In this post I scratch the surface a little about African continuities in our art and show that West African art is very much part of our daily lives.
The adinkra symbol you see to the top left is called the Nyame Dua (God's Tree). To some West Africans, it signifies God's omnipresence and eternal nature. This Nyame, is the Asante God Onyankopong, is still venerated by the Jamaican Maroons and is commonly known as Nyangkipong. I'm not sure whether there is an association in meaning with the maroon village called Accompong. This symbol is replicated on gate after gate and on the grillwork on verandahs and carports all over Jamaica. Like here:
Another motif, the Sankofa is a stylization of a bird of the same name. You can see from the drawing beside the symbol here:
This bird is shown turning its head towards its tail, signifying that it is good to turn to the past and learn from it, as Del rightly noted in her comment on the last post. This is also a commonly used motif in Jamaican grillwork.
I've also noticed these other motifs below in our grill work as well as wall moldings.
They all have their profound meanings and can be seen in West Africa, notably on fabrics, but also on walls, jewellery and else where.
Patricia Bryan, in an African-Caribbean Institute of Jamaica article, notes that there is no available evidence that the meanings of these motifs have been retained in Jamaica. But she suggests that their prevalence in architectural decorations may well be a case of reinforcement of a predisposition. The andrinka symbols would have been used by the slaves who did not only plant sugar cane but they also built furniture, plantation houses, roads and bridges. Our craftsmen gravitated toward an art form which they saw around them, and for which they had an innate taste.