R&P Entries
Articles in Journals
Essel, O. Q. & Opoku-Mensah, I. (2014). Pan-African artistic reflections in Kwame Nkrumah Memorial Park. International Journal of African Society, Culture and Traditions,, 1,
Abstract
This paper attempts to make an in-depth visual analysis of the monumental freestanding sculptures at the Kwame Nkrumah Memorial Park (KNMP) and the frieze that clothes the museum next to his figurative sepulchre to establish its symbiotically symbolic relationship with the coalesced adinkralization (using adinkra motif designs) and Egyptology in promoting the African nationality and unification agenda. Again, it addresses some wider politico-cultural metaphorism and rhetorical issues emerging from the freestanding sculptural arrangements in the entire park resulting from the intercourse of Egypto-Ghana artistic cultural exegesis. It also examines the costuming of the sculptures in blending Egyto-Ghana dress culture in projecting the ideologies of Nkrumah’s proposed common continental African unitary government.
This paper attempts to make an in-depth visual analysis of the monumental freestanding sculptures at the Kwame Nkrumah Memorial Park (KNMP) and the frieze that clothes the museum next to his figurative sepulchre to establish its symbiotically symbolic relationship with the coalesced adinkralization (using adinkra motif designs) and Egyptology in promoting the African nationality and unification agenda. Again, it addresses some wider politico-cultural metaphorism and rhetorical issues emerging from the freestanding sculptural arrangements in the entire park resulting from the intercourse of Egypto-Ghana artistic cultural exegesis. It also examines the costuming of the sculptures in blending Egyto-Ghana dress culture in projecting the ideologies of Nkrumah’s proposed common continental African unitary government.
Essel, O. Q., Agyarkoh, E., Sumaila, M. S. & Yankson, D. P. (2014). TVET stigmatization in developing countries: Reality or fallacy?. European Journal of Training and Development Studies, 1,
Abstract
TVET (Technical Vocational Education and Training) programmes have been in existence in most developing African countries including Ghana for decades. But their intended productive and inventive output of producing readily employable and or self-employable graduates, and serving as real economic bail out for the deteriorating economies in Africa is yet to be achieved. This worrying development has culminated in a stigmatization towards the study of the TVET programmes in higher institutions in Ghana. This paper therefore explores briefly the historicity of Technical Vocational Education and Training (TVET) in Ghana, including the tertiary-based TVET institutions (particularly, polytechnics and universities). Through in-depth inquiry, this paper investigates the root cause of the stigmatization and its concomitant effects on the nation, the learners and the higher institutions of training in such programmes. Using comparative analytical methodology, the study revealed that there is curriculum deficiency in TVET programmes; logistical challenge due to inadequate funding; poor linkage of TVET to industry; unfair trend of inappropriate categorization of graduates on the field and a continuous chain of leadership crisis. The paper recommends more dynamic, innovative and modern curriculum review to include product and industrial design courses such as animation, game design, robotics, interior decoration, multimedia design, aircraft, automobile and ship design, structural and industrial painting and medical engineering.
TVET (Technical Vocational Education and Training) programmes have been in existence in most developing African countries including Ghana for decades. But their intended productive and inventive output of producing readily employable and or self-employable graduates, and serving as real economic bail out for the deteriorating economies in Africa is yet to be achieved. This worrying development has culminated in a stigmatization towards the study of the TVET programmes in higher institutions in Ghana. This paper therefore explores briefly the historicity of Technical Vocational Education and Training (TVET) in Ghana, including the tertiary-based TVET institutions (particularly, polytechnics and universities). Through in-depth inquiry, this paper investigates the root cause of the stigmatization and its concomitant effects on the nation, the learners and the higher institutions of training in such programmes. Using comparative analytical methodology, the study revealed that there is curriculum deficiency in TVET programmes; logistical challenge due to inadequate funding; poor linkage of TVET to industry; unfair trend of inappropriate categorization of graduates on the field and a continuous chain of leadership crisis. The paper recommends more dynamic, innovative and modern curriculum review to include product and industrial design courses such as animation, game design, robotics, interior decoration, multimedia design, aircraft, automobile and ship design, structural and industrial painting and medical engineering.
• Bonsoo, E. O., I, Opoku-Mensah & Essel, O. Q. (2015). Soapstone Carving Assemblage. Arts and Design Studies, 29,
Abstract
Soapstones of varying colours abound in the mountainous and hilly areas of Ghana but its usage in modern Ghanaian sculpture remains rare. The article aims at popularizing soapstone as a suitable raw material for creating soapstone relief carving assemblage sculptures among modern Ghanaian practising sculptors. Through studio-based experimental approach, the article presents three distinct composite soapstone relief carving assemblages mounted on boards for their aesthetic enjoyment. The study revealed that relief carving assemblages could be produced with soapstone without it being necessarily heavy and bulky while maintaining its aesthetical efflorescence and durability.
Soapstones of varying colours abound in the mountainous and hilly areas of Ghana but its usage in modern Ghanaian sculpture remains rare. The article aims at popularizing soapstone as a suitable raw material for creating soapstone relief carving assemblage sculptures among modern Ghanaian practising sculptors. Through studio-based experimental approach, the article presents three distinct composite soapstone relief carving assemblages mounted on boards for their aesthetic enjoyment. The study revealed that relief carving assemblages could be produced with soapstone without it being necessarily heavy and bulky while maintaining its aesthetical efflorescence and durability.
Essel, O. Q. & Amissah, E. K. (2015). Smock fashion culture in Ghana’s dress identity-making. Historical Research Letters, 18,
Abstract
This paper delves into the historical origin, the types of smocks and the notion of colours that characterize smock production in Northern Ghana. It uncovers the philosophical connotations of its usage and the attendant aesthetical powers of an indigenous cloth that served in one sense as a silent metaphorical unifier between northern and southern part of Ghana and in other sense to signal the return to self-governance as a result of its usage and appearance in a turning point of Ghana’s independence struggle. The article uses historical narrative and visual analytic approaches.
This paper delves into the historical origin, the types of smocks and the notion of colours that characterize smock production in Northern Ghana. It uncovers the philosophical connotations of its usage and the attendant aesthetical powers of an indigenous cloth that served in one sense as a silent metaphorical unifier between northern and southern part of Ghana and in other sense to signal the return to self-governance as a result of its usage and appearance in a turning point of Ghana’s independence struggle. The article uses historical narrative and visual analytic approaches.
Amissah, E.K. Amoako, B. A. & Essel, O. Q. (2016). Nwomu: Hand-Made Embroidery Technique in Asanteland.. Journal of Literature and Art Studies, 6,
Abstract
The study sought to investigate the historical background of the traditional hand-made embroidery technique, the production process, and its changing trends amongst the Asantes of Ghana. Interview and observation were used in collecting the needed data at selected craft centres in the Kwabre East District, Ejisu-Juaben municipality, Kumasi sub-metro and metropolitan in the Ashanti region of Ghana. The study employed both descriptive and experimental research methods based on the qualitative research approach. It was revealed that Kente and Adinkra enjoy wide reputation and therefore are considered as prestigious clothes. However, Nwomu cloth does not have this fame, only indigenes understand its usage and the philosophy behind its production. In view of this, it is recommended that the elders who are endowed with this unique craft must open their doors to the youth to learn the craft.
The study sought to investigate the historical background of the traditional hand-made embroidery technique, the production process, and its changing trends amongst the Asantes of Ghana. Interview and observation were used in collecting the needed data at selected craft centres in the Kwabre East District, Ejisu-Juaben municipality, Kumasi sub-metro and metropolitan in the Ashanti region of Ghana. The study employed both descriptive and experimental research methods based on the qualitative research approach. It was revealed that Kente and Adinkra enjoy wide reputation and therefore are considered as prestigious clothes. However, Nwomu cloth does not have this fame, only indigenes understand its usage and the philosophy behind its production. In view of this, it is recommended that the elders who are endowed with this unique craft must open their doors to the youth to learn the craft.
Essel, O. Q. & Kemevor, A. K. (2016). Aesthetical tastes of academical and traditional costumes in academic processions. Fashion and Textiles, 3,
Abstract
The article opens up fresh debate in aesthetical capacity of academic and Ghanaian traditional costumes in academic processions and sheds light on how the synergetic interaction of academic and traditional costumes spice up academic ceremonies in the University of Education, Winneba (UEW). Grounded in aesthetical balances, the study analyses the body of artistic ramifications in constructing academic pomposity, and signaling academic accomplishment and identities. Data gathered have been presented in simple narrative format. The researchers opted to offer visual interpretative account of the events—matriculation and congregation ceremonies, taking into account the symbolical essence and aesthetical dimensions of the academic and traditional costumes used in the ceremonies. Through participant observation and photographic evidences, the article delves into the aesthetical realms of academic costumes and its theatrical orchestrations in announcing visual identities of wearers. It posits that the construction of the visual iconographic identities through the use of both academic and traditional costuming in UEW is best understood in the Ghanaian conceptual and contextual cultural dialectic.
The article opens up fresh debate in aesthetical capacity of academic and Ghanaian traditional costumes in academic processions and sheds light on how the synergetic interaction of academic and traditional costumes spice up academic ceremonies in the University of Education, Winneba (UEW). Grounded in aesthetical balances, the study analyses the body of artistic ramifications in constructing academic pomposity, and signaling academic accomplishment and identities. Data gathered have been presented in simple narrative format. The researchers opted to offer visual interpretative account of the events—matriculation and congregation ceremonies, taking into account the symbolical essence and aesthetical dimensions of the academic and traditional costumes used in the ceremonies. Through participant observation and photographic evidences, the article delves into the aesthetical realms of academic costumes and its theatrical orchestrations in announcing visual identities of wearers. It posits that the construction of the visual iconographic identities through the use of both academic and traditional costuming in UEW is best understood in the Ghanaian conceptual and contextual cultural dialectic.
Essel, O. Q. (2016). The gown must go to town. Curator: The Museum Journal, 59,
Abstract
This article reviews the “The Gown Must Go to Town” exhibition staged in the Museum of Science and Technology, Accra, highlighting its theme as well as the Afrocentric philosophical messaging of the exhibits. Centered on the dynamism of the city, the exhibits carried conceptual information tailored to comment on the disastrous environmental consequences of the twenty-first century inventive technological hardware, fibers, and plastic waste (and its mismanagement) that plagues the city. It made powerful visual statements, in an artistic way, of how to control these problems. However, I argue that because of the limitations placed on Ghana, Ghanaian art should pay more focused attention on industrial art instead of conceptual art. This review by no means brands conceptual art as inferior to industrialized art, but it maintains that it is through a focus on industrial art that the nation could meet its own functional and decorative needs, and cease doing so by extensive importation. This argument is based on the fact that conceptual art took its root from Africa in a non-academic format that has long been practiced in the continent for centuries, and therefore not an emergent art in the African artistic milieu—as it is perceived to be.
This article reviews the “The Gown Must Go to Town” exhibition staged in the Museum of Science and Technology, Accra, highlighting its theme as well as the Afrocentric philosophical messaging of the exhibits. Centered on the dynamism of the city, the exhibits carried conceptual information tailored to comment on the disastrous environmental consequences of the twenty-first century inventive technological hardware, fibers, and plastic waste (and its mismanagement) that plagues the city. It made powerful visual statements, in an artistic way, of how to control these problems. However, I argue that because of the limitations placed on Ghana, Ghanaian art should pay more focused attention on industrial art instead of conceptual art. This review by no means brands conceptual art as inferior to industrialized art, but it maintains that it is through a focus on industrial art that the nation could meet its own functional and decorative needs, and cease doing so by extensive importation. This argument is based on the fact that conceptual art took its root from Africa in a non-academic format that has long been practiced in the continent for centuries, and therefore not an emergent art in the African artistic milieu—as it is perceived to be.
Adam, P. P & Haruna, A.I. (2015). Facts from Fiction, Myths from Reality, Widowhood Rites in an African Society: A Barbaric Tradition or a Consolidation of African Values?. Studies in Social Sciences and Humanities, 3,
Abstract
Abstract In many African societies, when a man dies and leaves his wife (or wives) behind, culture demands that the widow (or widows) undergoes certain traditional mourning rituals before and after the burial of her deceased spouse, after which she can be cleansed of the ghost spirit of her late husband. Therefore, the main essence of the rites is to break the spiritual relationship between the deceased husband and the surviving wife (or wives). Unfortunately, most studies on widowhood rites in Africa generally bemoan the so-called dehumanising treatment of widows, ranging from denial of basic human rights, to intense public display of sorrow. In this paper, we demonstrate - through a vivid description of how the widowhood rites are performed among the Dagbamba of northern Ghana - that contrary to what has been termed as barbaric practices against women, the widowhood rites were not instituted to devalue womanhood in Africa.
Abstract In many African societies, when a man dies and leaves his wife (or wives) behind, culture demands that the widow (or widows) undergoes certain traditional mourning rituals before and after the burial of her deceased spouse, after which she can be cleansed of the ghost spirit of her late husband. Therefore, the main essence of the rites is to break the spiritual relationship between the deceased husband and the surviving wife (or wives). Unfortunately, most studies on widowhood rites in Africa generally bemoan the so-called dehumanising treatment of widows, ranging from denial of basic human rights, to intense public display of sorrow. In this paper, we demonstrate - through a vivid description of how the widowhood rites are performed among the Dagbamba of northern Ghana - that contrary to what has been termed as barbaric practices against women, the widowhood rites were not instituted to devalue womanhood in Africa.
Abroampah, P. M., Boakye, E. and Yalley, P. P. (2015). The Impact of Sofokrom Quarry on River Anankwari. International Journal of Science and Research (IJSR), 4,
Abstract
This study assessed the effect of quarry activity on ANANKWARI river in the shama Ahanta East of Western Region. Questionnaire administration and observations were used for primary data collection whilst rainfall and hydrological data were gathered to aid the study. Water quality analysis of samples from upstream and downstream were conducted. Data was statistically analyzed and with reference to WHO guidelines for drinking water, analysis was made. The study identified that the intense operation of quarry in the catchment since 2011 has resulted in the decrease of average annual discharge of 574796m3 in 2009 to 480252m3 in 2012. Physical and chemical parameters of all samples in the downstream showed appreciably statistically different values from respective upstream sampling locations. Most of the physico-chemical parameters such as pH, turbidity, color, temperature etc. of the downstream did not meet the WHO standards. This pollution attributed to quarry operation has affected downstream users causing skin diseases and chronic coughs for consuming the raw water. Public awareness with respect to the need to boil and filter the downstream water before drinking or bathing is significant. A hydro-meteorological monitoring network station must be established within the sub-catchment area to consistently determine the culminated effect. Keywords: Quarry activities, Anankwari river, water quality parameters, discharge, catchment
This study assessed the effect of quarry activity on ANANKWARI river in the shama Ahanta East of Western Region. Questionnaire administration and observations were used for primary data collection whilst rainfall and hydrological data were gathered to aid the study. Water quality analysis of samples from upstream and downstream were conducted. Data was statistically analyzed and with reference to WHO guidelines for drinking water, analysis was made. The study identified that the intense operation of quarry in the catchment since 2011 has resulted in the decrease of average annual discharge of 574796m3 in 2009 to 480252m3 in 2012. Physical and chemical parameters of all samples in the downstream showed appreciably statistically different values from respective upstream sampling locations. Most of the physico-chemical parameters such as pH, turbidity, color, temperature etc. of the downstream did not meet the WHO standards. This pollution attributed to quarry operation has affected downstream users causing skin diseases and chronic coughs for consuming the raw water. Public awareness with respect to the need to boil and filter the downstream water before drinking or bathing is significant. A hydro-meteorological monitoring network station must be established within the sub-catchment area to consistently determine the culminated effect. Keywords: Quarry activities, Anankwari river, water quality parameters, discharge, catchment
Manu I. Y., Asiedu E., Yalley P. P. and Denutsui K. S. (2015). Feasibility of using Cocoa Pod Husk Ash (CPHA) as a stabilizer in the production of Compressed Earth bricks. International Journal of Engineering Research and General Science, 3,
Abstract
Indiscriminate disposal of cocoa pod husks has been a threat to the environment especially in cocoa growing communities thus the need to explore alternative ways of utilizing this waste product. This paper examined the suitability of CPHA as a stabilizer in the production of stabilized earth bricks. Laboratory experiments were conducted on compressed earth bricks to investigate the effects of the CPHA on their compressive strength, dry density, abrasion resistance and water absorption characteristics. The earth bricks were moulded with different percentages of Cocoa Pod Husk Ash consisting of 0%, 5%, 10%, 15%, 20% and 25%. Using a mould dimension of 200mm x 100mm x 75mm, earth bricks were manually casted and cured for 28 days. Data results showed remarkable improvement in all the properties studied on the earth bricks but varied depending on the ash content. The study also revealed that cocoa pod husk ash can be used as a stabilizer in the production of earth bricks especially when the Cocoa pod husk ash content is 10% by weight as higher ash contents slightly decline the engineering properties. Keywords— Cocoa Pod Husk Ash (CPHA), Stabilization, Earth bricks, Water Absorption, Abrasion resistance, Compressive strength, Cocoa
Indiscriminate disposal of cocoa pod husks has been a threat to the environment especially in cocoa growing communities thus the need to explore alternative ways of utilizing this waste product. This paper examined the suitability of CPHA as a stabilizer in the production of stabilized earth bricks. Laboratory experiments were conducted on compressed earth bricks to investigate the effects of the CPHA on their compressive strength, dry density, abrasion resistance and water absorption characteristics. The earth bricks were moulded with different percentages of Cocoa Pod Husk Ash consisting of 0%, 5%, 10%, 15%, 20% and 25%. Using a mould dimension of 200mm x 100mm x 75mm, earth bricks were manually casted and cured for 28 days. Data results showed remarkable improvement in all the properties studied on the earth bricks but varied depending on the ash content. The study also revealed that cocoa pod husk ash can be used as a stabilizer in the production of earth bricks especially when the Cocoa pod husk ash content is 10% by weight as higher ash contents slightly decline the engineering properties. Keywords— Cocoa Pod Husk Ash (CPHA), Stabilization, Earth bricks, Water Absorption, Abrasion resistance, Compressive strength, Cocoa
