The Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) has unveiled One Must Be Seated, a profound and evocative solo exhibition by Ghanaian-American artist Rita Mawuena Benissan. Rooted in Ghanaian culture, this exhibition reimagines and celebrates the symbolic elements of Akan chieftaincy—most notably the royal umbrella and stool—through an intricate interplay of history, artistry, and cultural identity.
Running from November 14, 2024, to October 5, 2025, on Level 3 of the museum’s Silo Side, the exhibition takes visitors on an immersive journey into the enstoolment tradition of the Akan people. This centuries-old process, akin to a coronation, is a sacred rite where a prospective chief assumes their rightful place within the community. Through multimedia installations, including sculpture, tapestry, photography, and video, Benissan deftly navigates the intersection of heritage and contemporary art, creating an environment where the past and present coexist in powerful dialogue.
Exploring the Symbolism of the Royal Umbrella and Stool
Central to Benissan’s artistic exploration are the royal umbrella and stool, integral symbols of leadership and power in Akan chieftaincy. The royal umbrella, historically used since the 17th century, signifies the chief’s elevated status and serves as a protective and transformative object. Its intricate design—including bold colors, unique gold totems, and woven Kente cloth—captures the vibrancy of Asante customs. Under its shade, the chief’s thoughts are believed to remain hidden, symbolizing a divine separation from the heavens above.
Benissan reimagines this cultural object by drawing on archival research and traditional craftsmanship. In The Triumphant King Rules (?hene a wadi Nkonim No Di Tumi) (2023), she incorporates portraits of past chiefs into the umbrella’s fabric, blending traditional materials with contemporary elements like rich velvet. By collaborating with artisans from Kumasi, Benissan ensures the authenticity of her pieces while honoring the craftspersons who sustain these traditions.
A Journey Through the Galleries
The exhibition is meticulously designed to mirror the stages of enstoolment, inviting visitors to immerse themselves in a ceremonial experience.
Ancestral Call and Reflection
The journey begins with the film One Must Be Seated (2024), which offers a vivid portrayal of a chief-elect’s encounter with ancestral spirits. The work challenges visitors with a profound question: “Have you not seen the seat that we made for you? You were made to be seated.” This introspection sets the tone for the exhibition, as viewers are drawn into a narrative that blends personal growth with communal responsibility.
Celebration and Procession
The following galleries simulate the vibrancy of a royal procession. In We Process at Sunrise (2024), a grand tapestry depicts the Asante palace at dawn, capturing the anticipation and energy of the enstoolment ceremony. Hanging multicolored umbrellas, part of the From Most High (I–VII) series, recreate the grandeur of the royal canopy. Visitors are invited to walk beneath these umbrellas, symbolically stepping into the presence of royalty.
Duty and Legacy
A highlight of the exhibition is the presentation of two monumental Kyiniye (state umbrellas) in the penultimate gallery. Positioned on a raised platform reminiscent of the Manhyia Palace stage, these pieces embody the chief’s role as a protector and unifier. The intricately embroidered canopies feature historic imagery, including depictions of Nana Kwaku Gyan, a famed war chief, and hand gestures symbolizing the transfer of power.
The Sacred Stool and Ancestral Connection
The exhibition culminates with The Blackened Seat, a sacred stool adorned with golden studs, traditionally used as an altar for ancestral spirits. Accompanied by a two-channel video, this installation invites viewers to engage with the spiritual dimensions of chieftaincy. The juxtaposition of archival footage with fictionalized scenes underscores the enduring significance of these traditions in contemporary Ghanaian identity.
Honoring Women’s Roles in Chieftaincy
In a photographic series titled I Am the Members of My Mother, Benissan highlights the pivotal role of Obaahemaa (queen mothers) in Akan culture. As Kingmakers, these women are instrumental in guiding chiefs and maintaining the connection between the living and the ancestral realms. The portraits in this series capture moments of mentorship and affirmation, emphasizing the often-overlooked contributions of women in sustaining the chieftaincy’s legacy.
About the Artist: Rita Mawuena Benissan
Rita Mawuena Benissan (b. 1995, Abidjan, Côte d’Ivoire) is a Ghanaian-American interdisciplinary artist celebrated for her innovative approach to Ghanaian cultural narratives. Based in Accra, Benissan’s work merges historical research with artistic practice, reimagining traditional symbols to address contemporary themes of identity, heritage, and power.
Her academic journey began in the United States, where she earned a BFA in Apparel and Textile Design from Michigan State University in 2017, followed by an MFA in Photography and an African Studies Program Certificate from the University of Wisconsin-Madison in 2021.
In 2020, Benissan founded Si Hene, a foundation dedicated to preserving Ghanaian chieftaincy and traditional culture. Her contributions to the arts include curatorial roles at the Institute Museum of Ghana and leadership in the reopening of the National Museum of Ghana. Internationally, her work has been showcased at prestigious venues such as Dak’Art Biennale, the Venice Biennale, and 1-54 Contemporary African Art Fair.
Rita’s collaborative approach, particularly her engagement with Kumasi artisans, underscores her commitment to honoring Ghana’s cultural legacies. Her practice is a testament to the transformative power of art in preserving and reimagining heritage, making One Must Be Seated a landmark exhibition at Zeitz MOCAA.
Image credits: Courtesy of the artist, Zeitz MOCAA, and Brendon Bell-Roberts.
