increasing numbers of casualties from Motor accidents and much subtly environmental protection could highlight it as an issue of public concern in the near future. The ease of any blessing becoming a bane can emanate from the current trends of reckless riding and faulty automobiles with copious amounts of unsafe emissions. These possible concerns can be managed if the regulatory and legislative bodies can share in the premonition and place measures to import environmentally friendly automobiles as well as ensuring that the necessary road safety precautions are strictly adhered to by qualified motor bikers.
But until then, these northern cities will continue thrive on this machine and next time you do visit or even moving, try learning how to ride before leaving, it most likely will be your easiest chance in Ghana.

Shea Butter Processing(Kpakahali)

As part of our drive towards projecting values and traits that depict us northerners as a peace-loving and productive force, our efforts have led us to probe further and as well scrutinize the various local enterprises that we have. Shea butter processing is one the most authentically northern enterprises we have come to know. As the saying goes, the early bird gets the bigger worms, which is the principle applied by the hardworking yet often uneducated women in the rural areas of the three northern regions.
“This is my tree! This is my tree!” They chant excitedly as they ran helter-skelter among the bushes of the Savannah grasslands, pitching themselves under the shades of the shea trees. The shea trees are very common in the three northern regions especially in the northern region itself and it is locally referred to as “Taantihi” for many trees and “Taantia” for a single tree among the Dagombas. They sometimes set off as early as 4:00am; they set out to scavenge for the fruits of the shea tree which is locally referred to as “Tama”. It is a green fruit, just a little smaller than the table tennis ball, has a soft outer layer and a rather hard seed cover.
The women collect these fruits from under the Shea trees into pans. The ripe fruits are healthy and eaten as a delicacy. It is imperative to state that it has a very sweet taste and is enjoyed by all and sundry. When the Shea fruits are brought to the house, it is parboiled and spread out to dry for a week. It is later cracked to rid it of its hard cover leaving the seeds, “Kpihi” and a single seed is called “Kpia”. The seeds are later crushed into bits using a small wooden pestle-like tool called “Kpijerigu” and fried. After the crushed seeds are fried, it is taken to the grinding mill and grinded thoroughly. They grind it into paste. The paste is then poured into pans and beaten to soften it the more; the beating is called “Gmebu” in the local dialect. The beating is done using the hand. Hot water is occasionally added to the paste whiles it is being beaten. The beating is done by stirring the paste in a fast anticlockwise motion. This is continued until the paste doesn’t stick to the back of the hand any longer and then cold water is added to the paste and stirred. The stirring of the paste aids the suspension of the oil on the top of the paste. The paste is then poured into a pot and left to settle. The oil, after it has accumulated on the top of the mixture, is then collected into a separate container. The chaff left under the water is then poured away. It is called “Kpaburugu” in Dagbani.
The oil that is collected in the container is left to cool overnight. The oil is brought out to a cool place preferably under a tree and stirred until it becomes thick. When it becomes thick, it turns yellow in color and sometimes white. The end product is the common product, shea butter “Kpakahali”. It is usually filled into calabashes and sold but of late it is molded into small balls using spoons and taken to be marketed and sold. It is sometimes transported to the bigger market centers in the bigger towns and cities in both the north and the south.
The benefits of shea butter are numerous. It contains fatty acids and natural vitamins that nourishes and moisturizes the skin. It protects the natural oils in the skin and a remedy to dry skin leaving it beautifully glowing especially during the dry harmattan season. Besides its numerous use in the cosmetic industry, it is also used as cooking oil in some numerous traditional communities. Next time, you happen to stop by up north, don’t forget to explore another interesting northern enterprise.

THE "JERA" DANCE

Intertwined with enigmatic sounds, the rhythms and movements draw a certain potency in dance that stimulates the viewer. The historical background of the Jera Dance is obscure, deep and mysterious. The origin traces back to the days of hunting expeditions (of the Kparibas in Dagbon) where one particular hunter called Nanja’s remedy to a confrontation in the forest by an ill omen (a group of dwarfs) will set the mystic movements. The beautiful dance of Jera emanated to be performed as a ritual when returning from hunting trips to drive away evil, and later after midnights at the funerals of chiefs and elders. It is believed that on these occasions the mystical drums could sound without a drummer.
However, it is important to note that today, the Jera dance is decontextualized from its embedded African traditional antics and religious significance. It is performed at a myriad of social events and at all times of the day. Its performance illustrates the original connotations and it is able to connect the contemporary participants to their rich heritage from the anchorage of the dance to the ground to the spiritual amulets worn by the dancers.
As with most dances in Northern Ghana, the body of the dancers is ornamentally decorated with a waist belt called “yebsa” made with strands of cowries, metallic anklets and castanets. The dynamics of body movements in the Jera dance is vigorous with steady upper bodies, thrusting hips and tactical maneuvers of the legs with the tilting of the dancers altogether anticlockwise to the sound of the gun-gong and a handful of talking drummers.
The ornaments make synchronized sounds with the moving bodies adding another sonic dimension to the dance environment amidst the songs sang along.
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