A pair of Prampram figures, one with an oval head, the other spherical, originating from southern Ghana, belong to the cultural context of the Ga-Adangbe, whose sculptural practice is closely linked to ancestor worship, protective functions, and local ritual systems. Incl. stand. Formally, this pair is characterized by radical reduction and a body language that bears traces of ritual use. One figure is clothed in loincloths, the spherical heads have hole-like eyes, with simple openings for ears and mouth. The elongated noses appear as linear protuberances that emphasize the verticality of the composition. This verticality continues in the long necks and torsos, while the arms and legs are sharply shortened and pointed, lacking complex limbs. The nipples and navels are marked by simple perforations and are integrated into the refined formal language. The surfaces are speckled with red and white pigments, indicating ritual treatment and symbolic meaning. Distinct cracks, chips, and signs of wear attest to their long history and integration into repeated cultic practices. Documentation of these figures in museum and academic literature remains limited. Most surviving examples have entered European collections through private dealers in Accra, often with attestations of local provenance but with minimal ethnographic context. While their precise ritual function is not formally recorded, comparative analysis with broader Ga-Dangme artistic traditions suggests potential associations with ancestor veneration, shrine placement, or funerary observances. Stylistically, PramPram sculptures occupy a liminal space within West African material culture: they are less formally recognized than Akan or Ewe figurative traditions yet retain distinctive formal qualities, including proportional elongation, formal abstraction, and textural interplay between wood and applied substances. These features underscore an aesthetic sensibility in which the spiritual and the sculptural are inseparable, and in which the human form serves as a locus for communal memory and ritual engagement. From a provenance perspective, most catalogued examples surfaced in the late twentieth century via coastal Ghanaian markets, subsequently entering European private collections or auction contexts. While exact histories remain fragmented, careful attention to surface treatments, carving technique, and patina can provide insight into authenticity and cultural origin. In summary, PramPram sculptures represent a rare and compelling manifestation of Ga-Dangme material culture. Their austere elegance, combined with traces of ritual use, situates them within a continuum of West African artistic practice that foregrounds symbolic meaning, communal function, and spiritual resonance over naturalistic representation. As such, they remain a subject of scholarly interest both for their aesthetic qualities and for the cultural practices they subtly embody. Literature (selection) Cole, Herbert M.: Icons: Ideals and Power in the Art of Africa. Washington, 1989. Blier, Suzanne Preston: African Vodun: Art, Psychology, and Power. Chicago, 1995. Garrard, Timothy F.: African Goldweights and Weights. London, 1980. Ross, Doran H.: Wrapped in Pride: Ghanaian Kente and African American Identity. Los Angeles, 1998. CAB48355 Height: 49 cm / 47 cm Weight: 1 kg / 1 kg (incl. stand)