In Ghana – The Autobiography of Kwame Nkrumah (1971), Nkrumah recounts the deliberations within the United Gold Coast Convention on J. B. Danquah’s proposal for adopting the Akan art motif Funtummireku Denkyemmireku (Denkyemmireku, for short), the proverbial two-headed crocodile, as emblem for the emerging nation of Ghana. Dismissing it as a “hideous monstrosity” that symbolizes selfishness, it was never adopted. Yet, the art motif, a kind of jeremiad that says pity that poor crocodile, whose two heads cannot stop fighting over food, even though they share one stomach, is a recognition of the dialectic of nature as one of unity in diversity, the very essence of the hallowed African monistic thesis of matter. This paper posits that Denkyemmireku embodies a potent philosophical and ideological symbol capable of serving as a usable past for a much-needed reconstruction of a more legitimate African state.
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1 Some aspects of this article have been previously published in the Journal of Black Studies by the author. See, Kwasi Boadi, “The Ontology of Kwame Nkrumah’s Consciencism and the Democratic Theory and Practice in Africa – A Diopian Perspective.” Journal of Black Studies, Volume 30, Number 4 / March 2000, 475–501.
