The Takoradi Masquerade Carnival, locally known as Ankos, originated in the early 1920s with the “Nobbles” group, founded by Janka Abraham.
Its unique character is a fusion of local traditions and European influences, where early groups creatively parodied colonial-era professions. Celebrated around Christmas, the festival features masquerade groups(including Ankos, Cosmos, Holy City, Sunnato, Valencia, Canadians, Chinese, Tumus, Oil City, Mississippi, Iron Fighters, Miami, Spain, USA, Millionaires, and Ohyemu), in vibrant costumes who parade through the streets to music and dancing. From these beginnings, it has grown into a major cultural event that now attracts both locals and tourists.
This artistic installation is a living metaphor for the historical, economic, and social fabric of the twin cities (Sekondi and Takoradi). It moves beyond a general concept of identity to tell a specific story of shared labour, intertwined destinies, and the active, ongoing creation of unity.
Artist Amoako presents a vibrant, square shaped pavilion that rises like a tent of togetherness. This captivating installation is constructed from the distinct uniforms of various fancy clubs, meticulously and intentionally deconstructed and re-assembled. Through a process of symbolic stitching, Amoako merges these unique identities into a new, cohesive whole, challenging perceptions of individuality and community.
The piece is anchored by a circle of vintage sewing machines, whose humming needles feed threads directly into the fabric of the tent. These threads are not merely functional; they are visual metaphors for the active, ongoing work required to maintain unity. They pulse with a quiet energy, connecting the legacy of our collective labour to the vibrant promise of a shared identity. This artistic installation sanctuary is nurtured by a silent, mechanical silent choir: a perimeter of sewing machines, each one a steadfast guardian. From them, countless threads stream forth, lifelines of connection that bind the mechanical to the magical. They speak of a connectedness that is built, piece by piece, fostering a profound sense of peace and collective identity.
However, The installation becomes a mirror for the community. For some, it is a purely visual symphony of colour and form. For others, it stirs a deeper resonance, the familiar hum of a family memory, or the triumphant joy of finding one’s own story lovingly stitched into a larger, more beautiful narrative. In this space, Amoako does not just display art; he cultivates a living emblem of unity, where every patch and every thread is a testament to the power of togetherness.
Source By Prince Kwame Wonder
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