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INDIGENOUS ORIGINS OF GHANAIAN HIGHLIFE MUSIC
Get PDFThe purpose of this paper is to examine the original indigenous
music of the foundation emergence and the decline of Ghanaian
highlife music. The foundations of Ghanaian highlife music can be
traced between the1880s and the 1920s through Ghanaian native
entertainment music, colonial military and police marching bands,
local masquerades, brass bands and the popular ‘concert’ party
theatre. Ghanaian highlife music emerged on the scene from the
1920s to the 1970s.The first Ghanaian highlife music was recorded
in 1928 in London by the Kumasi trio under the leadership of Jocob
Sam. This indigenous music style was known as the palmwine
highlife music. It rose to its peak during the independent and post
independent eras with hits such as E. K. Annang’s ‘Onua do’ and E..H.
K. Williams ‘mene wobeko Tamale’. The momentum was sustained in
the post-independent era by Daniel Amponsah’s rendition of ‘Yaa
Amponsah’ and ‘Odo Akosomo’ and Kwaa Mensah’s ‘Odo me, me som
do no’. The end of the 1960s and the beginning of the 1970s saw
the decline of indigenous Ghanaian highlife music with the advent
of both popular music from Europe and America and electric guitar
bands. Today, Daniel Amponsah popularly known as Koo Nimo stands
as a living legend of the indigenous Ghanaian highlife music style
Incorporation of Traditional Symbols of Upper East Region of Ghana into Fugu Fabrics
Get PDFThis research work sought to identify and discuss the socio-economic
and cultural relevance of fugu (smock) fabrics, study the extent to
which traditional symbols of the Upper East Region of Ghana are
incorporated in fugu fabrics, and also design and produce fugu
fabrics with selected traditional symbols of Upper East Region of
Ghana incorporated in them. The researchers adopted the studio
based research approach as it is deemed the most appropriate for this
type of research project. It involved the descriptive and exploratory
methods of research. The purposive and quota sampling methods
were employed in this research which made it possible to reach the
fugu fabric weavers, users of the fugu, sellers of fugu and fugu fabrics
for needed data. A sample size of fifty (50) was used and data gathered
were obtained through the use of questionnaire and interview. The
researchers found that fugu fabrics contribute a lot in the cultural
and socio-economic lives of the people in the Upper East Region of Ghana as they use them for funerals, festivals, marriage ceremonies,
and it also help them earn good living through occupations such as
weaving, sewing, and sale of smocks. Respondents also, generally,
expressed interest in the incorporation of traditional symbols in the
fugu fabrics of Ghana. The study concluded that the incorporation of
traditional symbols in the fugu fabrics of the Upper East Region of
Ghana will promote the cultural value of the products, enhance their
aesthetic appeal, and also attract more people to purchase them. It
is, therefore, imperative for fugu fabric producers and textile artists,
in general, to turn attention to the fugu business and work towards
the inculturation of fugu fabrics with traditional symbols of Ghana to
make the industry a vibrant and more attractive one. The researchers
also recommend their newly designed fugu symbolic fabrics for use
BEYOND VANDALISM: ANALYSING GRAFFITI AS VISUAL COMMUNICATION AND CULTURAL COMMENTARY AT KNUST
Get PDFThis study examines graffiti as a form of visual communication and cultural commentary on the campus of Kwame Nkrumah University of Science and Technology (KNUST), focusing on its aesthetic, philosophical, and symbolic dimensions. Often dismissed as vandalism, graffiti is here repositioned as a legitimate art form that bridges traditional African visual languages with contemporary global narratives. Using a qualitative research approach that combines semiotic and content analysis, the study analyses four selected graffiti artworks created by KNUST students, uncovering their embedded meanings related to identity, social critique and philosophical inquiry. The Semiotic Theory of Communication, in conjunction with Empirical Aesthetics, serves as the study's theoretical foundation. The sampled works transform public spaces into arenas for dialogue, creative resistance and self-expression. The findings highlight graffiti’s role in shaping cultural discourse and amplifying marginalised voices. The study concludes by advocating for the recognition of graffiti within academic frameworks, its preservation through archival practices, and the establishment of designated spaces for artistic engagement and cultural exchange
ANALYTICAL PRESENTATION OF SAMUEL DOWAANA MENSAH’S “TOONDAN JILMA LANA NAA OSEI TUTU II” (OTUMFUO OSEI TUTU II – A GLORIOUS LEADER)
Get PDFThis paper sought to introduce and analyse Samuel Dowaana Mensah’s
“Toondan Jilma Lana Naa Osei Tutu II (Otumfuo Osei Tutu II - A Glorious
Leader), a multilingual choral composition depicting code switching and written
for SATB in honor of his royal majesty Otumfuo Osei Tutu II, on the occasion of
his silver jubilee celebration. Using interculturalism as the underpinning
theoretical framework, the aim is to expose the reader to the biography of Samuel
Dowaana Mensah and through the formalist approach, the compositional
features embedded in the work are unknown, using musical analytical
parameters. The paper uses purposive sampling method with interviews as
instrument for data collection. “Toondan Jilma Lana Naa Osei Tutu II (Otumfuo
Osei Tutu II – A Glorious Leader) depicts Mensah’s conscious usage of multiple
languages to express his identity and the awareness of his thematic intercultural
activities. The conclusion offers an analytical presentation of a choral
composition that serves as a foundation for the study and creation of choral
works by utilising a variety of indigenous compositional features
EXPLORING THE INFLUENCES OF INDIGENOUS CULTURAL PRACTICES ON TRADITIONAL NIGERIAN THEATRE DESIGN
Get PDFThe design of traditional Nigerian theatre has undergone a notable evolution, serving as a mirror of the nation’s rich and diverse cultural heritage. Rooted in indigenous values, beliefs, and communal practices, Nigerian theatre has historically extended beyond mere performance to embody social, spiritual, and architectural expressions of identity. This research article examines the significant impact of indigenous cultural practices on the development of Nigerian theatre design, staging methods, and performance locations. It further investigates how local traditions, rituals, and community-centered performance modes have shaped both the physical and symbolic dimensions of theatrical spaces. This way, the study highlights the adaptability and resilience of Nigerian theatre in the face of colonial influences and modern innovations. Drawing from literature and contextual review, this paper highlights the distinctive nature and flexibility of Nigerian theatre architecture while also exploring its role as a living repository of cultural memory
The Role of ICT Tools in Mitigating Data Reporting Inaccuracies Among Headteachers of Public Basic Schools in the Five Kwahu Districts, Ghana
Get PDFTimely and accurate reporting of data is highly critical to efficient planning, monitoring, and decision-making in education. Despite this, Ghana's public basic schools continue to be plagued by data inaccuracies that inhibit policy implementation. The aim of this study was to investigate the use of Information and Communication Technology (ICT) tools in mitigating data reporting inaccuracies among headteachers in the Five Kwahu Districts. Specifically, it identified the ICT tools used for data reporting, assessed the relationship between ICT proficiency and data accuracy, and examined the underlying factors that contribute to inaccuracies in school data reporting. A descriptive cross-sectional survey study design was employed, and data were gathered from 321 headteachers using structured questionnaires. The study findings indicated that although Microsoft Excel and the GESMIS app were widely utilised by the headteachers, their effectiveness was hindered by various challenges, including inadequate ICT training, lack of equipment, unstable internet connectivity, and complex reporting forms. Additionally, limited ICT skills and technical assistance, faulty ICT tools and insufficient time were among the factors that contributed significantly to data entry errors. While the study found a positive correlation between ICT proficiency and reporting accuracy, it was not statistically significant. The study underscores the need to enhance ICT capacity, simplify data reporting templates, and provide institutional support in order to reduce errors in reported data. To improve data reporting systems in the basic schools across the Kwahu Districts, targeted professional development and infrastructure investment are recommended
Legislating Mother Tongue Education in Ghana.
Get PDFLanguage is a critical element in education in every society. Ghana has witnessed numerous
language policies since colonial times. Unfortunately, it has not been possible to legislate
language use in school, especially after independence. The difficulty has been deciding on the
roles of each of the over 80 indigenous Ghanaian languages and English. As a result, different
governments have had different positions on the issue leading to frequent changes in policy. The
situation has serious implications for teaching and learning in basic schools. Education committee reports and language policy related material constituted our main source of data. We employed content analysis as our methodology. It was discovered that the lack of a strong language policy legislation has been a major cause of the frequent policy changes in language education in Ghana. In order to sustain an effective language policy in education, it was proposed that government must have the will to legislate language policy which will properly define the roles of each language in school. Such a legislation should provide for an implementation plan with distinct benchmarks
Bigshots Band’s 'Too K? Adu?': A Modern Ghanaian Dance Band Highlife Music
Get PDFThe superimposition of Western musical instruments on the conventional
dance band highlife music has been the trend since its evolution around
the 1950s. Despite Ghana’s monumental traditional instrumental resources,
the dance band highlife tradition has not been able to break away from the
colonising force of Western instruments. Too k? Adu? (goat & monkey), a
highlife song by the Bigshots Band, however, is an exception to this trend.
Traditional musical instruments such as gyile (xylophone), atenteben (bamboo
f
lute), ?o?o (bell), shakashaka (rattle) and tso?shi drums (traditional palm
drums) were featured prominently together with the Western instruments
such as drum set, guitar, bass, keyboard synthesizers and horns in the song.
This paper seeks to investigate the compositional resources and devices
employed in Bigshots Band’s highlife song, too k? adu?, how they have been
managed, and reasons for their inclusion in the body of work. The paper also discusses the arranging techniques employed in the song in the context of
dance band highlife music, and some background to the influences that have
shaped the song. A descriptive analysis of the song using the emic approach
reveals a communal music participation, a concept found in African traditional
drum music, where composite patterns are heard in integration and not as
isolated units. The song also exemplifies a phenomenon of a proportional
cross-cultural music fertilisation
INDIGENOUS KNOWLEDGE SYSTEMS: The Use of Indigenous Entertainment Forms for Participatory and Sustainable Development in Rural Communities.
Get PDFIndigenous Knowledge Systems are the local knowledge systems
that are unique to a given culture. The information base of a
society which facilitates communication and decision making are
all areas that help in developing a community. Some development
strategists in Africa and elsewhere in the developing countries are
now paying attention to indigenous culture which they hitherto
believed hindered development and therefore must be ignored
in contemporary development programmes. The same critics of
indigenous knowledge systems are now calling for modifications
within the cultural systems to support modern development and
change. Cultural variables are now perceived as very important tool
in any attempt to generate behavioral change among people and
therefore must receive attention. This paper considers especially
the communicative potency of folk media for participatory and
sustainable development as against the sometimes cynical reference
to popular art-forms as conduits for mere entertainment. It will also
seek to explore the pessimism with which Indigenous Knowledge
and Communication Systems in Africa are viewed. It further
contends that, even in a media environment saturated with Western
approaches to technology practices, traditional media still have a
role to play. Attention is also paid to the importance of combining
the traditional African and Western media systems in producing and
delivering development communication, and projects, that the two
systems can be complementary and indeed can accomplish much
more in cohesion than either on its own
DANCE AS A CREATIVE LEARNING TOOL
Get PDFThe popular conventional view of the brain is that, it is rational, logical, ruler of all. The
body in this medium has been primarily considered as merely the vehicle that carried
the brain from one cerebral task to another. Now, however, current research has revealed
that there is no hierarchy, no separation between the body and the brain. What the
Greeks knew 2000 years ago that in order to obtain the best performance from the brain,
the body and brain need to be tuned together. Formerly, the press and books informed
us of physical fitness as a means of increasing mental sharpness and reducing stress, to
overall health and well-being