Paper short abstract:

Women artists in rural Sirigu, Ghana, defy notions of the isolated “traditional” artist. They revitalize local wall painting practices while also traveling to urban centers to paint restaurants, churches, and hotels, spreading knowledge of and appreciation for their indigenous artistry.

Paper long abstract:

Women in northeastern Ghana traditionally beautify the walls of their homes with spectacular paintings that have historically been the area's most highly renowned and widely recognized art forms. Compositions include a large repertoire of red, black, and white motifs representing elements of daily life and traditional culture. Such artistry has long existed against a backdrop of persistent poverty resulting from factors such as historical underdevelopment, urban migration, and modernization. These and other factors have led to a decline in wall painting practices over the last half-century.

This paper highlights women artists in Sirigu, Ghana, who have successfully revitalized local artistic traditions—particularly wall painting—while also improving their financial circumstances by adapting to the global tourism market through their founding of the Sirigu Women's Organisation of Pottery and Art (SWOPA). SWOPA now welcomes visitors from all over the world, who come and stay in the organization's guesthouse, composed of rooms painted with symbolic designs. Members travel to cities such as Navrongo, Bolgatanga, and Accra to paint the walls of churches, restaurants, and hotels. The head art teacher, Ayambire Faustina, regularly travels back and forth between Sirigu and Accra, where she participates in festivals and urban painting projects, exhibits her work, and recently completed a fine arts degree. I will explore the ways in which Faustina and her senior colleagues defy notions of the isolated "traditional" rural artist while also demonstrating these women's agency in maintaining control of their artistry in the face of constantly shifting influences and circumstances.