NEEDLEPOINT TECHNIQUE AS A MEDIUM FOR CULTURAL EXPRESSION: A CASE STUDY OF THE BAMAYA DANCE IN TEXTILE ART

Abstract

The needlepoint technique, a decorative textile art traditionally used in upholstery and surface design, remains underexplored within Ghana’s tertiary textile education despite its potential for artistic innovation and cultural preservation. Similarly, the Bamaya dance of the Dagomba people, renowned for its symbolic costumes, rhythmic movements, and historical depth, has received limited scholarly attention as a source of design inspiration. This study bridges these gaps by employing the needlepoint technique to reinterpret the aesthetic and symbolic features of the Bamaya dance into a contemporary textile-based interior décor piece. Adopting a qualitative, practice-led methodology, the research integrated studio experimentation, iterative reflection, and design refinement. Selected Bamaya motifs, colour schemes, and movement patterns were analysed and translated into needlepoint compositions using computer-aided design (CAD) software for pixelation, colour mapping, and stitch planning. Production processes included canvas preparation, sequential stitching, background filling, motif outlining, and finishing. The resulting wall hanging demonstrated that needlepoint, enhanced by digital tools, can effectively convey the movement, symbolism, and visual rhythm of the Bamaya dance. The work proved aesthetically appealing, durable, and contextually appropriate for interior branding, particularly in educational or cultural settings. The findings underscore the potential of integrating indigenous cultural expressions with contemporary textile practices to enrich creative pedagogy, promote skill diversification, and support the revitalization of Ghanaian traditional arts. The paper recommends that the integration of traditional cultural expression with modern textile methods provides a valuable pedagogical model for future textile design education, encouraging culturally responsive creativity and innovation.