I am eternally grateful to the following
remarkable people, who helped
make this project as surefooted at it is:
NII ABEKA NAI-TETE
The ever-tenacious, US-based GaDangme historical researcher, crypto-historian, lecturer and writer, whose deep knowledge of Gadangme history and lore, and his painstaking research establishing tangible correlations between the Gadangme and the ancient Nubians and Egyptians, inspired me to ask him to validate the Abëtëi. I sent him a fervent email, and he replied readily. His genius for philosophical analysis and interpretation quickly changed my perspective on the whole project. He also observed, graciously, that I was reviving the extinct Gadangme Kpamo Emblems at the behest of atavism. Very empowering thought, indeed. Nevertheless, Nii Abeka also corrected my Ga grammar, inflective errors, and even symbolic misassignments. I recall one poignant moment, during the validation process, when he advised the reassignment of an emblem. His reason was that it had an ethereality deserving of higher assignment. He was right. I went away quietly to wait for a befitting proverb to dawn. It came almost immediately, and that emblem duly became Aheleee Hunu Ni Akwa Nyuñmor (You Do Not Bask in the Sun Then Deny God). Having developed these emblems from noumenal foundations, I was suddenly experiencing something approaching apotheosis. Thus charged, I decided to extend the series to forty-four emblems, for the purposes of symbolic and physical balance. Crucially, Nii and I had established a rare interpretive synchronicity, which has fuelled our discussions of traditional poesy, abstraction and symbolism, despite my halting Ga. Thanks to him, I now think in an old language—as he calls it—which I wish to protect forever, because it makes tactile for me that elusive, ulterior driver: inspiration.
REV. PROF. KUDADJIE
His brilliant essay ‘Using Ga and Dangme Proverbs for Preaching and Teaching’, published in Wajibu (vol. 14), gave me back the timbre of Gadangme proverbs I had lost in all my years away from Ghana. It also exposed me to modern phonetic devices that made it possible for me to present my Ga language text without the need of a special keyboard or wizardry. Though I did not meet him, this venerable ethicist was an invaluable ally in this quest.
JANE ALEXANDER
My friend and inspired South African sculptor, who kindly incorporated my emblem, Nshön Looflö Kë Looi Epleee Kööyöö He, in her beached barge installation at the 2nd Triennial for Contemporary Art by the Sea; Ostend: PMMK Museum of Modern Art and the North Sea Coast of Belgium (April 1–October 1 2006). It was a great honour to see my work outdoored in such a beautiful, rarefied context, where it served as the insignia of territorial restraint.
MARISA RINALDI
My friend and innovative Italian interior designer and lecturer, who spearheads the conception and implementation of a future monumental setting for the Abëtëi. I am touched by her enthusiasm for this arcane artform.
HELEN ANNETTE ANNOBIL
My artist wife, on whose expert eye I often called upon when faced with an aesthetic quandary. That and her numerous sacrifices helped bring this project this far.
BRENDAN KOFI ANNOBIL and NANA YAA ANNOBIL
My children, whose enthusiasm and acutely artistic eyes helped me make crucial design choices for this monograph. They never cease to amaze me with their understanding of my artistic idiosyncrasies.
EMMANUEL ANNOBIL
My brother, who helped me in the final stages to tease out of my faltering Ga language the subtle touches I needed for figurative translation, in some cases. His mastery of Fanti and Ga, the two great languages of our family, is a blessing.
THE LATE PROF. ATUKWEI OKAI
The Late legendary Ghanaian poet and my personal mentor, whose Avant Garde poesy has underpinned my entire artistic output since my childhood. I hereby declare him the spiritual custodian of these emblems, till the end of time.