THE 180 PLUS PAGES herein were photo’d by: Curtis J. “Kojo” Morrow ©
The Artist's Odyssey Artist, Jewelry-Craftsman and Author; Curtis “Kojo” Morrow was born in March of 1933 in Chicago, Illinois. He attended elementary school at Doolittle, Douglas and Phillips. When his family moved to Michigan, Morrow, on his seventeenth birthday asked for his mother’s consent to drop out of Buchanan High School and to join the U.S. Army. While training at Fort Belvoir, Virginia, Morrow learned of the escalating conflict in Korea and volunteered for service. Morrow was sent to Korea and assigned to the Army’s last all-black unit, the 24th Infantry Regiment Combat Team, aka Deuce4, the last unit of the original Buffalo Soldiers. Wounded twice, Morrow received the Purple Heart, the Bronze Star for heroism, the Combat Infantry Badge and four Battle Stars. After Korea, he spent two years as a paratrooper in Japan, before being honorably discharged in 1954. He attended the American Academy of Art, in Chicago from 1957 to 1959, then mentored by Mr. Gus Nalls in oil painting. Moving to New York in the early 1960s, Morrow joined a group of Black Artists (20th century Art Creators) and intellectuals. It during that time he became disillusioned with America and drawn to Africa, and in 1965 he left for Ghana with less than $300 in his pocket. An admirer of Ghana President Kwame Nkrumah, Morrow was welcomed at the airport by one of President Kwame Nkrumah's advisor, Tom Feelings. Mr. Morrow spent the next eleven years living in Ghana, Togo and the Ivory Coast, learning traditional woodcarving and jewelry craftsmanship and fully immersing himself in the culture. Morrow was adopted by an Ashanti-Paramount chief in Ghana and given the name “Kojo Acheampong.” In Ghana during the 1960s and 1970s, the African American expatriates included artists Tom Feelings, Julian Mayfield, Maya Angelou, historian Nell I. Painter, and Alice Windom and Dr. Shirley Graham DuBois. On his returned to the United States in 1976, Morrow was able to contribute to the growing interests in African art and culture. In addition to his art and jewelry, Morrow has published The Return of the African-American, detailing his journey of self-discovery to Africa. His second book, What’s a Commie Ever Done to Black People?, details his experiences in Korea and explores what it is like to fight as a United States soldier for other people's "freedom" while suffering from racial discrimination in that same army. More recently, Morrow has been working on an illustrated children’s book based on African mythology.
1950Author - at age 17
The Author standing (2nd on left) on his initiation day 1966
BIRTH OF THE CRAFTSMAN
During my 4th year in Ghana, our area (Abeka) was electrified
Some of my pieces, carved from cow-horns.
Type to enter textA Ghanaian Visual Artist Mr. Ablade Glover, introduced me to the Adinkra Symbols which I in turn made reproductions of, as jewelry.
We craftsmen and traders usually knew of every group of foreign tourists months before they arrived. We also knew their habits and many knew their language. Craftsmen and sellers worked together, when necessary, and exchanged information pertaining to trading. We were interested in politics mostly when it affected trade, which was often the case. We faced such problems and usually found ways around them. Usually traders would buy from craftsmen that lived in the bush, then sell in the city or elsewhere. But most gold or silversmith jewelers made and sold their own works since there was always a market for their crafts, and they were easy to carry. Ivory carvers also sold to traders. In West Africa the gold and silversmiths ranked top among craftsmen. Their acknowledged masters are the Senegalese and Ashanti. Next are the ivory and wood carvers. Their masters are the Nigerian and Ewe craftsmen. I was a cow-horns and ivory carver. I made reproductions of traditional art in the form of jewelry, such as earrings, bracelets, pendants, and rings. So I was also in the elite class, our problem's were the same we couldn't produce enough to make any real money. The lack of technology and modern equipment was our setback, and the only place to get it was outside of Africa.
 I paid a year's rent in advance, which came to about seventy-five American dollars. A common laborer at that time earned about thirty to forty dollars a month. Since I ate all the Ghanaian foods and lived in the same lifestyle, I had few problems, at least, no more than anyone else.
My work improved to the point where it began to sell. I taught Otu (my assistance) how to, soon as I figure things out.. We called ourselves, The EARN WHILE WE LEARN� workshop. We also used seeds to make earrings and necklaces, which we polished by dipping in clear lacquer which enhanced its natural colors and texture, the same as cow-horn. I was also learning to carve small masks, which the local craftsmen, gave me tips on making. We would sell our work by going to Americans and Europeans bungalows in the evenings. There we would display our jewelry and allow them to make "batterbatter" (bargaining). Those were very pleasant occasions.
 Since most of the wood carvers were Ewe and I had an Ewe woman, they took a liking to me and invited me to their workshops. They taught me many of their secrets. I also learned how they migrated from country to country depending on the availability of certain woods, or the market, or just to be a master in one's own house. In the evenings we would sometimes meet in a local pub. There we would pour libation to our ancestors, then entertain ourselves with good conversation and cold beer. African carvers appreciate Onyame (the Creator) for blessing them with the gift to create works of art that others may cherish. They believe it is the spirits of their ancestors that guide their hands and eyes as they work. Therefore, they praise Him before and after each piece of work with a prayer and libation. My favorite is; "The carving is from the tree, The tree is from the earth, we too are from the earth so we are one."
One morning I met a woman in the Agogo's village market, she told me she had just returned from Abidjan, and was in Agogo visiting some of her family and selling some of the things she had acquired while in the Ivory Coast. I invited her to my house and introduced her to my work, we talked about my possibilities in Abidjan. She assured me that my jewelry would sell there, and with the money I could buy things that could be sold here in Agogo, or anywhere in Ghana for that matter. She told me, when I come to Abidjan I should be sure to look her up and she would gladly introduce me to the markets there. She also informed me that Abidjan was in some ways like Paris. The hotels were beautiful, the most famous being Hotel D'Ivory, which was like a city within a city and said to be the most fabulous hotel in all of Africa. Every accommodation you could think of was within its grounds. We cooked and ate our evening meal together, afterward she passed the night at my place, since it was closer to the lorry-station. The next morning before leaving, she told me that Europeans in Abidjan liked ivory, and I should try to make as much of my jewelry from ivory as possible. I accompanied her to Kumasi (about 52 miles from Agogo), there we parted company. She continued her journey to Abidjan by way of Dormaa Ahenkro. I went to Odum Street in Kumasi, which is the capital of the Ashanti region and has workshops with many ivory- carvers. They gave me plenty of information about the Ivory Coast, where some of them had lived and worked before. I brought small ivory chips from them, some no larger than my hand. They also allowed me to collect some of the smaller chips from the floor.Back at Agogo I busied myself getting ready for the journey. Which would be the first of many such journeys, during the eleven years I lived in Ghana . For more details checkout my African memoir: “MY SANKOFA.”
Early carvings using horns and ivory clips
On my return to America in 1976, I applied my carving skills to carving-wax for jewelry models, which when casted to metal, is used to make rubber molds.
First lost wax casting of Traditional African Symbols Casted In Silver.
Some pieces were inlaided with Carved Amber and Ivory.
My 1st attempt at fabricating rings and setting gems.
Fast forward, nothing to it,, once you get the hang of it . .
Injecting rubber mold with wax for casting.. Photo on left is wax-patten after cooling.
LOST WAX CASTING, PROCESS.
Shown here are Kemetic (Ancient Egyptian) Symbols carved from wax to make an initial Cartouche for a client, as seen below lower right..
Carving wax models upper left, set up pieces, casted pieces before soldering to base.. Below left, finish chess pieces, and cartouche, bottom right.
Earplugs made from Amber, Ivory and Bones. Also 14-k Gold Friendship Rings, Also African Traditional Designed Silver and Gold Earrings. All Custom made Orders.
14kt Gold Casting
Cleaning & Polishings
Partially carved Ivory Piano-Keys & CowHorn.
Poro Mask Mounted on Silver Ring.
Traditional African design Pendents Casted in Gold
An assortment of silver and amber jewelry.
Just polished 14k Gold with diamonds Wedding Ring
Carved Yellow Amber & Red Bakelite Mounted On Silver Rings
Pyramid Ring with 10pt Diamond
Red Bakelite Mounted on Silver Rings
14kt Blossom & Pyramid Rings
Custom Designs Rings in 14kt Gold
Egyptian Scrabb Mounted on 14kt Gold Band
Lovely hands Deserve Beautiful Jewelry
Ivory Earplug
Brass Adinkra Symbols on Leather Barrette
Traditional designs reproduced as Chess Pieces casted in Bronze
Bronze & Silver Hair Ornaments
Modern & Traditional Designed Gold Pendents
Nubian Head on 14th Gold Ring & Large Amber mounted on Silver.
Gold & Diamonds Bracelet with Initial’s G for the Lady. - Initials AMA Ring for the Gentleman.
Gentleman’s Initial Ring Before Setting Diamondas
Display of jewelry Ready for Exhibit
After 35 years of jewelry designing and lost-wax casting, I have returned to my first love, oil painting and photography. Photos in this gallery, for the most part, was shot during my last visit to Ghana and my adoptive village of Agogo, in the Ashanti-Akim area , during Ghana's 50th anniversary, March 2007..
Nana Sapone Agogo-Hene, 13 1/2” x 16 1/2” Digital Photo:
Mother And Child� Photo of Ghana's Future
“The Profilers” 11” x 14” Photograph
Water For Cooking
An Ewe Oueen
My Abeka Family
The Coconut Seller
Making Fufu For Soup
The Albino
The Roadside Vender
What Is Your Name?
Village Class Room
Roadside Seller
We Go To Farm
Early Morning Shot From Balcony
The Craftsman
Roadside Hawkers
Nana Osei The village Tailor
Homework By Street Light
Going To School
Village Class Room In Agogo.
My Adoptive Family In their Accra Home.. Nana Otteng Head of Family, Wearing Blue Shirt
Nana Otteng And Family members
My Ghana Brother Nana Otteng And I. Enjoying Family & Hanging Out-2007 our ages 74 & 76
Children and foreign tourists entering former slave castle.
Our Tour guide point out a now covered pit, where slavers threw capture Africans that died of diseases or murder during rebellion.. The pits empty into the ocean below, where sharps waited.
Tour guide sharing our ancestor’s history.
During slavery days, 4 cannonballs would be arranged in a square, then young virgins would be shackled arms and legs between them so white soldiers and sailors could leisurely take turns raping them, while the fort commander and his guests, watched from the shaded balcony above.
One of the uncovered pits statically located on the grounds of the fort.
Viewed Closeup
Here they Go.. But No Come Back.
The Door Of No Return
Bermuda 2008, I was invited to the beautiful island-nation of Bermuda, to photograph some of it's beautiful scenery that every day Bermudians, see's but don't see due to the fact that they were born into it. Long story shorten, my 8 day visit ended in 10 days and 1.000's photos after editing.
Commissioner’s House, built in 1827 and now restored to its former glory, proudly overlooks Bermuda Maritime Museum grounds
Cruise Ship viewed From Museum Walls
Steam Ship’s Propellor
Cruise ship viewed from maritime museum grounds
Cannon Facing Harbor
Ribs Of An old ship
Funning in The Sun
Jet Skiers
Old cannons laying about, fortunately there were never an occasion to use them
You can close your eyes, click, and come up with a beautiful shot.
If these Walls build with slave labor, could only Talk.
Side view of commissioner's house
I capture these scenes with the belief that someday they’ll inspire paintings
Entrances To The Museum's Grounds
Victualling Yard – (read sign above for details.)
Landmark Telephone Booth
Slaves chapels were deliberately build small so to not allow too many slaves to gatherer at any one time, for fear of them planning rebellions.
Storage tank to the right of chapel, was used to capture rainwater which is Bermuda's main water source.
Exploring Bermuda via ferry boat is very interesting and far less expense.. And Seniors Citizens always ride FREE.
Leaving Port
As view’ed from the ferry’s stern.
Making Ready to Dock
They Say If You Can Dream it, You Can Make it So.


The Governor headquarters
Former Governor, saying good bye’s to friends and subjects before leaving office and returning to England.
Bermuda is one of the few countries that choose to remain a colony when others got their independence.
After 35 years of international-travels and custom jewelry designing for lost-wax casting,
I have returned to my hometown of Chicago and my first love, oil painting and freelance photography.Â
“In The Moment”
Mixed medium on paper
15” x 12”
"Eartha Kitts’s Last Note." mixed medium on poster-board:
20 x 24 ½”
"The Village Albino" 16” x 20” Oil on Canvas
"Gallery Stairway" 16" x 40"Â
Oil on canvas
“Boston Harbor” 20”x16”
Oil on canvas
"View From Verandah" 18” x 24”
Oil on Acrylic on Canvas
"Stood-Up"
Oil on Acrylic on Canvas:
20” x 16”
"Lake Shore Drive” 20”x16” Oil on canvas
"Still Life" 16” x 20”
Oil on Canvas
“The Orchid Grower” 14” x 14” board,
Oil on Acrylic
"Mama Make Baby Clean“ 16“x33”
Oils on acrylic on cardboard
“Artist and Model” 16x x 20” oil on canvas-board
“Making Fufu In Abeka” 18” x 14” Acrylic on paper
“HENSON MATTHEW-Explorer" 18” x 24” Oils Painting on Canvas
"The Journalist” 25”x19” Mixed-medium
“Desert Flower” Oil Acrylic on Poster-Paper
15" x 22 inches
“Cooling Out at Geri’s Palm Tavern"
Oils on cardboard 46”x 22”
“Flashback-Korea War”
Oil on canvas 13”x16”
"It Be JuJu Yo" 16” x 20”
Oil on Canvas,
“Here Take One With Mines” 18” x 25” mounted on 25” x 30” Frame
Oil on Acrylic Painting on Poster-Paper
“A Cafe In Rio De Janeiro” 20”x16” oil on canvas
“Working Out” 20” x 17"
Oil on Acrylic on Canvas Board
"Night Owl” 15.1/2” x 27”
Oil on Acrylic on Poster Paper
“La Connoisseur” 22”x17” Oil on paper
“Bath Water for Papa” 36”x24” oil on canvas
"STEPPERS" 18" x 18"
Oils on canvas
“Sunset at The AnAntarctica “ 12” x 46” oil on cardboard
”Mama's Baby“ Oils-acrylic on cardboard.
13" H x 33" W
Village Compound-07 16 x 20 Oil on Canvas
"Eartha Kitts’s Last Note.” 20' x 24 ½”
mixed medium on poster-board
“The Red Hatter." 11" x 46"
Oils on panel
"Freedom Fighters” 20” x 13”
Oil on wood panel
"To Be Continued” 23” 18” oil on canvas board
“Full Moon Party” 19" x 14”
oil on canvas
“Foreplay” 20” 16” oils on canvas
“Lake Shore Drive” 16” x 20” Oil on canvas
“The Poetess” 20” x 16”a Oils on canvas
"Norman Rockwell" POST magazine-cover Puzzle on Canvas Board 18" x 24" Artist seeking information?
"Norman Rockwell" POST magazine-cover Puzzle on Canvas Board 18" x 21" Artist seeking information?
Reminiscing Bronzeville 1940's & 50's." 24” x 18”
Oils on canvas
“The Travelers” 20” x 16” Oils on canvas
"Gallery Stairway" 16" x 40" Oil on canvas
"Mama Make Baby Clean“ 16“x33”
Oils on acrylic on cardboard
Illustration for an African mythology folktale.
“Flashback-Korea War 1951” 13”x16” Oil on canvas
“Flashback-Korea War 1951”
Framed 13”x16” Oil on canvas
Client inspects approves and picked up her portrait which for the most part was painted, from photographs of her, another service preformed by the artist.
Artist pose with painting nearing completion.
Other works to be continued.
For details concerning paintings and prints, visit websites below: http://mysankofa2012.artspan.com
Curtis J. “Kojo” Morrow is also an African-American HISTORYMAKERS posing (lower-right) with Julieanna L. Richardson, Founder & CEO. Her mission; “TELLING AMERICA’S STORIES AND CELEBRATING OUR FUTURE.”