Ghana: Kumasi – Manhyia Palace Museum

The museum we were visiting was called the Manhyia Palace Museum, the former palace of the Ashanti King. The Ashanti people, also spelt “Asante,” are an Akan ethnic group native to Ghana, primarily concentrated in the Ashanti Region. They are one of the most prominent and influential ethnic groups in West Africa, known for their rich culture, advanced political system, and resistance to colonialism.

The Ashanti trace their origins to the Bono people, one of the earliest Akan states in modern-day Ghana. By the 17th century, the Ashanti formed their state, centred around Kumasi. This period marked the rise of the Ashanti Empire, established under the leadership of Osei Tutu, who united various Akan clans into a centralised kingdom.

Osei Tutu’s reign was notable for introducing the Golden Stool (Sika Dwa Kofi), a sacred symbol of Ashanti unity, power, and spiritual authority. According to Ashanti tradition, the stool descended from the heavens and represented the soul of the Ashanti nation. It remains a revered symbol of their identity.

The Ashanti Empire grew rapidly, becoming one of the most powerful states in West Africa by the 18th century. It was characterised by a sophisticated administrative structure, with a confederacy system led by the Asantehene (king). The Ashanti also maintained a highly organised military, which enabled them to expand their territory and control lucrative trade routes, particularly in gold and kola nuts.

The Ashanti were adept at engaging in trade with European powers, particularly the Dutch and British, exchanging gold, slaves, and other goods for firearms and other imports. This trade contributed to their wealth and influence in the region.

The Ashanti fiercely resisted British attempts to colonise their territory in a series of conflicts known as the Anglo-Ashanti Wars (1824–1900). Despite their military prowess, the Ashanti eventually succumbed to British forces in 1901, when their territory was annexed into the British Gold Coast colony.

The history of the Manhyia Palace dates back to the 1920s. Asantehene Prempeh I (the word ‘Asantehene’ is the Ashanti term for king) ascended to the throne in 1888, he was only 18 years old. He worked tirelessly to restore independence for the Ashanti people and refused to sign treaties that would make the Ashanti a British protectorate. In 1896, the British launched a military expedition to Kumasi, the Ashanti capital, under the guise of quelling unrest and enforcing trade agreements. Prempeh I, aiming to avoid unnecessary bloodshed, surrendered peacefully. However, he and key members of his court were captured and exiled to the Seychelles. This marked the effective end of Ashanti sovereignty.

Prempeh I spent nearly 25 years in exile, during which time the Asantehene Palace was destroyed by the British. Manhyia Palace was constructed in 1925 by the British colonial authorities after the return of the Asantehene Prempeh I from exile in the Seychelles. Initially, Prempeh I refused to move in insisting the Ashanti people pay for the palace so he would not be indebted to the British – which they did.

Manhyia Palace served as the primary residence of the Asantehene and a symbol of Ashanti sovereignty. It became a centre for political administration and cultural activities, housing the royal court and serving as a gathering place for traditional ceremonies and festivals, including the renowned Adae Kese festival.

In 1944, the original Manhyia Palace was converted into a museum by Asantehene Agyeman Prempeh II. This transformation marked the construction of a new palace nearby to serve as the residence of the Asantehene.

The tour of the Manhyia Palace Museum starts in a small gallery with some artefacts relating to the Ashanti people and photographs of Asantehenes meeting dignitaries in recent years. Inside the gallery was a small theatre showing a short film introducing the Ashanti people, their history and customs.

The main part of the tour takes place inside the rooms of the Palace which have been preserved as they would have been during the time it was home to the Asantehene.

The living room was the first place we visited. It was very modest indeed – we have had houses with a larger living room. In the room was a sofa surrounding an ancient TV set – the first one in Ghana. There was also an old radio set and a record player, similar to one my grandad owned. Next to the living room was the dining room, which also had some thrones owned by previous Asantehenes. There were also some wax figures of Prempeh I and the Queen Mother. It is significant to see the Queen Mother next to the King as they play a major role in the Ashanti Royal Family.

Ashanti Queen Mothers play a crucial role in the governance and cultural heritage of the Ashanti people in Ghana. These women, often selected from royal lineages, serve as advisors to chiefs and are highly respected figures in their communities. Their responsibilities extend beyond ceremonial duties, encompassing mediation in disputes, ensuring the welfare of their people, and preserving traditional customs. Queen Mothers are also instrumental in mentoring the youth and promoting education, particularly for girls, within their societies. Their influence reflects the matrilineal structure of Ashanti society, where lineage and leadership often pass through the female line, highlighting the enduring significance of women in the region’s socio-political landscape.

We then went to the first floor, which would have been the bedroom, but today it is an exhibition space. In the display cabinets were examples of Ashanti gold craftsmanship. Ashanti gold craft is a celebrated tradition of artistry and cultural heritage originating from the Ashanti region of Ghana. Renowned for its intricate designs and symbolic motifs, this craft reflects the rich history and spiritual significance of the Ashanti people. Goldsmiths use age-old techniques like lost wax casting to create stunning ornaments, ceremonial items, and jewellery that often incorporate Adinkra symbols, representing values such as wisdom, strength, and unity. These items were much coveted by the British colonists, who took them and sent them back to Britain. Some of the stolen pieces found their way into private hands and ended up in the United States. The British Museum has loaned some of the stolen items back to the Manhyia Palace Museum and other items were given back by the private owners in the United States.

In another room was another wax figurine of Yaa Asantewaa, the Queen Mother of Ejisu. She was a significant figure in the history of the Ashanti. The Ashanti War of the Golden Stool (1900), also known as the Yaa Asantewaa War, was a significant conflict between the British colonial forces and the Ashanti Empire in what is now Ghana. The war was sparked by the British demand to confiscate the Golden Stool, a sacred symbol of the Ashanti people’s sovereignty, unity, and ancestral heritage. The British governor, Sir Frederick Hodgson, sought to sit on the stool, an act seen as a profound insult to Ashanti traditions. This demand triggered fierce resistance led by Yaa Asantewaa, the Queen Mother of Ejisu, who rallied the Ashanti people to defend their cultural and spiritual symbol. The war was marked by intense fighting, with the Ashanti displaying extraordinary courage despite being outgunned. Although the British eventually suppressed the resistance and exiled key Ashanti leaders, including Yaa Asantewaa, the Golden Stool was never captured. The conflict is remembered as a defining moment in the Ashanti’s resistance to colonial domination and a testament to their unyielding commitment to their cultural identity.