Ghana · Metalwork / Blacksmithing

Akan Goldweight Lost-Wax Brass Casting

Mrammuo (also abrammuo); the goldsmith/caster is a sikadwumfo, or odwumfo (skilled craftsman)

The lost-wax (cire perdue) casting of brass goldweights and related objects by Akan, specifically Asante, metalworkers of Ghana, historically centered on Kumasi and its surrounding craft villages, notably Krofofrom and Adum Ensuasi. A wax model is sculpted by hand, encased in a clay mold, and heated so the wax melts and drains out, leaving a hollow cavity into which molten brass is poured; once cooled, the mold is broken to reveal the unique cast piece, since each mold is destroyed and no two goldweights are identical. Used for centuries to measure precise quantities of gold dust — the primary currency of Akan trade from the 15th to 19th centuries — goldweights evolved from simple geometric forms in the 1400s to elaborate figurative imagery by the 1700s, depicting proverbs, animals, and cultural scenes, and continue to be produced today, though contemporary quality is documented by academic research as measurably diminished relative to historic castings, prompting ongoing craft-improvement research at Kumasi's technical university.

Risk level: Endangered · Not independently inscribed

Alternate Names
Asante casting; Ashanti brass casting
Geographic Center
Kumasi and surrounding Ashanti Region craft villages, notably Krofofrom, Adum Ensuasi, and Kentenkrono
Community / Ethnic Group
Akan people, specifically the Asante (Ashanti)
Estimated Origin
Documented casting practice dates to at least the 1400s, with the goldweight tradition tied to the Akan gold trade that flourished from the 15th to 19th centuries; the weight system itself corresponds to the Islamic weight system of North Africa, suggesting introduction through early trans-Saharan trade with Muslim merchants predating direct European contact; brass casting specifically at Ampabame Krofofrom is documented as coinciding with the reign of Asante King (Asantehene) Nana Prempeh I
Cultural Function
Practical trade tools for measuring precise quantities of gold dust in economic transactions; also a repository of cultural wisdom, with figurative goldweights depicting proverbs, animals, human scenes, and Adinkra symbols, playing a significant role in Asante oral tradition and storytelling; gold and its associated regalia were closely tied to kingship and royal authority, with true goldsmiths supplying golden regalia to chiefs for state ceremonies
Primary Materials
Brass, historically imported
Primary Tools
Sculpting tools for detailed beeswax model work
Process Overview
Sculpt a detailed model directly in beeswax, encase the wax model in a clay mold, heat the mold in a furnace to melt and fully drain the wax through a channel, pour molten brass into the resulting hollow cavity, allow the metal to cool, and break away the clay mold to reveal the unique cast piece — a lost-wax technique historically producing goldweights (mrammuo) used for centuries to measure gold dust in Akan trade, evolving from simple geometric forms to intricate figurative imagery encoding Akan proverbs and cultural wisdom.
Traditional Applications
Measuring precise quantities of gold dust in economic transactions; royal regalia for chiefs and state ceremonies
Contemporary Applications
Continued production of brass objects — bells, rings, beads, jewelry, and reproduction and original goldweights — for local use and international collector and decorative markets
Notable Practitioners
Osei Kojo, documented in 1980 at age 80 as the last metalworking specialist in the Techiman region still using lost-wax casting for a range of brass objects; Amadu Kramo, a contemporary Kumasi craftsman working in brass jewelry and figurative goldweights; Akwasi Noreur, a contemporary brass craftsman from Krofofrom, directly interviewed demonstrating the lost-wax casting process
Key References
Kissi et al., 'Beeswax in Asante Castings: The Then, Now and the Way Forward' (peer-reviewed, KNUST, Journal of Arts and Humanities); University of Iowa Stanley Museum of Art, 'Akan Brass Casting' (naming Osei Kojo); Penn Museum, 'The Lost Wax Casting Technique' (Expedition Magazine, 1973 Kumasi fieldwork); Ganoksin Jewelry Making Community, 'Ashante Casting'; Esteemed Antiques, 'Antique African Trade Bead Necklaces Guide' (authenticity-verification detail)
Verification Status
Desk-Researched

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