Obatala, the oldest of the orisa responsible for liter-
ally 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 (tradi-
tional priest) of the Akan tradition embodies the
spirit of Nana Esi Ketewaa, the obosom who pro-
tects 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 sym-
bolism 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 mes-
sages 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 darker174 Color Symbolism
Black (Tuntum) Darkness, loss, death, spiritual and physical maturity; used to express sorrow and bad
fortune, as is the case when worn for funerals; but also used to express spiritual potency,
as is the case of the blackened stools of traditional rulers and elders
Grey The color of ash, thus representative of healing and spiritual cleansing
Maroon Same symbolism as reddish-brown; associated with Asase Yaa (Mother Earth); associated
with clay, which is seen as a healing and purifying agent
Purple Similar to maroon; also associated with femininity and thus more often used and worn by
women; also associated with royalty
Red (Kobene) The color of blood; associated with both life and death; also associated with ritual
sacrifice; more often used to express a heightened spiritual state
Pink Femininity; associated with calmness and sweetness
Blue Associated with water and thus represents healing and spiritual peacefulness
Green (Bun) Associated with vegetation and herbs; symbolizes growth, abundance, fertility, and
spiritual rejuvenation; used in purification rituals
Yellow Associated with the mineral gold; symbolizes preciousness, royalty, wealth, and fertility
Silver Femininity; associated with the moon; purification; mothering; a form of white and, as
such, symbolizes purity
White (Fufu) Associated with victory and spiritual purity; sacred; expresses joy and well-being;
associated with hyire (white spiritual clay) used in spiritual purification; communicates
transition from one spiritual state to a more elevated one
Table1 SymbolicMeaningofParticularColors