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Akrafena

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An akrafena (Twi: "sword") is an Akan sword, originally meant for warfare but also forming part of Akan heraldry. The foremost example of an akrafena is the Mponponsuo (meaning "responsibility"), which belonged to Opoku Ware II.[1] It has survived to the present day because it is still occasionally used in ceremonies, such as the Akwasidae Festival.

Key Information

The expert use of akrafena is also a martial art, utilising the blade in conjunction with knives, improvised weapons, street-fighting, hand-to-hand combat, joint locks, grappling and weapon disarming techniques, as well as using the martial art of akrafena unarmed. The akrafena martial art is the national sport of the Ashanti Region.

Design

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The sword has three parts: a blade, usually made of some metal such as iron; a hilt of carved wood or metal; and the sheath, usually made of animal hide like leopard, leather and electric eel skin.

The blade in ritual swords may not have a sharp cutting edge. It often has incised lines or Ashanti symbolic designs on it, which evoke specific messages. Some swords have double (afenata) or triple (mfenasa) blades.

The hilt may be wrapped with gold leaf with various Ashanti symbols worked onto it. The hilt itself may be carved to encode an Ashanti symbol.

The sheath may carry an embossment (abosodee) that comprises Ashanti symbols meant to evoke certain expressive messages. The mpomponsuo (responsibility) sword of the Asantehene, for example, has an embossment of a coiled snake with a bird in its mouth. This conveys the Ashanti message: the puff adder that cannot fly has caught the hornbill that flies. This is used to symbolize patience, prudence, and circumspection.

Types

[edit]
The Ashanti akrafena

Traditionally there are about five to six types of Ashanti swords with some better known than others:

Kɛtɛanomfena: Literally meaning swords on the edge of bed. They are placed at the edge of the king's bed when he goes to sleep. Additionally, they are placed on the edges of the apakan (palanquin) when the king rides in it as part of a procession. Kɛtɛanofena are further subdivided into two sets: akrafena (swords of the soul) and abosomfena (deity swords)[2]

  • Akrafena: The short sword may be used as akrafena or nsuaefena.[3] The akrafena is used in wars, and in conjunction with an Ashanti stool blackening ceremony; The akrafena may be carried by the king's emissaries on Ashanti diplomatic missions.[3] In such situations, the meaning associated with the Ashanti Adinkra symbol embossed on the sheath conveys the message of the mission.[3] Its name literally means 'Soul Sword' and is held in the right hand due to Akan religion associating the right hand with the soul, representing the person's soul or life-force (kra), unique to the person. It was used in the Asante military for close combat. It did not have a sharp tip, instead having one sharp blade and giving a good amount of weight behind each blow.[4] There is a hierarchy when it comes to akrafena (not Bosomfena) in Asante court:
  • Mpomponsuo: The Mpomponsuo sword symbolizes; Responsibility, Power, Loyalty, Bravery, and Authority.[3] The Mpomponsuo sword is used by the Asantehene in taking the oath of office. The other Ashanti amanhene use the Mpomponsuo sword to swear the oath of allegiance to the Asantehene.[3] The Mpomponsuo sword is one of the four principal state swords of Ashanti Region. The Asantehene sword was created by Akomfo Anokye for future Asantehene Nana Opoku Ware I (r. 1731–1742), and is the foremost example of akrafena.[3]
  • Ahwebaa: The Ahwebaa sword was made by Akomfo Anokye, which has a caricature of a man holding his belly with his left hand. The Nananom Amanhene including the Mampɔnhene and Dwabenhene swear the oath of allegiance with ahwebaa. Contrary to popular belief, most people wrongly assume that those who swear the great oath with it are more important and powerful than those who swear with ahwebaa. But that is not the case for a chief may use the mpɔnpɔnsɔn to swear but he may not come close, in terms of rank and power, to a chief who (due to history and customs) uses the ahwebaa to swear the great oath of Asanteman. Nkɔnsɔnhene, Hyiawuhene, and Anonomsahene (to name a few) are some of the chiefs who swear the oath of office with ahwebaa.[2]
    • Kra Kofi (Apemase Nhye Da): Asantehene Nana Agyemang Prempeh II (Kwame Kyeretwie) created kra kofi in remembrance of his great uncle, Asantehene Nana Agyeman Kofi, who is known in the annals of Asante history as, Adaduananhene (Forty-days king). He died of mpɛtɛ (Chicken pox) exactly on the fortieth day of his enstoolment. Nana Agyemang Kofi's reign preceded Nana Kwaku Dua II alias Nana Agyemang Prempeh in 1888. Otumfoɔ Agyeman Prempeh II wanted the name and memory of his great uncle enshrined in posterity so he created two swords, the above-named sword and nim saa aka akyi. The proverb for the latter is his expression and understanding that his great uncle did not have the opportunity to execute his vision for Asanteman due to the untimely intervention of death. For the abɔsodeɛ of the former, he chose the Akan saying; Apem ase nhye da as evidence of the continuing growth and bearing of fruit of the plantain tree. For the smallpox might have killed his great uncle, it could not eradicate the royal family and like the plantain tree will never be without smaller shoots. His lineage (the royal family) will endure despite life's manifold challenges that we, as humans, face[2]
    • Kraku
      1. Kraku Panin: Kraku panin was made for Asantehene Kwaku Dua (1834-1867), well known in the annals of Asante history as an exceptional man of peace.[2]
      2. Kraku Kumaa: In 1977, Asantehene Otumfoɔ Opoku Ware II created two swords, kraku kumaa and funtunfunefu dɛnkyɛm funefu. For the former, the abɔsodeɛ is akoma (the heart) and the latter the Siamese crocodile, a well-known adinkra symbol, as abɔsodeɛ. During his reign, the political climate in Ghana was quite challenging for Opoku Ware II and Asanteman as the nation witnessed unprecedented military takeovers from the early 1970s to 1981. In his response to various sections of Asanteman for their king to take action or to step in and stop military takeovers, he responded by saying, mede makoma ato nsuom (I have placed my heart in water). Literally, he is cooling his heart and will not allow his temper to rise. Otumfoɔ Opoku Ware's choice of the Siamese crocodile was in reference to his own uncle who, despite losing his bid to ascend the Gold Stool, was until his [uncle's] death not happy with the selection of Opoku Ware II as Asantehene. So the king said, yɛ nyinaa ya furu baako nanso tɛkrɛma so dɛ nti, na me Wɔfa ɔne me prere akonwa, yɛ de ama me nti no, ɔse ɔnte ne ho ase." Literally, he and his uncle belonged to the same family (abusua) and any benefit will pass through the same stomach but due to 'sweetness of the tongue,' his uncle never forgave the kingmakers for selecting him. Metaphorically, the single stomach of the Siamese crocodile represents the single destiny of the royal family.[2]
    • Abubummabaa: Since ascending Sikadwa Kofi in 2009, Otumfoɔ Osei Tutu II has added four kɛtɛanomfena to the regalia. They are abubummabaa, sakatempobi, esie, and ɛsrɛm sei gyata. Sakatempobi and ɛsrɛm mu sei gyata have corresponding guns that Otumfoɔ created for the same purpose. The mystery of how the abubummabaa created its dwelling has never been resolved and as a frame of reference, Osei Tutu II stated that he is the one who established a union of states that resulted in the formation of Asanteman. This is what he said: "I am Osei Tutu. It was I who founded Asanteman. I have returned and that is why I am like the abubummabaa. Ɛkwan ko a me faa so yɛyɛ, sɛ me kɔ mu, sɛ mankɔ mu, sɛ me wene yɛ, me ara na masan aba. Ɛna me bɛbu ma Asanteman. He has returned to continue his work and like the abubummabaa, we have no idea how he entered his enclave/house. Whether he weaved his abode first before he entered or whether he weaved his house around him, he has come back." Based on his actions since his enstoolment, the Asante generally agree and refer to him as Osei Tutu Ababio (that is, Osei Tutu has come again or returned)[2]
    • Sakatempobi: Sakatempobi are nkranee (big ants in the forest) that in times of bush fires, while the undergrowth is burning, they continue to feed on grasshoppers as they leave the scene of the fire. The proverb in Twi stipulates, egya ɛhye sakatempobi no, na ɔsɔ mmɛbɛ (grasshoppers). In creating this sword, Otumfoɔ Osei Tutu II said, "ɔno wasan aba no, nea ɔbɛka sɛ ɔbɛyɛ biara no, ɔbɛ yɛ. Ɛnyɛ nea obi bɛka na ɛbɛ ma no agyae neɛ ɔpɛsɛ ɔyɛ." He will come back to continue his work and no matter what people might do or say, he will accomplish whatever tasks he has set up for his return[2]
    • Kɔtɔkɔ: This is a special sword made by the Asante Kɔtɔkɔ Society in Kumase to honor Nana Opoku Ware II on his enstoolment as the 15th occupant of the Gold Stool. In honoring the King, the Society remarked that Opoku Ware II was the first Asante king with the highest academic credentials. Opoku Ware II (known in private life as Kwaku Adusei Poku), studied law in the United Kingdom and was called to the Bar at Middle Temple in 1962. In 1970 he was appointed Ghana's Ambassador designate to Italy but he could not fulfill his duty since he was enstooled the same year when his uncle, Otumfoɔ Osei Agyemang Prempeh II, died. Since the days of warfare are over and in order to encourage Opoku Ware II to use the power of the "pen" to accomplish a great deal for Asanteman and Ghana, the Society used the gun and pen as abɔsodeɛ[2]
    • Krakwame (Bɛmuu): Asantehene Agyemang Prempeh II created this sword with the abɔsodeɛ made of a bunch of palm kernels with a heart resting on them. There are two interpretations. The first describes what happens when the bunch of palm kernels is harvested and it falls on the ground, it collects all fallen leaves. The second is that, palm kernels grow on a common stock and in that sense, those of a common stock share the same origin so the king was going to put his heart into uniting the kingdom[2]
  • Bosomfena: It was also used in wars by those who were left-handed and had the same usage as the akrafena. However, its name may mean 'God-sword', a call back to the word abosom, and it represents the wielder's spirit, ego and/or personality. This is said to be inherited by the father.[4] Here is the hierarchy of the Bosomfena below:
    • Bosomuru: Bosomuru is one of the regalia Osei Tutu captured from Onoo Adu Gyamfi who until his defeat ruled over a wide territory from present day Kumase to as far as Mampong and had settled in Jamase. Onoo is a town in the Kwaabre district in Asante. Ɔkɔmfo Anɔkye then consecrated the bosomuru for Asanteman and added it to the regalia. The history of the gyemirekutu kyɛ (the hat) is however different from the sword. It is said that on his way from Akwamu to inherit his uncle Obiri Yeboa, Osei Tutu met a hunter who had killed an elephant and ɔwam (hornbill). He asked the hunter for the skin covering the elephant's kneebone, and the feathers of the hornbill. Osei Tutu then placed the head of the hornbill on top of the elephant's skin, and the feathers on both sides of the skin, and added adwera (portulaca oleracea leafs) on his forehead. He finally placed the adam below the adwera and wore the hat to Kumase and eventually added it to the bosomuru when he captured it from Onoo Adu Gyamfi. In that sense, the bosomuru hat is connected with doku agyapɔmaa (the gun with beads around the lever butt (See Atuotumfoɔ/guns). Osei Tutu brought his gun to Kumase after killing the hunter and his wife (Agyapɔmaa), and placed her waist beads around this particular gun. Apart from Otumfoɔ, no one is allowed to swear the oath of office with the bosomuru sword. That explains the saying in Asante: Bosomuru fa wo bem (lit. bosomuru, you've won the case in advance of any proceedings). As a spiritual leader, the Asantehene cannot be found guilty or no one can argue and win a case against him and as a result, and in advance of any proceedings, the elders and chiefs will throw in the towel with the above words. It is only after swearing the Great Oath of Asanteman with the bosomuru sword, as part of the Pampaso rituals, that a newly enstooled king is recognized as Asantehene. The custodian of bosomuru sits to the immediate left of Asantehene whenever the Asantehene sits in state or during state ceremonies. The bosomuru is considered "holy" and, unlike the mpɔnpɔnsɔn, it is cutomarirly not used for war (ɛmpɛ basabasa). Since it is not proper for women to see the bosomuru, the custodian covers it with ɛnwira (white cloth) when women come close to it or during traditional ceremonies when the queen mothers and women take turns to greet Otumfoɔ. Apart from the Asantehene and the custodian, no chief is allowed to touch or hold it. In the likelihood that the custodian needs to relieve himself during ceremonies, he will either rest it by Asantehene's feet or at the feet of the Akɔbeahene. Nana Kwaku Dua II is the current Bomomuruhene.
    • Dɛnkyɛm: Asantehene Osei Kwadwo (1764-1777) created the dɛnkyɛm (crocodile sword) for the custodian to assist bosomuru to efficiently perform its duty. In the absence of the custodian of bosomuru, the bearer of dɛnkyɛm sword is elevated to the spot and performs all the duties ascribed to bosomuru. Ntotoyɛhene and Nsutahene are two chiefs who have links with this sword. Prior to being elevated to the position of Nsutahene by Otumfoɔ, the former was responsible for the abusuapoma (family staff) and that can be translated into the chief spokesperson. Then the royal spokesperson's staff was given to the Ntotoyɛhene who was then the Dɛnkyɛmenasohene. To this day, the ntuakyire on top of Ntotoyɛhene's umbrella is the crocodile. The staff finally was transferred to the chief of Jachie popularly known as Jachie Amoateng where it has remained since and that is why the chief of Jachie is one of the senior royal spokesperson's of the Asantehene. Additionally, the dɛnkyɛm sword either leads or is part of a delegation whenever a message is sent to the present Nsutahene (also considered the uncle of the Asantehene).[2]
    • Bosompra
      1. Bosompra Panin: Asantehene Kwaku Dua (1824-1834) created bosompra panin sword primarily for the royal family and since the Asantehemaa (the Asante queenmother) is head of the royal family, it represents her during purification rituals for the royal family. The bosompra sword is restricted to communications between the king and the Asantehemaa's household and do not, as custom demands, go to any chief's house. During gatherings (festivals, durbars, funerary rites or any state function), it is customary for the Asantehene's precession to be in place with the king well sitted before the bosompra Paninhene is sent to the queen mother to inform her that the king is ready for his mother (biological or symbolical) to join him. For the queen mother, the presence of bosompra panin in her court is an indication that the king and elders are waiting for her since she will never join the ceremony without this special invitation with the bosompra panin sword. After greeting her son, the queen then takes her rightful place to the left of the king. The queen mother will never join the king in any ceremony or gathering unless bosompra panin sword is sent for her. This sword used to be known as bosompra until Asantehene Agyemang Prempeh (1888-1931) created another one in the same category and in order to distinguish the first from the second sword, they added the designation "panin" (older) to it (see Bosompra Kuma below). In deep Twi, bosompra refers to a benefactor who is highly dependable for providing sustenance. In other words, bosompra is a metaphor and an indication that the king is responsible for providing for the spiritual and material needs of the royal family and the larger community in all kinds of ways. Bosompra panin sits to the left of Asantehene. Kra adwareɛ refers to soul purification rites for a sitting king. This ritual is performed once a week on the day the king was born. Before a newly enstooled king creates his swords with abɔsodeɛ, bosompra panin is used to represent him during purification rites for his soul until he creates his own sword or swords.[2]
      2. Bosompra Kumaa: Otumfoɔ (later Asantehene) Agyeman Prempeh (1888-1931) created bosompra kuma sword upon his return from exile in Seychelles in 1924. In order to save Asanteman from total annihilation by the British forces in 1896 he gave himself up and the British took the queen mother, Nana Yaa Akyaa, some of his chiefs, and elders to far away Seychelles in the Indian Ocean. With a hen and her chicken as abɔsodeɛ, Nana Agyemang Prempeh is indicating that as the Asantehene, he is protective of his children just as the hen protects her chicks. He gave this sword to his abusua (the royal family/clan/tribe) and since bosompra panin was already assigned to his abusua, they named this sword "kuma," (the younger). Strictly speaking, and unlike bosompra panin, this sword is not used in purification rites for the soul. In rare cases, it replaces bosompra panin when the custodian is not available. However the Asantehene can send the custodian on several errands related to the royal family.[2]
    • Bosomurutwe: On January 31, 1935, Asantehene Agyeman Prempeh II (Kwame Kyeretwie) finally succeeded in restoring Asanteman (or Asante State) and in commemoration of this historical feat, created Bosomurutwe (Maxwell Duiker). In doing so, he declared: Ɔtwe, me twe me man. Me man na me twe. That is, Ɔtwe, I am pulling (twe in Twi) my nation [back] together. In this particular instance, the phonology of the word twe (pull) in Twi is the determining factor in choosing the abosodeɛ. The action of pulling is evident on top of the accompanying hat with the two hands pulling two palm trees and bringing them together. The action of pulling is also indicative of how daunting it was to bring former states of the union together considering that most of them were enjoying their newlyfound independence after severing their ties with the Asante Kingdom. It should be recalled that Asanthene Agyemang Prempeh initiated the restoration of Asanteman when the British eventually returned him from Seychelles in 1924. One of the conditions for his return was for him to limit his reign to being Kumasehene (not Asantehene). Although Asanteman agreed to that stipulation, what the British did not understand is that Kumasehene is technically the Asantehene. At any rate, Nana Agyeman Prempeh worked tirelessly and was determined to restore the kingdom but he died in 1931 before he could accomplish his goal. On assumption of office in 1931, Agyemang Prempeh II embarked on this difficult task and eventually succeeded in restoring the Asante State in 1935.[2]
    • Esie: Asantehene Nana Poku Ware II created esie. Since his day name was Kwaku (Wednesday), which happens to be the same for Otumfoɔ Osei Tutu II, esie is central in the soul purification rituals for the present king on Wednesdays. The abɔsodeɛ is esie (a mound) and as the Akan proverb goes, esie nanimuonyam ne mmire (lit. the value of a mound is based on the quality of mushrooms it produces/that grow on it). Therefore, Asanteman's value is Otumfoɔ for compared to all the ten regions in Ghana, Asante is the only region with a single king. Consequently, esie refers to Asanteman while emire (mushrooms) refers to Otumfoɔ Osei Tutu II[2]
    • Ɛsrɛm Sei Gyata: Created by Otumfoɔ Osei Tutu II with a corresponding gun. As a predator the fierce attributes of the lion is well documented. Unlike the leopard that lives in dense forest regions and is capable of climbing trees, the lion, on the contrary, lives in savannah grassland areas. The appellation ɛsrɛm sei gyata literary means osei from the savanna grasslands that is brave and fierce like the lion. No one (including his enemies) can overrun the Asantehene just as no animal is capable of doing the same to the lion[2]
    • Gyapetia: Although gyapetia is one of the oldest kɛtɛanomfena, the custodian of the sword does not possess a hat, akrafokonmu and abɔsodeɛ. Gyapetia is the main sword that Asante Adikrofoɔ (head of towns) use when swearing the great oath ahead of their chief who is unturn going to swear the great oath to the Asantehene. Kɔmfo Anɔkye also made a pronouncement that since the Amanhene were using the ahwebaa to swear the great oath, their elders who preceded them should use the gyapetia sword. Swearing the oath with gyapetia spiritually ensures loyalty and compliance on the part of the elders making the agreement with Asanteman binding. In order to insure a tight alliance, he made conquered chiefs and those who willingly joined Kumase to swear the oath of allegiance with the gyapetia sword that Kɔmfo Anokye created. According to Kɔmfo Anɔkye, no matter how powerful a chief might be, they are entirely subdued once they swear with gyapetia. When the Asantehene Osei Bonsu brought items from the ocean to Kumase on his return from the Asante-Fante war, he introduced the ɛtwom (apurukusu / electric fish) skin for the scabbard for this sword[2]
  • Nsuaefena: The Nsuaefena is used in the Ashanti political ceremony of taking the oath of office by the king and in swearing oath of allegiance by the subjects to the Ashanti emperor-king Asantehene.[3]
  • Asomfomfena: A set of courier swords including, gyegyetire, worosatire, nsonoma, abɔnnua, akyekyedeɛ, akuma, oburumuankoma and a set of mfenatene. The swords in this group without abɔsodeɛ are known as mfenatene. Just as the kɛtɛanomfena are considered the Asante king's personal swords, asomfemfena, strictly speaking, belongs to the Gold Stool (Sikadwa Mfena), so are the swords of the Golden Stool[2]
    • .Gyegyetire: Asomfohene (chief of courier swords) is the custodian of this sword and at the same time Kɔkɔɔbrahene (chief of Kɔkɔɔbra). Ɔkɔmfo Anɔkye created gyegyetire specifically for Asomfohene's family in recognition of the sacrifice his great-great-grandmother and the first wife of Osei Tutu I, Nana Kyera Ampɔnsɛm, gave to Asanteman. Following that incident, Anɔkye created gyegyetire sword for her family and established that they would use it primarily for errands as described in the opening paragraph. When the Asantehene sends the Akyeamehene (chief royal spokesperson) with messages to the government he is accompanied by the Asomfohene and Nsɛneɛhene on that mission.[2]
    • Worosati: Literally means Worasa's head. The abɔsodeɛ is a gold cast of the once powerful King of Banda who terrorized Asante traders traveling through his territory to Gyaaman and Bonduku. Sometimes the traders were robbed of their goods and money and on other occasions they were robbed and killed. When Asantehene Osei Kwadwo (Ɔko Awia-1764-1777) sent the asomfo and nsɛneɛ, Worosa mutilated them and that resulted in another Asante-Banda war (Bana Sa). The Asante defeated Worosa, beheaded him, brought his head to Kumase, where the artisans made a replica of his head.[2]
    • Nsoroma: With the assistance of his spiritual advisor, Kɔmfo Anɔkye, Ɔpemsoɔ Osei Tutu created this sword for the Asomfofoɔ. The abɔsodeɛ has several stars on top of the moon (nsoroma bebree na ɔsrane ɔda mu fua). The Akan saying is: Ɔbɔɔ nyanko nsoroma bebree; sranee na (ɔ)man wɔ no (lit. just as there is a single moon among countless number of stars, there are several chiefs. But there is only a single king–the Asantehene. The nsoroma afena with its corresponding nsɛneɛ are responsible for sending messages to the Amantoɔnum (five states) in Asante: Dwaben, Nsuta, Mampong, Kokofu, and Bekwai.[2]
    • Abobɔnnua: Abubonnua is the sword that goes to Adanse with messages. The abɔsodeɛ is made of elephant teeth and covered with gold. As an area, Adanse towns are quite unique in a way. They are likened to woodpeckers who live individually in the holes they drill in trees. Adanse is referred to as Adanse Nkɔtoankɔtoa. After elevating the Adansehene to Ɔmanhene status (paramount chief), Otumfoɔ Opoku Ware II asked the remaining towns to form a council with Adansehene as the head. Despite this arrangement, the individual towns in Adanse retain their separate fekuw (groups) whenever they are in Kumase or Manhyia.[2]
  • Afenatene: is used by Akans to penetrate the Akan war opponents hearts. The Blade of an Afenatene sword shows the akoma (heart), denkyem (crocodile), akuma (axe) and the sankofa.[3] The Afenatene was significantly less common than the akrafena amongst the Asante, being mainly used by the Denkyrians. They were long pointed swords, comparable to cutlasses, that were used to both stab and slash. Outside war, it had little usage, but were used in rituals. The Afenatene usually does not have a sheath, or abɔsodeɛ. It is, however, topped by an Ashanti Adinkra symbol if used for rituals
    • Ritual Afentene: Also known as a staff sword, it had an incredibly long, skinny shaft that protrude from the handle, and bulges out at the end, comparable to a really long and narrow akrafena, or maybe a naginata or a really long axe or sword. They were too awkward and clumsy to be used in actual combat
    • Gyapetia: Gyapetia is one of the Asomfomfena (courier swords) without abɔsodeɛ and as a result, it is identified as afenatene. It was Asantehene Kusi Boadum (1750-1764) who created this sword at a time when he created the position of sɔmesisi (lit. hold my waist) for ahenemma ne ahene nananom (the children and grandchildren of Asantehene).[2]
  • Afenanta: The Afenanta is a "Double Blade Sword" used by the Ashantis for cutting human ligaments during an Ashanti war.[3] The Afenanta has the Ashanti denkyem and sankofa symbols embroidered onto the blades.[3] It is similar in size to the akrafena but is lighter, has less of a curve and has a skinnier blade. It was used as a dual wielding weapon to cut and slash and better suited to being dual wielded as it was much lighter than the akrafena, which were quite heavy specifically at the end. The Afenanta's light, evenly-spread weight made it more practical to dual wield.
  • Abrafoɔ swords: Unlike kɛtɛanomfena, abrafoɔ swords do not have abɔsodeɛ and as a result, they hold the hilt while the sword blades are not in sheaths but exposed. The swords of Abrafoɔ are black due to contact with human blood in the past several centuries.[2] The hierarchy of abrafoɔ swords are as follows:
    • Kontonkronwi: Refers to the hair around the neck. An Akan saying is that death is like the hair around the human neck, we all have it. That is, we shall all succumb to death one day. It is said that the Nkram Abrafoɔ group came to Kumase from Adanse Nyaadoam which was part of Denkyira at the time. Asantehene Opoku Ware created the Nkram Abrafoɔ stool together with the kontonkronwi sword when they were formally presented to him for the leader of the Nkram Abrafoɔ group. The king realized that they were brave and fearless men who would not waver or fumble if asked to execute criminals. The primary duty with the sword was to guide Opoku Ware's wife who lived at the time in Abrepokese. Additional duties included the regular som (service) during the day in the king's palace where he was assigned the role of taking criminals to Nkram. He sits to the left when the Asantehene sits in state while he together with the other three Abrofoɔ chiefs walk ahead of the kɛtɛanomfena in a procession. Similarly, he places his sword on the left hand side of Asantehene when he is carried in a palanquin and it is his sword, kontonkronwi, that absorbs and deflects bad spirits from and away from the Asantehene.[2] The Kontonkronwi has 4 sɛpɔ knives, which are as below:
      1. Kumamani: literally means 'Killer of known persons/townsmen'[2]
      2. Kumahɔhoɔ: Killer of visitors[2]
      3. Kumadehyeɛ: Killer of royals[2]
      4. Sɛpɔ: Knife[2]
    • Gye Me Di: Literally means trust me. Nana Brafonyam was part of the retinue of executioners, warriors and mercenaries who guarded Ɔpemsoɔ Osei Tutu I from Akwamu to Kumase. Kɔmfo Anɔkye later created a special sword for Nana Brafonyam to guard the Gold Stool, called Gye Me Di. Anoo covers present-day prisons, the Highcourt, the soldier line to Kɔmfo Anɔkye Hospital roundabout. Later King Opoku Ware relocated the Anoo Abrafoɔ to Ahodwo Mmaakro for them to protect his wife. Mmaa describes the sticks the Anoo Abrafoɔ used to whip trespassers who, for some reason, were caught hanging around the area where the king's wife lived.[2]
    • Kantankrakyi: The sword of the chief of tɔprɛ
    • Anadwo sekan: The night sword

Akrafena as weapons

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History

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Bonoman Kingdom (10th century AD) and the Ashanti Empire States (13th century AD to 21st century)

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A Denkyira akrafena

Bonoman long swords were used primarily by Ashanti cavalry and commanders not infantry during the 10th to 15th centuries, which explains how akrafena has and still is linked to nobility. In the 16th century and at the time of Denkyira, Akyem and Akwamu land warfare consisted mostly of spearmen and bowmen on foot and mounted swordsmen with Akan long swords (Afenatene). Ashanti Swords were not a primary weapon for all Ashanti combat but were mostly for Ashanti shock attacks, defensive strokes and close combat. Blades were heavy as they were made of bronze and later iron, and pommels were often knobbed and used as balances. Short swords may have been used in follow-up attacks, as short sword carriers were armoured completely and accompanied with a shield.

Ashanti akrafena with wooden or metal pommels decorated with beaten gold have featured in Ashanti court regalia since the 17th century AD. Ashanti Swords were used during Ashanti wars since the 17th century. The Ashantis were engaged in a series of military conflicts from the 18th century AD, between Ashanti City-State military forces and African states and European states up until the 20th century.

In the 21st century, the Ashanti Swords are primarily by Ashantis for self-defense, and the Ashanti akrafena (Ashanti Sword of war) is primarily used for Ashanti warfare and land warfare.

During the Empire of Ashanti period, Ashanti swords also had ranks (hierarchy) depending on who wielded them and what their purpose was. The highest ranking of these swords was known as the Mpomponsuo, literally meaning "responsibility sword." Only two such swords existed and were wielded by the King's two bodyguards, who always stood on either side of him and held the nobility title of Ankobia.

Ashanti swords of war (twenty-first century): changing needs and tactics

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The Ashanti akrafena (sword of my soul) was generally held in the hand by Ashanti asafos. There was no real reason to hold it on their sides. However, they did strap it to their back at times when they were traveling through the rain-forest regions of Ashanti City-State or using other weapons such as spears and bows. The Ashanti sword was first and foremost one-handed, though for more powerful strikes, two hands were used. The Ashanti techniques were generally hand and a half.

Swordsmen ranks

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Asafo who are swordsmen in Akanland and in the Asantehene's court progress through four tiers of rank, at times referred to as levels, of their swordsmanship. There are:

  • Afenasoafoo: Afenasoafoo is a child, an Akofo-in-training. They are sword-bearers in the Akan court[5]
  • Adumfoo: Adumfoo is an apprentice. They are Executioners in the Akan court[5]
  • Akofo Asafo: Akanland's Warriors / Professional Soldiers. They are master swordsmen in the Akan court and military.[5] They could form groups of warriors, mercanaries and/or soldiers
  • Akofo Abrafoo: They are the Military Police of the Akan. Abrafoo is interchangeably referred to as "Akofo", also master swordsman, but are of a higher rank than the Akofo Asafo.[5] One Abrafoo group, and possibly all abrafoo groups, have Abrani, Atano God of Executioners, as their patron deity. It is usually their job to protect the wives of the Asantehene.[2]
  • Akofo Ankobia: The highest rank an Akan swordsman can achieve. They are the Akanland's special forces. The Ankobia is the oldest, most experienced and best trained of all Akofo. They served as special forces and bodyguards to the Asantehene. They served as a source of intelligence for suppressing rebellion. An Ankobia is chosen by the Akofo (Swordsmen) council[5]

Other swordmen/guard ranks

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  • Animosumfoɔ: Animosumfoɔ normally go to Manhyia Palace at night (or at sundown) and leave at dawn (or at sunrise) for it is their duty to guard the palace at night. They are never part of rituals or ceremonies that take place in the day. The designation, animosum, refers to the fact that this group essentially operated in darkness. In current idiom, we might say they are commandos or special forces, or assassins were operated as guards. Unlike the Tɔprɛfoɔ who will only execute condemned criminals or war captives, Animosumfoɔ may kill any random person they encounter in their nightly duties to protect Manhyia Palace. Unlike the Tɔprɛfoɔ or other Abrafoɔ, they do not use the sword or a sharp-edged knife to kill, rather, they kill with bare hands by breaking the neck of their victim, showing their proficiency in hand-to-hand combat. In the past, they used mpre to whip people aside to clear the way for the Asantehene. It is said that Asantehene Osei Kwame (1777-1798) married the present Animosumhene's great-great-grandmother, Nana Bema (Ɔheneyere Bema), and they bore two sons, Afriyie Kwame and Owusu Ansa. They were well built, tall and strong. The king made one of them the Safohene and created the animosum stool for Nana Bema's family so that they would be in charge of his anadwo sekan (night sword). In the past, a regular sitting or atenaseɛ (a gathering) of chiefs lasted late into the night. On those occasions, Anadwo Sekanfoɔ would show up and when the sitting was over, it was their duty to clear the way or guard Otumfoɔ safely back to his residence and guard the palace throughout the night. The Animosum Abrafoɔ are under the Atipihene and part of the Ankobea Division headed by Baafoɔ Kwame Kusi II. They have abɛntia (short trumpet) that repeatedly play: anopasuo mmoro baakofoɔ (the morning rain does not soak one person). Knives and swords were not part of their regalia, which is due to them using Akofena (see Akrafena as a martial art) without weapons.[2] Only the most skilled and deadly at Akofena could join the Animosumfoɔ. Due their roles, it is safe to say that they were linked to the Ankobia and Abrafoo
  • Tɔprɛfoɔ (Executioners): Although they are primarily executioners, tɔprɛ also refers to a drum, the aworobɛn (trumpet/horn), the music they perform, and the dance associated with this particular drum. The custodians brought it from Adanse Akrokyerɛ when they realized Nana Ntim Gyakari and Denkyiraman were on the verge of losing the war to Ɔpemsoɔ Osei Tutu and Asanteman. Because they belong to the Asona clan, they first went to Nana Oti Awere, Akwamuhene at that time, who later took them to formally introduce them to Ɔpemsoɔ Osei Tutu. Osei Tutu then asked the Atwemahene at the time, Nana Agyeibi, to give them a place. The king later created a stool and a chief for them and gave them the kantankrakyi sword and ordered them to use it as part of the regalia that protects Sikadwa Kofi. The story is told of Nana Gyamanin Awere who came upon the atoprɛ drum in the forest on one of his hunting expeditions. The drum was placed on an asipim chair so he believed it belonged to mmoatia (dwarfs). He fired his gun three times and when no one showed up, he picked up the drum and took it home. Since they did not know the name of the drum, who owned it, or what it was used for, Gyamanin Awere consulted the family's deity, Ɔworɔ. Ɔworɔ's priest told them that the name of the drum is tɔprɛ, it belonged to a king and that they should return it to him. The priest went on to say that Nana Gyamanin Awere's family would perish if they decided to keep the drum. They were further instructed never to place the drum on the ground and that it should always be placed on an asipim chair. The only time the drum is played is on Akwasidae Dwoɔda (the Monday after Akwasidae when they are in the process of executing a criminal). As the Akan saying goes, Atoprɛ to a etwa Dwoɔda (Atɔprɛ takes place on Monday). The Kokorahene is responsible for tying the individual with the kokora rope (with thorns) while they play the atoprɛ drum behind the convict and walk through all abrɔno aduosonson (the seventy-seven suburbs) in Kumase. In those days, abrɔno were equivalent to households and they were all located in present-day Adum[2]

Executions

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For the Atoprɛfoɔ, execution was in the form of bodily mutilations and gradual bleeding of the convict until he passed out due to the loss of blood. When the convict was paraded in the streets, they would, for instance, ask him, “have you seen the skin on your back before?” Then they would cut the skin on his back and show it to him. “Have you seen your ear before?” They would cut his ear and show it to him. While they were parading the condemned person in the streets, one of the atɔpre chief's nephews would be dancing in front of the condemned man. He is the only one who is allowed to dance and individuals who were tempted to dance faced harsh penalties of fines or death. One of the most famous of his nephews was Anin Agyei and that gave rise to the saying: Anin Agyei a odi atɔfoɔ kan (Anin Agyei who leads the condemned). This would continue until they returned to the palace where the Asantehene would confirm and congratulate them for performing atoprɛ. Because the chief's hand would be covered with human blood, he would not shake Otumfoɔ's hand. This tradition continues to today even though they no longer perform atoprɛ nor perform executions. The condemned person was not allowed be killed nor should he pass away until he is presented in his mutilated and bleeding state to Otumfoɔ. The Atoprɛhene would face serious consequences should a condemned person die before they returned to the palace. Function: They are always available to protect Abenwa (the Gold Stool) and in the absence of Abenwa, they protect Otumfoɔ's akonwa (chair) during akwasidae ceremonies or dwabɔ.[2]

Akrafena as an Ashanti national symbol

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The akrafena also an Ashanti national symbol, adopted by Ashanti City-State's emperor-king Asantehene Opoku Ware I in 1723. In this context it is known as Akofena.[6][7]

Heraldic description

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Ashanti ritual akrafena c. 19th – 20th century

The Blazon: The akrafena is used in conjunction with the stool blackening ceremony. Nsuaefena is used in the political ceremony of taking the oath of office by the king and in the swearing oaths of allegiance by subjects of Ashanti City-State. The akrafena also may be carried as a heraldic device, by the Ashanti emperor's-king's emissaries on Ashanti City-State diplomatic missions. In such situations the meaning associated with the symbol embossed on the sheath conveys the message of the mission. Blade of an afenatene sword showing the akoma (heart), denkyem (crocodile), akuma (axe) and the sankofa bird.[8]

The Ashanti national symbol akrafena description:

  • The Akrafena is a prominent symbol of the Ashantis in the 18th, 19th and 20th centuries into the 21st century

The akrafena as an Ashanti national symbol has the escutcheon meaning Akrafena ("Symbol of courage, valor, and heroism").

History

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The Ashanti akrafena sword as an Ashanti City-State national symbol was used by the Asantehene in taking the oath of office as ruler of Ashanti City-State. The Omanhene used the Ashanti akrafena to swear the oath of allegiance to the Asantehene and Ashanti City-State.[6] The Ashanti akrafena sword is one of the four principal state swords of the Ashanti City-State. The first Ashanti akfrafena sword was created by Asantehene Nana Opoku Ware I (r. 1731 – 1742), and is the foremost example of akrafena. The mpomponsuo sword symbolizes Responsibility, Power, Loyalty, Bravery, and Authority.[6]

Akrafena as martial art

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Akrafena
Chief sword bearer to King of Bekwai, an Ashanti city-state c. 1890s.
Also known asAkofena
Focus
HardnessEclectic/Hybrid
Country of origin Ashanti
CreatorAshanti City-State
Famous practitioners
Olympic sportNo

There are Ashanti City-State schools that hold the techniques of these swords practitioners in the past. The schools hold the genuine Ashanti sword techniques.[5]

It is said that there were 20 fighting postures in training; the Ashanti practitioners of the past generally used low kicking techniques to distract, dismantle and disable the opponent when holding the sword in one hand and sheath in the other. The sword-based fighting techniques is similar in part to that of Colombian grima and Tire machèt, while the combat hand-techniques and kicking techniques are similar in part to that of capoeira.[5][9][10]

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See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
The Akrafena, or "swords of the soul," is a traditional iron-bladed sword associated with the Asante people of Ghana, embodying the spiritual life-force (kra) of the ruler and employed in private rituals for the purification of the Asantehene's soul and state regalia.[1] These swords feature a grooved blade often decorated with incised patterns and a wooden hilt, sometimes embellished with gold foil, distinguishing them as key elements of Asante state heraldry.[1] Positioned on the Asantehene's right during ceremonies, Akrafena contrast with Bosompra swords on the left, which represent the ego or inherited spirit (sunsum), highlighting a dual spiritual framework in Asante cosmology.[2] Historically recorded in Akan society by the late 16th century, likely derived from Islamic weapons introduced via trans-Saharan trade routes, Akrafena transitioned from potential wartime use to predominantly ceremonial roles, including oath-swearing by elders and participation in the annual Odwira soul-cleansing festival.[2] As badges of office for select officials, they underscore the Asante Kingdom's emphasis on ritual authority and hierarchical symbolism, with examples dating to the 19th century preserved in museum collections.[3][1]

Design and Materials

Blade Characteristics

The blade of the akrafena, known as afena in Asante terminology, is primarily constructed from iron using traditional casting techniques.[4] It features a slightly curved profile, distinguishing it from straighter African sword forms, with overall sword lengths typically measuring 63 to 70 centimeters, the blade comprising the substantial majority.[5] [1] Blades exhibit variation in edging, with examples being either single-edged, emphasizing a pronounced lower cutting edge, or double-edged, though single-edged forms predominate in preserved state swords.[6] Decorative elements are integral, including piercings along the cutting edge such as arrow-shaped voids and equal-arm crosses, often bordered by punched dots and lines.[4] Incised grooves near the hilt may bear herringbone patterns, accompanied by rows of circular punch marks, with such motifs frequently confined to one side of the blade.[1] These features not only enhance aesthetic and symbolic value but also reflect Asante craftsmanship circa 1800–1895.[4] In functional warfare variants, the iron blade was sharpened for combat, while ceremonial versions prioritized symbolic piercings and engravings over keenness, underscoring the akrafena's dual role in Ashanti society.[2] Museum specimens, such as those acquired from the Anglo-Ashanti War of 1895–1896, demonstrate the durability of this iron construction in regalia contexts.[5]

Hilt, Sheath, and Adornments

The hilt of the akrafena consists of carved wood shaped in a bar-bell or dumbbell form, with rounded or conical pommels at each end of the grip.[2][7] These pommels and the grip surface are typically adorned with geometric carvings and overlaid with gold leaf or foil, affixed using gold or brass wire staples for durability and aesthetic enhancement.[2][7] The sheath, constructed from animal hides such as leopard, antelope, or ray skin, is folded and sewn using cane strips in a herringbone pattern, then secured with 6 to 8 leather ties.[2] In some variants, like the mpomponsuo sword, the sheath incorporates amulets—rectangular and triangular forms covered in gold or silver leaf—attached near the hilt.[2] Adornments on the akrafena emphasize status and symbolism, including sheet gold discs featuring repoussé bosses arranged symmetrically on the hilt, as seen in nsuaefena types.[2] Cast gold ornaments, representing political and military prowess, are suspended from the hilt or sheath; for instance, a state sword attributed to King Kofi Karikari (r. 1867–1883) bore such attachments.[7] Sheath emblems, termed abɔsodeɛ, depict animals or birds to allegorize aspects of Ashanti governance and wisdom.[8]

Construction Techniques and Symbolism in Design

The akrafena sword consists of three primary components: the blade, hilt, and sheath, each crafted using traditional Ashanti techniques that emphasize durability, ornamentation, and cultural encoding. Blades are typically made from cast iron, featuring a slightly curved profile with decorative elements such as incised herringbone patterns, punched dots, and pierced motifs including arrow-shaped voids or equal-arm crosses along the lower edge.[2] These iron blades, often measuring around 60-70 cm in length, were produced through local bloomery processes adapted for casting or forging, reflecting the Ashanti's metallurgical expertise in West African ironworking traditions dating to at least the 17th century.[2] Hilts are fashioned from carved wood in a characteristic barbell shape with rounded pommels, then overlaid with gold foil or leaf secured by gold wire staples for both aesthetic and symbolic enhancement.[2] Geometric carvings on the hilt surface further encode Ashanti motifs, while coverings like leopard skin on specific types such as the Mpomponsuo hilt denote elite status and ferocity.[2] Sheaths employ animal hides—leopard, rayfish, or antelope skin—assembled by folding, sewing with hide ties, and lining for reinforcement, often adorned with embossed amulets coated in gold or silver leaf.[2] Design symbolism integrates Adinkra and other Ashanti iconography to convey spiritual, authoritative, and moral concepts, with the akrafena itself representing the bearer's soul or life-force (kra), ritually purified during ceremonies.[2] The hilt's gold embellishments and motifs signify royal prestige and protection, while sheath amulets—such as rectangular or triangular forms—invoke ancestral guardianship and legitimacy of power.[2] Blades and sheaths frequently incorporate Adinkra symbols like akofena (two crossed swords), denoting courage, valor, heroism, state authority, and the sanctioned rule of leaders, as seen in Ghana's national coat of arms where it pairs with a linguist's staff.[9] These elements collectively encode proverbs, deities, and historical narratives, prioritizing communicative depth over purely functional utility in ceremonial variants.[2][9]

Types and Variations

Ceremonial Akrafena

Ceremonial akrafena, known as "swords of the soul," serve primarily in ritual contexts among the Ashanti people of Ghana, symbolizing the bearer's spiritual essence and authority rather than combat utility.[2] These swords are carried by the Asantehene (king) and high-ranking chiefs during private purification rites for the ruler's soul, as well as public ceremonies including oath-taking and court proceedings.[2] [8] In Ashanti tradition, akrafena are wielded on the right side, representing kra (the soul inherited from the creator god Nyame), in contrast to left-side bosomfena swords denoting sunsum (personality or spirit from the father).[8] Pairs of these swords embody the integrity and prestige of the throne, often displayed crossed as a national emblem during state functions.[10] Elaborate hilts feature Adinkra symbols—visual proverbs cast in brass or sheathed in gold—conveying messages of power, truth, and divine protection, with blades typically unsharpened and pierced for symbolic voids rather than cutting efficacy.[8] Specific rituals include the Asantehene's oath of office, where the akrafena affirms loyalty to the Golden Stool and ancestral lineage, and funeral processions for royals, where swords are ritually presented to honor the deceased's soul transition.[6] Ahenkwa variants, reserved for elite use, appear in diplomatic exchanges and judicial oaths, underscoring their role in enforcing truthfulness under threat of spiritual consequence.[6] Modern ceremonial akrafena retain these functions at durbars (assemblies) and festivals like Akwasidae, preserving Ashanti cultural continuity despite colonial disruptions to warfare practices.[11]

Warfare and Functional Akrafena

Functional Akrafena were practical variants of the Ashanti sword optimized for combat, featuring broad, iron-forged blades typically 60-80 cm in length with a slight curve to facilitate slashing motions in close-quarters engagements. These swords prioritized durability over ornate decoration, with simpler hilts often carved from wood or antelope horn to ensure balance and grip during prolonged melee. Prior to the 18th century, when firearms began supplanting traditional arms through trade with Europeans, Akrafena formed part of the core arsenal alongside bows, poisoned arrows, spears, and javelins in Ashanti military expeditions.[12] In early Ashanti warfare under rulers like Osei Tutu I (r. c. 1680-1717), who unified the empire through conquests against neighboring Akan states, swords enabled shock tactics after initial missile volleys, allowing warriors to close distances and deliver heavy, decisive strikes against disorganized foes. Ashanti forces, organized into asafo companies, integrated sword-wielding infantry for hand-to-hand combat, exploiting disciplined formations to overwhelm enemies in forested terrain where maneuverability favored edged weapons over cumbersome guns. Historical accounts indicate that while effective in ambushes and pursuits, the Akrafena's role diminished as muskets proliferated, shifting emphasis to ranged firepower in major campaigns like the Anglo-Ashanti Wars (1823-1900).[8] The combat utility of functional Akrafena stemmed from their design for one- or two-handed use, enabling swift parries and lethal cuts targeting limbs or torsos, as evidenced by ethnographic descriptions of Akan martial techniques. Executions and battlefield decapitations further underscored their judicial and tactical applications, with rulers invoking sword oaths to bind military loyalty before offensives. By the 19th century, however, these swords transitioned toward symbolic functions in rituals, reflecting the empire's adaptation to gunpowder dominance while retaining melee capabilities for irregular warfare.[13]

Hierarchical and Named Swords

Akrafena, or "swords of the soul," constitute a distinct hierarchical category within Asante royal regalia, positioned to the right of the Asantehene during processions, at the edge of his bed, or on his palanquin.[14] These swords, part of the broader kɛtɛanofena (state swords), are named and ordered to reflect spiritual, historical, and authoritative significance, embodying the king's life-force (kra).[14] Each akrafena carries symbolic meaning derived from proverbs, historical incidents, or royal attributes, often illustrated through abɔsodeɛ—gold ornaments featuring motifs like animals, fruits, or abstract forms mounted on the hilt or blade.[14] The hierarchy, from highest to lowest rank, comprises: mpɔnpɔnsɔn, ahwebaa, kraku panin, Kra Kofi (also known as Apemase Nsa Da), Kra Kwasi, Kra Kwame, Kraku Kumaa, kɔtɔkɔ, abubummabaa, and sakatempobi.[14] This ordering determines their ceremonial precedence and association with specific rites or the Asantehene's personal sovereignty.[14] Notable examples include the mpɔnpɔnsɔn, which symbolizes valor and leads the akrafena group, often used in warfare or as a personal emblem of the Asantehene; ahwebaa, depicting unity through its design; and abubummabaa, signifying the triumphant return of Asantehene Osei Tutu II.[14] These swords serve in soul purification rituals, oath-taking ceremonies, and public processions, reinforcing the spiritual authority and continuity of Asante leadership.[14]

Historical Origins and Evolution

Pre-Ashanti Period (Bonoman Kingdom)

The Bonoman Kingdom, also known as the Bono State, emerged as one of the earliest organized Akan polities in central Ghana during the 12th century, with its capital at Bono Manso serving as a major hub for gold and kola nut trade along routes connecting forest zones to northern savanna merchants, including Dyula traders. This kingdom's prosperity, peaking between the 13th and 16th centuries, fostered the development of hierarchical regalia that symbolized chiefly authority, including precursors to state swords used by rulers and elites. Archaeological evidence from Bono Manso indicates urban planning and craft specialization, such as metallurgy, which supported weapon production amid regional conflicts and expansions.[15][16] In Bonoman society, long swords functioned primarily as status symbols for mounted commanders and cavalry rather than standard infantry arms, a practice spanning the 10th to 15th centuries that emphasized mobility in warfare against neighboring groups. These weapons featured curved blades suited for slashing from horseback, with hilts often adorned to denote rank, laying groundwork for the Akrafena's distinctive form—broad, slightly curved steel blades paired with elaborate, openwork hilts symbolizing protection and power. Oral traditions link the term afena (state sword) to Bonohene Afena Yaw I (r. ca. 1495–1564), whose reign exemplified the sword's role in embodying royal authority and judicial execution, predating Ashanti adaptations. Scholarly analysis positions the state sword as a pre-Ashanti tradition within broader Akan culture, with influences possibly from Islamic North African imports via trade, though local adaptations prioritized symbolic over purely martial functions. Discussions in historical journals, such as Ghana Notes and Queries (1968), argue for its establishment in Akan communities by the early 17th century or earlier, distinct from later Ashanti elaborations involving gold sheathing and adinkra motifs. Bonoman's decline around the mid-16th century, due to invasions and internal strife, dispersed these traditions to successor states like Denkyira and Asante, where swords evolved into more ritualized Akrafena.[17][18]

Ashanti Empire Expansion (17th-19th Centuries)

The Ashanti Empire coalesced in the late 17th century under Osei Tutu, who unified Akan chiefdoms and orchestrated the decisive defeat of the Denkyira kingdom circa 1701, marking the onset of territorial expansion and the establishment of Kumasi as the political center.[19] [20] Akrafena swords, integral to Ashanti martial culture, functioned as edged weapons for warriors in these early campaigns, complementing emerging firearms acquired through European trade in gold and slaves.[8] [12] Their broad blades suited slashing in close-quarters engagements, while ornate hilts signified the bearer's rank and the empire's authoritative reach.[8] Throughout the 18th century, successors like Opoku Ware I (r. 1720–1750) propelled further conquests, subjugating regions including Sehwi, Gyaman, Akwamu, and Akyem by 1742, thereby securing control over trade routes and resources.[20] In this phase of empire-building, Akrafena transcended mere utility, serving as ritual instruments for oaths of allegiance sworn by vassal chiefs to the Asantehene, thereby institutionalizing loyalty across expanded domains.[8] Specific variants, such as those adorned with adinkra symbols denoting proverbs of power and unity, reinforced the ideological framework binding peripheral states to central authority.[8] Military organization emphasized disciplined asafo companies, where sword-bearing elites enforced tribute collection and quelled rebellions, as seen under Osei Kwadwo's suppression of uprisings in Twifo and Wassaw mid-century.[20] [12] In the 19th century, persistent warfare for slaves and territory strained resources, culminating in conflicts with British forces, including the 1824 victory over a coalition led by Governor Charles MacCarthy and the 1873 loss of southern provinces.[19] [20] Akrafena retained roles in auxiliary combat and judicial executions of war captives, preserving their status as emblems of imperial justice and soul-linked sovereignty amid firearms' dominance.[12] [8] This period witnessed the swords' evolution toward heightened ceremonial prominence, with state examples like the Mpomponsuo used in royal oaths, underscoring continuity of Ashanti governance despite territorial contractions.[8]

Colonial Encounters and Decline in Warfare Use

The Ashanti Empire's encounters with British colonial forces unfolded through the Anglo-Ashanti Wars (1823–1900), a series of conflicts driven by British expansion into Ashanti territory and control over trade routes. Ashanti warriors employed Akrafena swords primarily in close-quarters combat during these engagements, complementing their adoption of European firearms such as muskets and later breech-loading rifles acquired via coastal trade. Swords remained integral to charges and skirmishes, where Ashanti tactics emphasized rapid assaults to close distances and overwhelm foes with edged weapons after initial volleys, as seen in battles like the Third Anglo-Ashanti War (1873–1874), where hand-to-hand fighting occurred amid dense forest terrain.[21][22] British technological advantages, including superior artillery, machine guns, and disciplined infantry formations, progressively eroded Ashanti military effectiveness. In the 1874 sack of Kumasi, British forces under Garnet Wolseley inflicted heavy casualties, with Ashanti reliance on swords proving insufficient against sustained firepower; estimates place Ashanti losses at over 1,000 in that campaign alone. The final confrontation, the War of the Golden Stool (1900), mobilized around 12,000–15,000 Ashanti fighters under Queen Mother Yaa Asantewaa against a British expedition of about 1,000 troops, but defeats at key forts like Bekwai and the capture of Kumasi on July 14, 1900, marked the empire's collapse, leading to the exile of Asantehene Prempeh I to the Seychelles.[22][8] Following the 1900 defeat and formal annexation into the British Gold Coast Colony by 1902, traditional Ashanti warfare structures were dismantled through disarmament policies and the imposition of colonial administration, rendering Akrafena obsolete for combat. Firearms had already diminished swords' battlefield role since the late 18th century, shifting Akrafena toward ceremonial and execution functions even pre-colonially, but post-conquest bans on indigenous militias and the promotion of British policing eliminated organized warfare altogether. By the early 20th century, Akrafena persisted solely in rituals, heraldry, and as symbols of authority, with many examples looted or traded during conflicts now held in Western collections.[8][21]

Role in Warfare and Military Structure

Tactical Employment and Effectiveness

The Akrafena served as a secondary melee weapon in Ashanti warfare, primarily deployed during close-quarters engagements after initial firearm volleys or in forested ambushes where reloading muskets proved impractical. Warriors gripped the sword one-handed for mobility alongside shields or muskets, or two-handed for delivering forceful chopping strikes to break enemy lines or counter charges. This tactical role emphasized shock assaults and defensive parries, complementing the Ashanti army's preference for ranged fire and encirclement maneuvers.[23][24] In pre-firearm eras of the 17th century, Akrafena likely functioned as primary cutting weapons alongside spears and bows in infantry clashes, enabling broad slashing arcs effective against unarmored foes in open or dense terrain. Effectiveness stemmed from the blade's robust construction—typically iron or steel with a broad, sometimes curved profile—optimized for penetrating flesh and bone in rapid, power-oriented swings rather than finesse thrusting. Historical accounts indicate it excelled in hand-to-hand phases of battles, such as those during empire expansion, where numerical superiority and morale allowed Ashanti forces to close distances decisively.[25][8] By the 18th and 19th centuries, however, the proliferation of imported muskets diminished the Akrafena's battlefield prominence, rendering it an auxiliary tool amid gunpowder dominance and reducing melee opportunities against disciplined opponents like British squares. While formidable in ideal close-range scenarios, its vulnerability to gunfire and limited reach compared to bayonets curtailed overall tactical impact in later conflicts, contributing to a ceremonial evolution by the colonial period.[26][8]

Swordsmen Ranks and Organization

The Asante military incorporated specialized swordsmen units, primarily the Afenasoafoɔ (sword bearers) and Abrafoɔ (executioners), who wielded akrafena for enforcement, combat, and ritual duties within the broader asafo company structure. These groups operated under the command hierarchy of the Asantehene as supreme military leader, with divisional leaders (twafohene for advance guard, adontenhene for main body) overseeing tactical formations that included sword-wielding enforcers to maintain discipline.[14][27] Afenasoafoɔ served as custodians of state swords, including ranked akrafena such as mpɔnpɔnsɔn (used historically for decapitating enemies in close combat) and ahwebaa, positioned at the edges of the Asantehene's palanquin or bedchamber to symbolize authority. Organized hierarchically by sword type—with mpɔnpɔnsɔn at the apex—they participated in military campaigns for enforcement, whipping deserters or indisciplined troops with heavy blades to prevent flight, a practice integral to sustaining formation cohesion in battles like those against British forces in the 19th century. Leadership fell to figures like the Mponponsuohene (chief sword bearer), who oversaw the mpɔnpɔnsɔn sword's ritual and martial use.[14][28] Abrafoɔ, a feared paramilitary cadre, handled judicial executions, punishments, and wartime captive processing, often employing akrafena for beheadings ordered by chiefs. Numbering in small, elite contingents under specialized headmen like the Nkramo Abrafoɔhene, they functioned as internal security within asafo units, extending to battlefield enforcement against cowardice. Their dual civil-military role underscored the Asante emphasis on unyielding obedience, with Abrafoɔ drawing from hereditary lineages trained in sword techniques for precision strikes.[27][29] These swordsmen ranks intersected with general asafo organization, where companies (nkufo)—each led by a tufohene and differentiated by flags, drums, and emblems—integrated sword bearers into wings (benkum left, nifa right) for tactical flexibility, though akrafena use declined post-1874 British conquest as firearms dominated.[30]

Executions and Judicial Applications

In the Ashanti Empire, judicial executions for capital offenses, including treason, murder, and severe breaches of loyalty, were primarily enforced by the Abrafoɔ (executioners) and Tɔprɛfoɔ (enforcers), specialized ranks within the military structure responsible for carrying out the Asantehene's sentences. These groups performed beheadings and other lethal punishments using iron swords, often wielded to sever the neck in public displays to deter crime and affirm royal authority; such methods were applied after adjudication in the king's council, where roughly half of presented cases merited death.[31][32] Sword-based executions symbolized the unyielding enforcement of sunsum (soul-derived justice) and were reserved for nobles or high-status offenders, contrasting with alternative methods like strangulation or burning for commoners.[31] Akrafena variants, adapted for judicial roles, featured blackened blades from prolonged blood contact, distinguishing them from purely ceremonial types lacking ornate quillons or deity motifs; these were unsheathed during processions to the execution ground, emphasizing the sword's dual martial and punitive function.[33] The Abrafoɔ, under stools like the Nkram Abrafoɔ established by Asantehene Opoku Ware I (r. 1720–1750), integrated such swords into their regalia, pairing them with oaths sworn on the blade to bind enforcers to impartial duty. Judicial applications extended beyond killing to ritual enforcement, as swords were invoked in trials for swearing witness testimonies or allegiance, reinforcing hierarchical accountability without direct lethal use in every proceeding.[10] Post-execution, heads of traitors were sometimes displayed on poles alongside Akrafena to proclaim verdicts, as in the 1807 beheading of Denkyira king after rebellion.[31] While colonial records from the 19th century note a decline in active executions due to British interventions after the 1874 fall of Kumasi, the symbolic judicial role persisted in customary law, with Akrafena paraded during modern Asantehene durbars to evoke traditional deterrence.[32] Some subgroups, like certain Tɔprɛfoɔ, favored bare-handed neck-breaking for stealthy punishments, but sword use remained predominant for formal, public judicial acts until the early 20th century abolition of capital rites under colonial rule.[34]

Cultural and Spiritual Significance

Symbolism of Soul and Authority

In Ashanti cosmology, akrafena swords carried on the Asantehene's right represent his kra, the individual soul or life-force bestowed by Nyame, the supreme creator deity.[35] These swords embody a distinct spiritual element separate from other regalia, such as those on the left symbolizing sunsum, the temperament or guardian spirit.[1] Ritually, akrafena are washed alongside select items of royal paraphernalia during purification ceremonies to preserve the ruler's vital essence and ensure cosmic harmony.[35] The association with kra underscores the akrafena's role as a conduit for the sovereign's inner vitality, linking personal spirituality to communal welfare; any threat to the king's soul was perceived as endangering the nation's stability.[8] This spiritual symbolism intertwines with authority, as the swords serve as emblems of the throne's prestige and the Asantehene's mandate to govern.[10] Akrafena further manifest authority through their use in oath-taking rituals, where subordinate chiefs (omanhene) pledge allegiance to the Asantehene by invoking the sword's sanctity, reinforcing hierarchical loyalty and the centralized power structure of the Ashanti Empire.[8] Specific types, such as the mpomponsuo akrafena, encapsulate virtues like responsibility, loyalty, and bravery, which underpin the ruler's legitimate command.[6] In this dual capacity, the akrafena transcends mere weaponry, functioning as a metaphysical anchor for both the leader's soul and the polity's ordered authority.

National and Royal Heraldry

The Akrafena features prominently in Ashanti heraldry as both a physical emblem of royal authority and a stylized symbol in Adinkra iconography, where it underscores themes of martial valor and legitimate governance. The Adinkra motif known as Akofena, depicting two crossed swords, represents the "sword of war" and embodies courage, heroism, and the state's ceremonial blades, signifying legality, state authority, and the validated power of rulers.[9] This dual-sword emblem specifically denotes the integrity and prestige of the Ashanti throne, elevating it to a status akin to a martial arts insignia within traditional iconography.[10] In royal contexts, Akrafena swords constitute essential regalia for the Asantehene, with those borne on the right side symbolizing the king's kra (soul or life-force), which are ritually washed alongside other paraphernalia during purification ceremonies to maintain spiritual potency.[2] Distinct varieties, such as the Mpomponsuo sword, are wielded by the Asantehene during the oath of office, encapsulating attributes of responsibility, power, loyalty, bravery, and sovereign command, thereby integrating the blade into the foundational rites of kingship.[10] These heraldic roles extend to the sword-bearers (Afenasoafoɔ), who custodianship reinforces the Akrafena's function as a visible marker of hierarchical order and dynastic continuity in Ashanti statecraft.[36]

Integration in Rituals and Ceremonies

Akrafena swords, translating to "swords of the soul," are employed in restricted private rituals dedicated to the purification of the Asantehene's soul and the broader cleansing of the state apparatus.[4] These ceremonies underscore the blade's spiritual essence, linking the ruler's personal sanctity to communal welfare.[2] During the blackening ceremony, a funeral rite conducted upon the death of a chief, the akrafena features prominently in the ritual blackening of the ancestral stool with gunpowder and herbs, symbolizing transition and ancestral continuity.[10] The swords serve in oath-taking rituals, where chiefs and subjects swear allegiance while grasping the hilt, affirming loyalty to the Asantehene and the Golden Stool's authority.[6] In royal installations, akrafena are presented as regalia, embodying legitimized power and judicial oversight.[37] Bodyguards carry akrafena in public durbars and state processions, such as those marking festivals or diplomatic events, reinforcing hierarchical order and martial readiness.[23] Ethnographic accounts highlight their use in soul-cleansing libations, where symbolic gestures with the blade invoke protection against spiritual impurities.[4]

Martial Practices and Techniques

Traditional Fighting Styles

The Akrafena was employed in traditional Ashanti warfare primarily for close-quarters engagements following initial volleys of arrows, spears, or musket fire, where its broad, curved blade enabled slashing attacks to inflict severe wounds on unarmored opponents. Warriors typically wielded it one-handed to maintain mobility and pair it with a shield or secondary weapon, allowing for rapid strikes, hooks, and deflections suited to the sword's design for cutting through flesh and light defenses.[24] [23] For greater impact, fighters shifted to a two-handed grip to deliver powerful overhead or lateral blows, capitalizing on the weapon's weight and balance for shock tactics that could break enemy lines or counter charges. This dual approach reflected the Ashanti military's emphasis on disciplined asafo companies, where swordsmen executed coordinated maneuvers in dense formations, prioritizing precision over prolonged duels.[38] Techniques integrated elements of agility and opportunism, such as low stances for stability and feints to exploit gaps, though detailed sequences remain preserved mainly through oral traditions in contemporary Akan martial schools rather than extensive written records. The sword's role diminished with firearm adoption by the 18th century, shifting its practical application toward executions and elite guard duties while retaining ceremonial combat demonstrations.[26]

Training and Guard Roles

Traditional training for Akrafena proficiency involved specialized schools in Ghana that preserved Ashanti sword techniques, including approximately 20 fighting postures and low kicking methods integrated with blade work.[12] These practices emphasized close-quarters combat suitable for the sword's design, though by the 19th century, Akrafena use shifted predominantly toward ceremonial functions as firearms dominated warfare.[26] In guard roles, Akrafena bearers, known as Afenasoafoɔ, serve as custodians of the Asantehene's swords, positioning them during processions and audiences to symbolize royal authority and spiritual protection.[39] The chief sword bearer accompanies the monarch to absorb malevolent intent and physical threats, wielding the blade in rituals that ward off evil and affirm the ruler's sunsum (spirit).[40] These guards maintain vigilance at ceremonies, where the Akrafena's presence underscores the fusion of martial heritage with ongoing cultural duties.[41]

Modern Context and Legacy

20th-21st Century Ceremonial Persistence

In the 20th century, Akrafena persisted as integral elements of Asante royal regalia, particularly in state swords used during initiations and political oaths, even amid colonial-era restrictions on traditional authority that were gradually lifted post-Ghana's independence in 1957.[42] These swords symbolized the ruler's soul (kra) and were carried on the right side during ceremonies, maintaining their spiritual and authoritative connotations despite shifts toward modern governance structures.[42] The 21st century has seen renewed emphasis on Akrafena under Asantehene Otumfuo Osei Tutu II, enstooled on April 26, 1999, who commissioned four additional examples—abubummabaa (symbolizing his return to unite Asanteman), sakatempobi (perseverance), esie (Asanteman's value), and ɛsrɛm sei gyata (the king's strength like a leopard)—for use in processions and state functions.[39] Positioned to the right of the Asantehene during public processions and seated audiences, they continue to represent the life-force and ritual purification of the ruler, with specific chiefs serving as custodians, such as Nana Kwame Appiah for abubummabaa.[39] Akrafena also feature in ongoing rituals, including weekly Wednesday soul-cleansing ceremonies and oath-swearing events at Manhyia Palace, where they reinforce chiefly legitimacy and embody Asante values of bravery and communal unity within contemporary political systems.[39][37] This ceremonial continuity integrates historical symbolism into modern Asante leadership, ensuring the swords' role in affirming authority and cultural heritage amid evolving national contexts.[37]

Self-Defense, Collectibility, and Reproduction

In contemporary Ghana, the Akrafena retains limited practical utility for self-defense, having transitioned from a historical battlefield weapon to a primarily symbolic artifact. Historically designed for close-quarters combat among Ashanti warriors, its lightweight iron blade—typically 50-60 cm long—facilitated swift slashes and thrusts in forested environments, aiding personal defense during raids or skirmishes.[23] However, modern legal restrictions on edged weapons and the prevalence of firearms render it ineffective for everyday self-defense, with usage confined to ceremonial demonstrations or traditional martial displays rather than real-world applications.[8] Antique Akrafena command significant collectible value due to their intricate craftsmanship, including engraved blades with Adinkra symbols and hilts of wood, antelope horn, or brass, reflecting Ashanti status and spirituality. Collectors of African ethnographic arms prize 19th- and early 20th-century examples for authenticity, with auction prices ranging from $400 to over $1,000 based on condition, provenance, and rarity; for instance, a vintage Ashanti ceremonial sword fetched estimates in this bracket at specialist sales.[43] High-quality originals, often featuring patinated iron blades and symbolic pommels, are housed in museums like the Brooklyn Museum, underscoring their appeal to connoisseurs beyond mere weaponry.[8] Modern reproductions are produced by Ghanaian artisans using traditional forging techniques, employing iron or steel blades and local materials to replicate historical forms for ceremonial use, cultural tourism, and affordable collecting. These replicas, available through outlets like Etsy and galleries, typically cost $100-300 and serve preservation efforts by enabling access without depleting antique stocks, though they lack the patina and historical aura of originals.[44] Such reproductions maintain design fidelity, including curved blades and symbolic hilts, but prioritize decorative and educational roles over combat functionality.[45]

Preservation Efforts and Cultural Impact

The Ghana Museums and Monuments Board, in collaboration with the National Museum of Accra, launched a pilot conservation project from 2007 to 2010 targeting 95 Ashanti ritual swords, including Akrafena types, to establish a sustainable model for preventive conservation and restoration of cultural artifacts.[46] This initiative involved comprehensive condition surveys of the swords' iron blades, wooden hilts, and associated regalia; training of museum staff in modern conservation techniques; and the development of standardized restoration protocols to address corrosion, structural degradation, and material instability common in humid tropical environments.[46] Outcomes included identification of priority items for immediate intervention and a replicable framework adaptable to other Ghanaian heritage collections, emphasizing local capacity building over external dependency.[46] Traditional craftsmanship supports ongoing preservation through family-based workshops where artisans replicate Akrafena forging methods using locally sourced iron and symbolic hilt carvings, often via apprenticeship programs that transmit techniques orally and practically.[23] Global museums, such as the British Museum and Brooklyn Museum, house preserved examples acquired in the early 20th century, contributing to documentation and public education on Akrafena metallurgy and iconography while preventing further deterioration through controlled storage.[47] The Akrafena exerts lasting cultural impact as an enduring emblem of Ashanti authority and valor, integrated into contemporary royal ceremonies, state functions, and festivals like Akwasidae, where sword-bearers perform ritual dances affirming chiefly lineage and communal unity.[8] Its Adinkra-derived motifs continue to influence Ghanaian visual arts, textiles, and heraldry, symbolizing heroism and resilience in national identity narratives amid post-colonial heritage revival.[23] In broader society, replicas and authentic pieces foster cultural tourism in Kumasi and promote martial heritage through community events, reinforcing intergenerational transmission of Akan values without reliance on militaristic revivalism.[13]

References

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