Aesthetic and educational values of indigenous sculptures among the Bimoba People of Northern Ghana

Aesthetic and educational values of indigenous sculptures among the Bimoba People of Northern Ghana

Kenneth Dam Sakoalia , Joe Adu-Agyem , Dickson Adom , George Nangpaak Duut & Macharious Nabang

Issue: Vol. 7 No. 4 2026 Article 6 pp.1032 – 1053
DOI: https://doi.org/10.38159/ehass.2026746| Published online 19th May 2026

24 Downloads

DOWNLOAD PDF

ABSTRACT

This study explored the aesthetic and educational values of indigenous sculptures among the Bimoba people of Northern Ghana. Grounded in the interpretivist paradigm, the research employed a qualitative ethnographic approach to investigate the visual, symbolic and pedagogical meanings embedded in selected Bimoba sculptures. Data was collected through unstructured interviews, participant observation, and documentary analysis from twenty-five purposively selected respondents, including indigenous sculptors, diviners, elders, family heads and art collectors. The findings revealed that Bimoba sculptures such as chicherii, tingbana, pataa, gingana, yerii and sanpana are not only visually compelling but also carry deep spiritual, historical and moral significance. These sculptures embody aesthetic values through form, balance, symmetry, proportion, unity, symbolism and emotional expressiveness, consistent with African theories of aesthetics. Moreover, they serve educational functions by transmitting indigenous knowledge, moral codes, historical narratives and identity markers, while promoting cognitive, affective and psychomotor development when used instructionally. Feldman’s method of art criticism and Panofsky’s iconographic theory were employed to critique the works and analyze their symbolic meanings within cultural and historical contexts. The study affirms that indigenous Bimoba sculptures are rich artistic and educational resources capable of bridging traditional and contemporary art education practices. It recommends their integration into Ghana’s visual arts curriculum and establishing community-based art documentation centres to support cultural preservation and sustainable knowledge transfer. This research contributes to decolonising the curriculum by validating indigenous artistic expressions and their role in holistic art education.

Keywords: Aesthetic values, Educational values, Indigenous sculptures, Art education

BIBLIOGRAPHY

Abdi, Kaha. “‘A Beauty Full of Healing’: Black Aesthetics as Methodology.” International Journal of Qualitative Methods 23 (2024): 16094069241282868.

Abdullah, Ahmad Hakim, Yuhanis Ibrahim, and Raja Iskandar Bin Raja Halid. “An Iconographical Analysis Based on the Erwin Panofsky Theory on the Malayness in the Paintings of Amron Omar and Haron Mokhtar.” International Journal of Academic Research in Business and Social Sciences, 2020.

Agogbuo L. C., and Nwachukwu C. N. “Aesthetics, an Element of the Oral Traditions: A Study of J. P. Clark’s Ozidi.” African Journal of Social and Behavioural Sciences 12, no. 2 (2022): 545–55.

Allen, M. “Sage Research Methods,” 2017. https://methods.sagepub.com/reference/the-sage-encyclopedia-of-communication-research-methods/i4910.xml.

Asonibare, Priscilla. “The Importance of Visual Artists and Their Art in the Society,” 2022. https://www.creativesauction.com/the-importance-of-visual-artists-and-their-art-in-the-society/.

Azaglo, Alex Kwasi, Dickson Adom, Joe Adu-Agyem, and Kofi Opoku-Mensah. “‘ My Sculpture, My Life’: An Iconographic Study of the Contemporary Ghanaian Sculptor, Isaac Opoku-Mensah.” Journal of African History, Culture and Arts 2, no. 1 (2022): 1–14.

Belton, V. “Yale-New Haven Teachers Institute,” 2019. https://teachersinstitute.yale.edu.

Blackmon, Tia. “The Nature and Importance of Art Criticism and Its Educational Applications for K-12 Teachers,” 2015.

Brinkhoff, T. “ City Population,” 2021. https://www.citypopulation.de/en/ghana/admin/north_east/1406_yunyoo_nasuan/.

———. “Bunkpurugu-Nyakpanduri,” 2022. https://www.citypopulation.de/en/ghana/admin/north_east/1402__bunkpurugu_nyakpanduri/, https://www.citypopulation.de/en/ghana/admin/north_east/1406__yunyoo_nasuan/,https://www.citypopulation.de/en/ghana/admin/upper_east/0914__tempane/,https://www.citypopu.

Brinkman, G. J. “Articulations: Crafting Credible Discourse on Art, Aesthetics, and Design,” 2024. https://teachers.yale.edu/curriculum/viewer/initiative_14.04.03_u.

Bühren, Ralf van, and Maciej Jan Jasiński. “The Invisible Divine in the History of Art. Is Erwin Panofsky (1892–1968) Still Relevant for Decoding Christian Iconography?” Church, Communication and Culture 9, no. 1 (2024): 1–36.

Clark, Serena. “Understanding Contemporary Images Using Iconography: Migration to the European Union and the Representation of Refugees and Asylum Seekers.” Journal of Visual Literacy 39, no. 2 (2020): 111–24.

Clarke, C. “ Khan Academy,” 2006. https://www.khanacademy.org/humanities/art-africa/african-art-introduction/themes-and-issues-in-the-art-of-africa/a/aesthetics.

Damrongmanee, Monthira, and Seehhazzakd Rojanaatichartasakul. “How Do Art Critics Critique? A Move Analysis of Art Reviews Written by Professional Writers.” LEARN Journal: Language Education and Acquisition Research Network 16, no. 2 (2023): 40–60.

Dowd, M. “ The Role of Visual Artists in Society,” 2021. https://work.chron.com/role-visual-artists-society-22517.html.

Duut, G. N., C., Oppong, P. N. Yinzie, and D. K. Sakoalia. “A Chronicle of Tourist Attractions in the Bunkpurugu Nakpanduri District of the Northern Region, Ghana.” The International Journal of Humanities & Social Studies 6, no. 12 (2018): 74–88.

Duut, G. N., Awinzeligo H. M., T. D. Duut, D. K. Sakoalia, and A. F. Naajar. “ Religious and Cultural Woes of the Ethnic Bimobas, Who Is to Blame.” The International Journal of Humanities & Social Studies 7, no. 1 (2019): 131–40.

Dziak, M. “Theoretical Framework .” EBSCO, 2024. https://www.ebsco.com/research-starters/social-sciences-and-humanities/theoretical-framework.

Ekpo D. P., and Sidogi P. The De-Africanization of African Art. New York: Routledge, 2022.

Ezeanya-Esiobu, Chika. Indigenous Knowledge and Education in Africa. Springer Nature, 2019.

Form Plus. “Ethnographic Research: Types, Methods + [Question Examples],” 2021. https://www.formpl.us/blog/ethnographic-research.

Kaya, Hassan O, and Yonah N Seleti. “African Indigenous Knowledge Systems and Relevance of Higher Education in South Africa.” International Education Journal: Comparative Perspectives 12, no. 1 (2013).

Khine, Myint Swe. “Teacher Education and Innovative Pedagogies for the Future.” In Handbook of Research on Teacher Education: Pedagogical Innovations and Practices in the Middle East, 3–11. Springer, 2022.

Kivunja, Charles, and Ahmed Bawa Kuyini. “Understanding and Applying Research Paradigms in Educational Contexts.” International Journal of Higher Education 6, no. 5 (2017): 26–41.

Kwekudee. “Bimoba People: Hilly Dwelling Small West African Warrior Tribe with Powerful Initiation Cults, Trip Down Memory Lane,” 2013. https://kwekudee-tripdownmemorylane.blogspot.com/2013/04/bimoba-people-hilly-dwelling-small-west.html.

Lare, Damlègue. “Postmodern Aesthetics in African Literature: Estética Posmoderna En La Literatura Africana.” Littera Aperta. International Journal of Literary and Cultural Studies 7, no. 8 (2019): 55–78.

Levers, Merry-Jo D. “Philosophical Paradigms, Grounded Theory, and Perspectives on Emergence.” Sage Open 3, no. 4 (January 1, 2013). https://doi.org/10.1177/2158244013517243.

Maldonado, Daniel Marcelo Acurio, Santiago Alejandro Acurio, Cristina Páez Quinde, Daniel Sánchez Guerrero, Ruth Infante Paredes, and Marcelo Núñez Espinoza. “The Iconographic Method Applied in the Design of Products with Cultural Demostration in the Creation of the Tourist Destination.” The Academic Research Community Publication 2, no. 2 (May 27, 2018): 9. https://doi.org/10.21625/archive.v2i2.245.

Manolache, Mihaela. “ Values of Art,” April 24, 2023.

Newton, C. Aesthetics and Educational Significance of Public Sculptures at Mankessim. Winneba: University of Education, Winneba , 2022.

Ntone, N. “Contemporary Musings,” 2023. https://natashantone.com/home/2019/2/2/why-art-criticism-is-important.

Panovski, A. “ Philosophy 101: The 5 Major Branches of Philosophy Explained,” 2023. https://www.thecollector.com/what-are-the-branches-of-philosophy/.

Parris, J.,. African Aesthetics and the Everyday: Community, Healing and Living. Central Lancashire: University of Central Lancashire, 2021.

Perroni, E. “ How Africa Can Use Its Traditional Knowledge,” 2023. https://foodtank.com/news/2017/11/traditional-african-agriculture/.

Pyne, S., M. Osei, and J. Adu-Agyem. “The Use of Indigenous Arts in the Therapeutic Practices.” International Journal of Innovative Research & Development 2, no. 11 (2013): 464–74.

Ragans, R. Art Talk. 4th ed. Wood land Hills: Glencoe/McGraw-Hill, 2005.

Reeves, S., A. Kuper, and B. D. Hodges. “Qualitative Research Methodologies: Ethnography.” BMJ 337, no. aug07 3 (August 7, 2008): a1020–a1020. https://doi.org/10.1136/bmj.a1020.

Reeves, Scott, Jennifer Peller, Joanne Goldman, and Simon Kitto. “Ethnography in Qualitative Educational Research: AMEE Guide No. 80.” Medical Teacher 35, no. 8 (2013): e1365–79.

Seemuangngam, Apinan, and Han-Liang Lin. “The Impact of Urbanization on Urban Flood Risk of Nakhon Ratchasima, Thailand.” Applied Geography 162 (January 2024): 103152. https://doi.org/10.1016/j.apgeog.2023.103152.

Sen, B. “The 5 Main Philosophies Of Art,” 2024.

Shava, S. The SAGE Encyclopedia of African Cultural Heritage in North America. Thousand Oaks: SAGE Publications, Inc., 2015.

Terrell, S. R. “ Case Study Research.” In Writing Proposal for Your Dissertation, 158–59. New York: Guilford Press, 2016.

Twyford, Erin, and Bonnie Amelia Dean. “Inviting Students to Talk the Talk: Developing Employability Skills in Accounting Education through Industry-Led Experiences.” Accounting Education 33, no. 3 (2024): 296–318.

Wahidiyat, Mita Purbasari, and Donna Carollina. “Study of Iconography and Iconology on the Visual Appearance of Ondel-Ondel.” Cogent Arts & Humanities 10, no. 1 (2023): 2257938.

Wege, Nyadzogbe Kwaku. “Documentation of the Lives and Works of Four Traditional Woodwork Artists in Ghana: A Resource for Teaching and Learning in the Senior High School.” Kwame Nkrumah University of Science and Technology, 2011.

Welka, E. “ Prezi,” 2016. https://prezi.com/upsdpcuaeazt/3-aesthetic-theories/.

Winifred. “ Exploring the Impact of Visual Art: Definitions, Types, and Its Significance in Shaping Our World,” 2023.

ABOUT AUTHOR(S)

Dr. Kenneth Dam Sakoalia is a Lecturer and Head of the Visual Arts Unit in the Department of Vocational and Technical Education at Bagabaga College of Education, Tamale. He is also a practitioner, researcher, and reviewer in sculpture. He holds a Doctor of Philosophy and a Master of Philosophy in Art Education, as well as a Bachelor of Fine Arts in Sculpture from Kwame Nkrumah University of Science and Technology, Kumasi. He also holds a Diploma in Education from the University of Education, Winneba, and a Diploma in Education with a CBT option from Akenten Appiah-Menka University of Skills Training and Entrepreneurial Development, Kumasi. His publications have appeared in the Journal of Arts & Humanities and The International Journal of Humanities & Social Studies. His research interests focus on sculpture and the use of scrap materials for art production to enhance Art Education in Ghana and beyond.

Adu-Agyem Joe is an Associate Professor in Aesthetics and criticism in the Department of Educational Innovations in Science and Technology at Kwame Nkrumah University of Science and Technology (KNUST), Kumasi. He holds a PhD (Art Education), M.A (Art Education), Post Graduate Diploma (Art Education), B.A (Hons) Art-Sculpture, from (KNUST). He has taught for about 21 years in the University and has supervised many master’s and PhD candidates. He has also held many positions in the University, including Head, Department of General Art Studies, KNUST. He is both an Internal and External Examiner. He has mentored some Junior colleagues and taught over 90% of the lecturers and Professors in both the Faculties of Art and Educational Studies. He had won many awards, including the CABE Staff Award as overall Best Senior Member (Teaching) and Faculty of Art Staff Best Senior Member (Teaching) in the 2018-2019 Academic year. He has many publications, including four publications in 2022. Some of his publications are found in the International Journal of Innovative Research and Development (IJIRD), Journal of African History, Culture and Arts, International Journal of Evaluation and Research in Education and ADRRI, Journal of Arts and Social Science and International Journal of Business and Management Review. His areas of academic interest are Documentation in Art Education, Aesthetics and Criticism, Research Methodology, Sculpture, Painting and Fashion Design. He is currently researching Thesis Writing and Supervision of PhD Candidates.

Dr. Dickson Adom is a researcher in the pluridisciplinarity fields of Place Identity History, African Art, Art Installations, and Cultural Anthropology for Biodiversity Conservation, Environmental Sustainability, and Heritage Sites Conservation. He is a senior lecturer in the Department of Educational Innovations in Science and Technology, Kwame Nkrumah University of Science and Technology, Kumasi, Ghana. He serves as a research fellow at the INTI International University, Malaysia. He is a Salzburg Global Fellow for Nature-Based Education and the Director for the Rights of Nature Ghana Movement. For his scholarly and academically rigorous editorial and peer review activities for top-ranked publishers and journals such as SAGE Open, Taylor and Francis (African Identities), Springer, Elsevier and many others, he received 1% Global Top Reviewer Award from Publons, New Zealand in 2018. He is a certified Publons Academy mentor with over a hundred journal publications, more than ten book chapters, and over 200 e-articles. His recent project in partnership with the Botanical Gardens Conservation International, funded by the Foundation Franklina, on indigenous knowledge on native tree species in Ghana.

Dr. George Nangpaak Duut is a Senior Lecturer in the Department of Communication Design at Bolgatanga Technical University. He holds a PhD in Arts and Culture and is a Professional Art teacher with expertise in art education, visual communication, and creative practice. His academic work reflects a strong commitment to teaching, research, and the promotion of artistic knowledge within communication design and cultural expression. His research areas include two-dimensional and three-dimensional artistic expressions, focusing on how creative forms, materials, techniques, and visual symbols communicate ideas and preserve cultural identity. Through his teaching and research, he contributes to the development of students’ practical and theoretical skills, while promoting creativity, cultural awareness, and contemporary approaches to art and design.

Macharious Nabang is a lecturer at Bagabaga College of Education and a researcher in educational technology, visual arts education, and Generative Artificial Intelligence (GenAI) integration in teacher education. He is currently pursuing doctoral studies at Kwame Nkrumah University of Science and Technology. His research interests focus on AI in education, digital pedagogy, culturally responsive educational technologies, visual arts education, and innovative teaching and learning approaches in resource-constrained contexts. He has contributed to several scholarly publications on Generative AI, virtual reality, teacher education, and educational innovation in Africa. Macharious Nabang also serves as Co-Founder and Digital & Communications Director of GenAI‑ERA – Generative AI for Education & Research in Africa, where he supports initiatives that promote responsible AI adoption in education and research across Africa.

TO CITE ARTICLE

Sakoalia, Kenneth Dam, Joe Adu-Agyem, Dickson Adom, George Nangpaak Duut and Macharious Nabang. “Aesthetic and educational values of Indigenous Sculptures among the Bimoba People of Northern Ghana.” E-Journal of Humanities, Arts and Social Sciences 7, no.4 (2026): 1032 – 1053. https://doi.org/10.38159/ehass.2026746