Color Symbolism

Color symbolism is especially important in Africa, not just in terms of art or aesthetics, but in relation to traditional spirituality and spiritual practices. Unlike more recent Western esoteric analyses that acknowledge the ability of particular colors to elicit specific emotional responses, within most African conceptualizations, colors are reflective of specific life forces and, as such, are often relied on and furthermore utilized in the manipulation of cosmic energy. The use of particular colors in certain situations for specific purposes is believed to release their intrinsic powers. Thus, extreme care is taken to use and wear, as well as avoid, particular colors on ritual occasions.

Throughout the Diaspora, the importance of color symbolism can be witnessed through the representations of various deities and the subsequent ritual practices of their devotees. In Yoruba, [Page 173]Obatala, the oldest of the orisa responsible for literally shaping human form, is considered the “King of White Cloth.” Obatala is regarded as the orisa of wisdom and purity, and his representative items are always white. Similarly, the Obatala of Santeria and Lukumi also wear white. When an okomfo (traditional priest) of the Akan tradition embodies the spirit of Nana Esi Ketewaa, the obosom who protects fertility and children, she is recognized by the blue and white cloth that she wears, the same cloth associated with purity, healing, and childbirth, and more often used for traditional naming ceremonies. Similarly, ritual artifacts used by devotees also reflect the attendant care and specificity given to color representation. Thus, the altars constructed and elekes (Yoruba)/collares (Santeria)/ahenes (Akan) (traditional/spiritual beads possessing the energy of the respective deity) worn by devotees are easily recognized by their colors.

Although there are similarities in the color symbolism of various cultural groups within Africa, the topic of an “African” color symbolism is too broad to be covered here given the numerous and variable specificities of each cultural group. This entry, then, examines the color symbolism of one cultural grouping, the Akan of Ghana.

Color symbolism among the Akan represents a complex language through which to read the beliefs of the people, which are unquestionably related to their ontology and cosmology. The specific symbolism of particular colors is more commonly recognized through the production and adornment of Akan textile arts, namely kente and adinkra cloths. In the example of kente, the quintessential and most revered of Akan textiles, combinations of colors are selected to communicate particular symbolic meanings and messages. Individual choice in kente is thus determined more by the occasion on which it is to be worn than by individual taste. In the case of adinkra cloth, the combination of both colors and symbols imply particular messages related to morality, ethics, sociopolitical status, and faith in the power of Nyame (Creator/Supreme Being) (see Table 1).

For ritual purposes, the Akan rely on three main colors: red (Kobene), white (Fufu), and black (Tuntum). All other colors are considered to be variations of the three; white is composed of white, yellow, and pink; red is composed of red, purple, darker pinks, and orange; and black is composed of black, blue, indigo, and darker [Page 174]shades of brown. Thus, the colors red, white, and black should be understood as representative of themselves as well as the range of colors associated with them.

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