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Essuman, J. & Kemevor, A. K., (2013). Encyclo Photographic Terminologies.
Abstract
Essuman, J., deGraft-Yanson, P. & Acquah, M., (2017). Photography Essentials.
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Yorke, J. O., deGraft-Yankson, P., Essuman, J. & Amissah, E. K. (2017). Ghana’s Presidential Seats and Sword of State: Aesthetic Manifestation of Kwame Nkrumah’s Cultural Policy on Ghana’s Political Culture. Journal of Literature and Art Studies, 7,
Abstract
This study explores the aesthetic dimensions of Kwame Nkrumah’s cultural policies in the creation of Ghana’s Presidential Seats and the State Sword. The study is an Art Historical research situated within the qualitative research paradigm. It had a population of a defined class of cultural policy makers, art historians, traditional rulers, nationalists, visual artists and Ghanaians resident both in and outside Ghana. The study examined how the creation of Ghana’s Presidential Seats and the State Sword were influenced by Kwame Nkrumah’s cultural policies and the cultural significance of the aesthetic interplay of ethnic insignias used in capturing the Ghanaian concept of Political authority. The study revealed that, Nkrumah recognised the cultural art forms and elements of ethnic Ghana as assets for national development. In line with his policy of building the Nation State of Ghana, he used ethnic cultural art forms and elements. At independence, Nkrumah commissioned some visual artist to create some artistic pieces (politico-cultural artefacts) for the Ghanaian political authority with inspiration or based on what pertains in the traditional authority (Chieftaincy) of Ghana. Politico-cultural artefacts as used in this study refer to the artefacts produced based on the cultural concepts of the ethnic states for the use of the political authority of the Republic of Ghana. Among these artistic pieces are the three Presidential Seats, The State Sword, The President’s Personal Standard Pole and the State Mace. Keywords: Adinkra, Presidential Seats, State Sword, politico-cultural artefacts, Kwame Nkrumah’s cultural policies
This study explores the aesthetic dimensions of Kwame Nkrumah’s cultural policies in the creation of Ghana’s Presidential Seats and the State Sword. The study is an Art Historical research situated within the qualitative research paradigm. It had a population of a defined class of cultural policy makers, art historians, traditional rulers, nationalists, visual artists and Ghanaians resident both in and outside Ghana. The study examined how the creation of Ghana’s Presidential Seats and the State Sword were influenced by Kwame Nkrumah’s cultural policies and the cultural significance of the aesthetic interplay of ethnic insignias used in capturing the Ghanaian concept of Political authority. The study revealed that, Nkrumah recognised the cultural art forms and elements of ethnic Ghana as assets for national development. In line with his policy of building the Nation State of Ghana, he used ethnic cultural art forms and elements. At independence, Nkrumah commissioned some visual artist to create some artistic pieces (politico-cultural artefacts) for the Ghanaian political authority with inspiration or based on what pertains in the traditional authority (Chieftaincy) of Ghana. Politico-cultural artefacts as used in this study refer to the artefacts produced based on the cultural concepts of the ethnic states for the use of the political authority of the Republic of Ghana. Among these artistic pieces are the three Presidential Seats, The State Sword, The President’s Personal Standard Pole and the State Mace. Keywords: Adinkra, Presidential Seats, State Sword, politico-cultural artefacts, Kwame Nkrumah’s cultural policies
Kemevor, A. K. & Essuman, J. (2017). The Institutionalization of Photographic Industry and the Society. The Journal of Social Sciences Research, 3,
Abstract
The purpose of this article is to highlight on photography as an excellent art work. This article on photography is based on the authenticity and social influence of the photographer. In discussing the paper, some attempts have been made to examine the nature and dynamics of photography, as well as the appreciation of photographs as a human achievement. There is also a general overview on photography in Ghana, outlining in particular the visual aesthetics of the photographic industry, and the specialized fields that exist. The paper concludes that the use of technological photography in teaching at all levels should be encouraged. It is when we add our personal vision to the technology of photography then we cross that line from mere reproduction to transformation. With this shift from science to art, we begin speaking with a vocabulary of aesthetics. Keywords: Photography; Camera; Visual elements; Creativity; Communication.
The purpose of this article is to highlight on photography as an excellent art work. This article on photography is based on the authenticity and social influence of the photographer. In discussing the paper, some attempts have been made to examine the nature and dynamics of photography, as well as the appreciation of photographs as a human achievement. There is also a general overview on photography in Ghana, outlining in particular the visual aesthetics of the photographic industry, and the specialized fields that exist. The paper concludes that the use of technological photography in teaching at all levels should be encouraged. It is when we add our personal vision to the technology of photography then we cross that line from mere reproduction to transformation. With this shift from science to art, we begin speaking with a vocabulary of aesthetics. Keywords: Photography; Camera; Visual elements; Creativity; Communication.
Essuman, J. (2017). Photographic Representation of Socio-economic Development on Rural Communities in Ghana. Journal of Literature and Art Studies, 7,
Abstract
It has come to notice that developments that take place in rural communities bring about a lot of challenges both positive and negative. However, people who try to manage these challenges use “text type” in books and through other communication media (publications), but the effect has scarcely been effective because, most of the people living in rural communities are illiterates. The purpose of this study was to use pictorial illustrations to create awareness on how socioeconomic development affects rural communities (Cape Three Points) and the extent to which its effect can be seen on human life within the local communities (fishermen, farmers, and fish mongers) in terms of their livelihood, attitudes, education and on the general environment. Interviews were mainly used to ascertain facts on how the situation was before the new developments started. Workshops were also organized for focus groups, through which the effect of pictorial illustrations on the people were ascertained. Again, how they should prepare for the foreseen changes that will emanate from any form of rural development was also discussed. At the end of the study, it came to light that many of our rural areas face significant challenges. These challenges as a matter of fact affect their cultural practices and the socio-economic development of the people in such rural communities and the country as a whole. It is believed that these challenges and many other related concerns that have emanated from this study would be critically recognized and managed if not solved by the powers that be. Results from this study will form a basis for further discussion of socio-economic effects of rural development on rural communities and any other related effects caused by any physical change on rural environment. Keywords: development, rural community, socio-economic, illustration
It has come to notice that developments that take place in rural communities bring about a lot of challenges both positive and negative. However, people who try to manage these challenges use “text type” in books and through other communication media (publications), but the effect has scarcely been effective because, most of the people living in rural communities are illiterates. The purpose of this study was to use pictorial illustrations to create awareness on how socioeconomic development affects rural communities (Cape Three Points) and the extent to which its effect can be seen on human life within the local communities (fishermen, farmers, and fish mongers) in terms of their livelihood, attitudes, education and on the general environment. Interviews were mainly used to ascertain facts on how the situation was before the new developments started. Workshops were also organized for focus groups, through which the effect of pictorial illustrations on the people were ascertained. Again, how they should prepare for the foreseen changes that will emanate from any form of rural development was also discussed. At the end of the study, it came to light that many of our rural areas face significant challenges. These challenges as a matter of fact affect their cultural practices and the socio-economic development of the people in such rural communities and the country as a whole. It is believed that these challenges and many other related concerns that have emanated from this study would be critically recognized and managed if not solved by the powers that be. Results from this study will form a basis for further discussion of socio-economic effects of rural development on rural communities and any other related effects caused by any physical change on rural environment. Keywords: development, rural community, socio-economic, illustration
Yorke, J. O., deGraft-Yankson, P., Essuman, J. & Amissah, E. R. K (2017). Ghana’s Presidential Seats and Sword of State: Aesthetic Manifestation of Kwame Nkrumah’s Cultural Policy on Ghana’s Political Culture. Journal of Literature and Art Studies, 7,
Abstract
This study explores the aesthetic dimensions of Kwame Nkrumah’s cultural policies in the creation of Ghana’s Presidential Seats and the State Sword. The study is an Art Historical research situated within the qualitative research paradigm. It had a population of a defined class of cultural policy makers, art historians, traditional rulers, nationalists, visual artists and Ghanaians resident both in and outside Ghana. The study examined how the creation of Ghana’s Presidential Seats and the State Sword were influenced by Kwame Nkrumah’s cultural policies and the cultural significance of the aesthetic interplay of ethnic insignias used in capturing the Ghanaian concept of Political authority. The study revealed that, Nkrumah recognised the cultural art forms and elements of ethnic Ghana as assets for national development. In line with his policy of building the Nation State of Ghana, he used ethnic cultural art forms and elements. At independence, Nkrumah commissioned some visual artist to create some artistic pieces (politico-cultural artefacts) for the Ghanaian political authority with inspiration or based on what pertains in the traditional authority (Chieftaincy) of Ghana. Politico-cultural artefacts as used in this study refer to the artefacts produced based on the cultural concepts of the ethnic states for the use of the political authority of the Republic of Ghana. Among these artistic pieces are the three Presidential Seats, The State Sword, The President’s Personal Standard Pole and the State Mace. KEYWORDS Adinkra, Presidential Seats, State Sword, politico-cultural artefacts, Kwame Nkrumah’s cultural policies
This study explores the aesthetic dimensions of Kwame Nkrumah’s cultural policies in the creation of Ghana’s Presidential Seats and the State Sword. The study is an Art Historical research situated within the qualitative research paradigm. It had a population of a defined class of cultural policy makers, art historians, traditional rulers, nationalists, visual artists and Ghanaians resident both in and outside Ghana. The study examined how the creation of Ghana’s Presidential Seats and the State Sword were influenced by Kwame Nkrumah’s cultural policies and the cultural significance of the aesthetic interplay of ethnic insignias used in capturing the Ghanaian concept of Political authority. The study revealed that, Nkrumah recognised the cultural art forms and elements of ethnic Ghana as assets for national development. In line with his policy of building the Nation State of Ghana, he used ethnic cultural art forms and elements. At independence, Nkrumah commissioned some visual artist to create some artistic pieces (politico-cultural artefacts) for the Ghanaian political authority with inspiration or based on what pertains in the traditional authority (Chieftaincy) of Ghana. Politico-cultural artefacts as used in this study refer to the artefacts produced based on the cultural concepts of the ethnic states for the use of the political authority of the Republic of Ghana. Among these artistic pieces are the three Presidential Seats, The State Sword, The President’s Personal Standard Pole and the State Mace. KEYWORDS Adinkra, Presidential Seats, State Sword, politico-cultural artefacts, Kwame Nkrumah’s cultural policies
Yorke, J. O., Amissah, E. R. K., deGraft-Yankson, P & Essuman, J. (2017). An Overview of Kwame Nkrumah’s Cultural Policies on Ghana’s Visual Culture. Research Journal of Humanities and Cultural Studies, 3,
Abstract
This paper attempts to inquire about Kwame Nkrumah’s cultural policies and philosophies on the visual culture of present-day Ghana. The study hinged on the Art Historical research procedures within the qualitative research paradigm and gathered data through interviews, field notes, observation and discussions. The study examined Kwame Nkrumah’s cultural policies and philosophies based on his policy actions and pronouncements and their influence on the visual culture as well as their relevance to the policies. The study revealed that, Nkrumah did not make a distinction between politics, culture and economics. He had a dialectic approach to all his policies because he acknowledged the interconnected nature of the social life of the Ghanaian. Based on this, he propagated that Ghanaians should recognise their cultural heritage and take pride in projecting it; that Ghanaians needed to create their nation state based on their culture heritage and that Ghanaians should recognise their cultural heritage as assets for national development. Keywords: visual culture, Kwame Nkrumah’s cultural policies, pronouncements.
This paper attempts to inquire about Kwame Nkrumah’s cultural policies and philosophies on the visual culture of present-day Ghana. The study hinged on the Art Historical research procedures within the qualitative research paradigm and gathered data through interviews, field notes, observation and discussions. The study examined Kwame Nkrumah’s cultural policies and philosophies based on his policy actions and pronouncements and their influence on the visual culture as well as their relevance to the policies. The study revealed that, Nkrumah did not make a distinction between politics, culture and economics. He had a dialectic approach to all his policies because he acknowledged the interconnected nature of the social life of the Ghanaian. Based on this, he propagated that Ghanaians should recognise their cultural heritage and take pride in projecting it; that Ghanaians needed to create their nation state based on their culture heritage and that Ghanaians should recognise their cultural heritage as assets for national development. Keywords: visual culture, Kwame Nkrumah’s cultural policies, pronouncements.
Owusu, A. F. & Kemevor, A.K., (2016). Overcoming Small Scale Mining Environmental Problems.. Accra New Town: Lema Press. . ISBN:
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Kemevor, A.K., & Osei, A. E., (2016). Hidden Tourist Sites in Ashanti Region.. Winneba: Ghodit Printing Press. . ISBN:
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Kemevor, A.K., & Asamuah E., (2016). Polity of Kaase. Kumasi: Sanuel Images. . ISBN:
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