The process of decolonisation often takes years, if not decades. There was the initial excitement of independency, but it was shortly taken over by trying to fit in on a global scale. Globalisation unfortunately has led to a homogenised world with cities looking similar and losing sense of culture and identity. Being a developing country, Ghana is quickly falling into this dilemma.
Between 1940 and 1960 is the period of decolonisation in West Africa (Michael 2012). Independency would have been the perfect motivation for former colonised countries to get back their sense of identity. Some argue that the relationship between the British colonialists and the former colony, Ghana, is actually far more important and enduring than predicted (Brysk and Parsons 2002). The British officials hoped that the inexperience from the new Ghanaian leaders would mean that they would rely on the British’s expertise on running a new country (Sckeyfio-Lenoch 2016). Due to this, there is still an abounding amount of influence that the western world has on Ghana.
It can be evidently seen that Ghana’s independency brought a whole new era to architectural style. As one of the principal means with how the young and newly independent country, Ghana, expressed their national identity was through it.
Mirroring the aspirations and the forward-looking spirit, that was dominant at the time of independence, many parliament buildings, central banks, stadiums, conference centres, universities and independence memorials were constructed. These buildings featured very bold, heroic and daring designs (Herz 2015).
Figure 1: Independent Square
(Public Works Department. Independent Square (1961). 2015. Image. Reproduced from Manuel Herz.)
Figure 2: National Museum
(Fry, Drew, Drake and Lasdun. National Museum (1957). 2015. Image. Reproduced from Manuel Herz.)
Figure 3: Former US Embassy
(Harry Weese. Former US Embassy (1965). 2015. Image. Reproduced from Manuel Herz.)
Figure 4: International Trade Fair
(Chyrosz & Rymaszewski. International Trade Fair (1964 – 67). 2015. Image. Reproduced from Manuel Herz.)
Figure 5: Mfantsipim School
(Fry, Drew and Partners. Mfantsipim School (1958). 2015. Image. Reproduced from Manuel Herz.)
Figure 6: Scott House
(Kenneth Scott. Scott House (1961). 2015. Image. Reproduced from Manuel Herz.)
Figure 7: Mfantsipim School
(Fry, Drew and Partners. Mfantsipim School (1958). 2015. Image. Reproduced from Manuel Herz.)
At the same time, these styles also show the difficulties, contradictions and dilemmas that the countries experienced in their independence process: in most cases, the architects were not local, but came from countries such as Poland, Yugoslavia, the Scandinavian nations, Israel, or even from the former colonial powers. Could the formation of a new national identity through architecture therefore be described as a projection from the outside? Or does the international dimension rather represent the aspirations of the countries aiming for a cosmopolitan culture?
It is unfortunate that there seems to be no West African country who have succeeded in using decolonisation and globalisation as a way to take back their culture and identity. But that is not to say that it will never happen. In my opinion, it is not too late or maybe it will never be too late for Ghana or any country to get back their culture and identity.
It can first start by having local architects design the cityscape. Even if there are foreign architects to ensure that they prioritise traditional identity and culture of Ghana into their design. In a world where embracing and being proud of differences, identity and traditions is becoming more common and even encouraged, I truly do think Ghana can take back what was lost through colonisation.
Furthermore, the implementation of Ghanaian history and culture can be in the education system. If I wasn’t passionate about this topic, I unfortunately would not know majority of Ghana’s history as I attended an international school with a British curriculum and learnt western history. The lack of connection to the country by its citizens then leads to the migration to other countries to aspire one’s dreams. This disconnect, I assume, then advances to Ghana wanting to imitate the western countries to keep their citizens. It feels like a cycle but break it and it can result in something special.
A great example will be David Adjaye’s National Cathedral of Ghana in Accra. With his parents being from Ghana, he states (Dezeen 2018) that “it is an immense honour to be granted the opportunity to contribute something of this scale and import to my home country.” Already having worked on residential projects, this will be the first project to his company of this scale. In saying so, he wants to (Dezeen 2018) “craft a building that not only understands its landscape, but one that will be unique to Accra and the Ghanaian nation.” The project references Ghanaian culture throughout as it is a priority to intertwine religion, democracy and local traditions (Dezeen 2018). This project is a step towards Ghana implementing traditional architecture on a grand scale. The practice has already selected several local artists to collaboratively produce furnishings and religious adornments for the interior. By including local artists and an architect who is passionate about Ghana, this project will hopefully be an example to creating a cityscape that mirrors Ghana’s culture in a modern way.
Figure 8: National Cathedral of Ghana
(Adjaye Associates.National Cathedral of Ghana in Accra. 2018. Image. Reproduced from Dezeen)
Figure 9: National Cathedral of Ghana
(Adjaye Associates.National Cathedral of Ghana in Accra. 2018. Image. Reproduced from Dezeen)
Figure 10: National Cathedral of Ghana
(Adjaye Associates.National Cathedral of Ghana in Accra. 2018. Image. Reproduced from Dezeen)
Figure 11: National Cathedral of Ghana
(Adjaye Associates.National Cathedral of Ghana in Accra. 2018. Image. Reproduced from Dezeen)
References
Brysk, Alison and Craig Parsons. 2002. “After Empire: National Identity and Post-Colonial Families of Nations. European Journal of International Relations. 8(2):267-305. https://www.researchgate.net/publication/242259877_After_Empire_National_Identity_and_Post-Colonial_Families_of_Nations
Herz, Manuel. 2015. African Modernism – Architecture of Independence. 1st ed. Zurich: Park Books. http://www.manuelherz.com/african-modernism-architecture-of-independence
Lezy, Natasha. 2018. “David Adjaye unveils plans for National Cathedral of Ghana in Accra.” Deezen. https://www.dezeen.com/2018/03/07/david-adjaye-architecture-national-cathedral-ghana-accra/
Michael, Johnson Sesan. 2012. “A Censorious Analysis of Ghana’s Decolonisation Process.” LAGIM Blogs. 1(1):1-9. https://lagim.blogs.brynmawr.edu/files/2015/03/Delcolonization-Process.pdf
Sackeyfio – Lenoch, Naaborko. 2016. “Decolonisation, Development, and Nation Building in Ghana-Asia Relations, 1957-1966.” The International Journal of African Historical Studies. 49(2): 235-253. https://www.jstor.org/stable/44715476?seq=1
Image References
Adjaye Associates. 2018. National Cathedral of Ghana in Accra 1. Dezeen https://www.dezeen.com/2018/03/07/david-adjaye-architecture-national-cathedral-ghana-accra/
Adjaye Associates. 2018. National Cathedral of Ghana in Accra 2. Dezeen https://www.dezeen.com/2018/03/07/david-adjaye-architecture-national-cathedral-ghana-accra/
Adjaye Associates. 2018. National Cathedral of Ghana in Accra 3. Dezeen https://www.dezeen.com/2018/03/07/david-adjaye-architecture-national-cathedral-ghana-accra/
Adjaye Associates. 2018. National Cathedral of Ghana in Accra 4. Dezeen https://www.dezeen.com/2018/03/07/david-adjaye-architecture-national-cathedral-ghana-accra/
Chyrosz & Rymaszewski. 2015. “International Trade Fair (1964 – 67).” Manuel Herz. http://www.manuelherz.com/_DATA/65/IMG_2924.JPG
Fry, Drew and Partners. 2015. “Mfantsipim School (1958).” Manuel Herz. http://www.manuelherz.com/_DATA/65/IMG_3422.JPG
Fry, Drew and Partners. 2015. “Mfantsipim School (1958).” Manuel Herz. http://www.manuelherz.com/_DATA/65/IMG_3483.JPG
Fry, Drew, Drake and Lasdun. 2015.“National Museum (1957).” Manuel Herz. http://www.manuelherz.com/_DATA/65/IMG_2856.JPG
Harry Weese. 2015. “Former US Embassy (1965).” Manuel Herz. http://www.manuelherz.com/_DATA/65/IMG_3132.JPG
Kenneth Scott. 2015. “Scott House (1961).” Manuel Herz. http://www.manuelherz.com/_DATA/65/IMG_3231.JPG
Public Works Department. 2015. “Independent Square (1961).” Manuel Herz. http://www.manuelherz.com/_DATA/65/IMG_3062.JPG