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Both Adinkra and Kente makers sell locally.
They often negotiate requirements with a local buyer.
And he knows the meaning of the symbol, so he choose only four symbols.
This is genomic, with that god you can't do anything.
And this Akusumbo, where we get our electricity.
And this is Joetiko.
Both cloths support sales through local shops.
Now, if you are a rich man, you can wear expensive one for wedding.
And if you not have money as much, you can usually spend lower prices.
Both clothes are sold outside Ghana in the African diaspora.
You've got to be able to come up with new designs, new patterns,
in order to sustain the interest of your own customers.
So, that every time I go to Chicago and land anywhere,
I will call my cousin and tell them I have something new,
something that they've never seen before.
And if you're an artist, you play with colours.
You know, you change here a bit, that bit, you change design here as well,
and you always have something new,
and that's the only way to sustain people's interest.
Makers, buyers and sellers,
can form a circle of interactive tensions in the creation of textiles.
These creative tensions are most evident in our final case study.