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Kemevor, A.K., (2016). Printing Press in Focus: A guide for the young entrepreneur.. UEW, Winneba: Design Press. . ISBN:
Abstract
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.
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.
Kemevor, A.K., & Aibie, A. (2016). Kundum Festival – A repository of the rich culture of the Nzema at Axim in the Western Region, Ghana.. International Journal of Engineering Research and Management (IJERM)., 3,
Abstract
In this survey, an attempt has been made to give an account of the functions art-forms play in the cultural preservation of the Kundum festival. A mixed method approach which included observation of scenes, interviews and questionnaire administration was employed in collecting data. The sample size for the research analysis was Sixty-eight (68) made up of Fifteen (15) royals and significant community members and fifty-three (53) individual respondents comprising participants, elders, opinion leaders among others. Responses from the royals and significant community members were through interviews conducted whiles research questionnaires were used to gather information from fifty-three (53) individual respondents. The survey outcome indicated that (100%) of the individual respondents said that Akotoko Yanzu is credited with the introduction of the festival from Aboadze. In addition, the outcome from the interview with some royals affirm that all respondents (i.e. [15] 100%) interviewed mentioned the "sienu"(i.e. rites at outskirt of Axim town), the "akpazo"( i.e. sacrificial rites on Tuesday), singing of Kundum dirges, lighting of the Kundum fires among others as some of the important rites, rituals and taboos associated with Kundum celebration. The important role arts play in cultural preservation is that it helps to educate the celebrants to imbibe their cultural practices to help in the preservation of the arts and culture of the people for these is to set the pace for the celebration and to harmonize the relationship between the people and their ancestors.
In this survey, an attempt has been made to give an account of the functions art-forms play in the cultural preservation of the Kundum festival. A mixed method approach which included observation of scenes, interviews and questionnaire administration was employed in collecting data. The sample size for the research analysis was Sixty-eight (68) made up of Fifteen (15) royals and significant community members and fifty-three (53) individual respondents comprising participants, elders, opinion leaders among others. Responses from the royals and significant community members were through interviews conducted whiles research questionnaires were used to gather information from fifty-three (53) individual respondents. The survey outcome indicated that (100%) of the individual respondents said that Akotoko Yanzu is credited with the introduction of the festival from Aboadze. In addition, the outcome from the interview with some royals affirm that all respondents (i.e. [15] 100%) interviewed mentioned the "sienu"(i.e. rites at outskirt of Axim town), the "akpazo"( i.e. sacrificial rites on Tuesday), singing of Kundum dirges, lighting of the Kundum fires among others as some of the important rites, rituals and taboos associated with Kundum celebration. The important role arts play in cultural preservation is that it helps to educate the celebrants to imbibe their cultural practices to help in the preservation of the arts and culture of the people for these is to set the pace for the celebration and to harmonize the relationship between the people and their ancestors.
Kulevome, J. D & Amissah, E. R. K. (2017). Narrative Study of Female Kete Weavers in Agbozume. Arts and Design Studies, 52,
Abstract
The kete (woven fabric) industry in Agbozume has been one of the indigenous craft centres that has been in practiced from generation to generation in the Volta region of Ghana. The craft has contributed immensely to the economic and socio-cultural development of the area. Both male and female play enormous roles in the industry. Like many other indigenous crafts practiced in Ghana, the males dominate and are projected more than their female counterparts. Very little is known about the immense contributions females are making to the development of the industry, the society and Ghana at large. This research work, therefore, attempts to explore and identify female kete weavers in Agbozume and its surrounding villages. It also traces the origins of the female weavers with special reference to how they acquired the kete weaving skills, the prospects of them surviving in a male dominated industry, and the role they play in terms of marketing their products. The study is a qualitatively based, which enable the researchers to understand the socio-cultural set-up by the people. The research tools employed were: interview, observation and photography. The purposive sampling technique was employed to select fourteen (14) female master weavers for the study. (For the purpose of this paper, eight (8) are presented). Their kete weaving activities were narrated individually and was presented in a narrative form. The study unearthed, that, females do not only play supporting role to their male counterparts when it comes to kete weaving, but also practise the trade just like the males do. This presupposes that, should they be given the necessary support, it will attract more females into the industry and employment would increase to generate more income to reduce poverty in the area. Studies such as this would promote the many ways in which female Keke weavers are involved in the production and promotions of this indigenous craft. Keywords: kete, (woven fabric), female, weavers
The kete (woven fabric) industry in Agbozume has been one of the indigenous craft centres that has been in practiced from generation to generation in the Volta region of Ghana. The craft has contributed immensely to the economic and socio-cultural development of the area. Both male and female play enormous roles in the industry. Like many other indigenous crafts practiced in Ghana, the males dominate and are projected more than their female counterparts. Very little is known about the immense contributions females are making to the development of the industry, the society and Ghana at large. This research work, therefore, attempts to explore and identify female kete weavers in Agbozume and its surrounding villages. It also traces the origins of the female weavers with special reference to how they acquired the kete weaving skills, the prospects of them surviving in a male dominated industry, and the role they play in terms of marketing their products. The study is a qualitatively based, which enable the researchers to understand the socio-cultural set-up by the people. The research tools employed were: interview, observation and photography. The purposive sampling technique was employed to select fourteen (14) female master weavers for the study. (For the purpose of this paper, eight (8) are presented). Their kete weaving activities were narrated individually and was presented in a narrative form. The study unearthed, that, females do not only play supporting role to their male counterparts when it comes to kete weaving, but also practise the trade just like the males do. This presupposes that, should they be given the necessary support, it will attract more females into the industry and employment would increase to generate more income to reduce poverty in the area. Studies such as this would promote the many ways in which female Keke weavers are involved in the production and promotions of this indigenous craft. Keywords: kete, (woven fabric), female, weavers
Acquaah, S, Amissah, E. R. K. & deGraft-Yankson, P (2017). Dress Aesthetics of Smock in Northern Ghana: Form, Function and Context. Textile Engineering & Fashion Technology, 1,
Abstract
The paper is a study of the dress aesthetics of smock in Northern Ghana; their form, function and context. The study examines the cultural aesthetics of smock in Northern traditional textiles and its role in the preservation, presentation and promotion of Northern culture and makes recommendations for its sustenance. The researchers adopted the qualitative paradigm and used descriptive and visual analytic approaches through the use of interviews and observations as its research tools. Keywords: Aesthetic; Artefacts; Cultural Symbolism; Indigenous Textiles; Regalia; Smock; North; Traditional Rulers; Yensichi; Dagomba; Bingmaa; Kpakoto; Yeble; Balmaasu; Kuyilli Gbagno; Moslem community; Nam-Kpaargu
The paper is a study of the dress aesthetics of smock in Northern Ghana; their form, function and context. The study examines the cultural aesthetics of smock in Northern traditional textiles and its role in the preservation, presentation and promotion of Northern culture and makes recommendations for its sustenance. The researchers adopted the qualitative paradigm and used descriptive and visual analytic approaches through the use of interviews and observations as its research tools. Keywords: Aesthetic; Artefacts; Cultural Symbolism; Indigenous Textiles; Regalia; Smock; North; Traditional Rulers; Yensichi; Dagomba; Bingmaa; Kpakoto; Yeble; Balmaasu; Kuyilli Gbagno; Moslem community; Nam-Kpaargu
Amissah, E R K (2016). Philosophical and Aesthetic Significance of Ceremonial and Anniversary Cloth Designs of Three Ghanaian Universities. Journal of Literature and Art Studies, 6,
Abstract
The study concerned itself with the philosophical and aesthetic evaluation of selected ceremonial and anniversary designed cloths of three Ghanaian universities. The study, which was qualitative in nature, specifically sought to identify, describe, examine and analyze the design patterns of ceremonial and anniversary cloths, appraise their aesthetic values and significance in relation to the ideals, and philosophies of the institutions. The sampled cloth designs were discussed and analyzed in descriptive form. The research revealed that there are several symbolic meanings attached to the corporate identities that sum up the objectives, ideals, values and philosophies of the institutions and corporate cloth design, whether for anniversary, ceremony or otherwise serves as an element of social cohesion.
The study concerned itself with the philosophical and aesthetic evaluation of selected ceremonial and anniversary designed cloths of three Ghanaian universities. The study, which was qualitative in nature, specifically sought to identify, describe, examine and analyze the design patterns of ceremonial and anniversary cloths, appraise their aesthetic values and significance in relation to the ideals, and philosophies of the institutions. The sampled cloth designs were discussed and analyzed in descriptive form. The research revealed that there are several symbolic meanings attached to the corporate identities that sum up the objectives, ideals, values and philosophies of the institutions and corporate cloth design, whether for anniversary, ceremony or otherwise serves as an element of social cohesion.
Brew-Riverson, E. H. (2016). Characters In Brief: Cartwright's TWO. Journal of Literature, Languages and Linguistics, 23,
Abstract
TWO is a play written by Jim Cartwright an English dramatist. Cartwright designs TWO such that two actors can play all the characters. This paper is an analytical study which draws inferences based largely on descriptions of the setting and of the characters, and on the dialogues and monologues by the playwright in TWO.TWO like dramas do, holds up a mirror to life such that as citizens of life we cannot miss our self-semblances in the images that Cartwright so poignantly evokes. The paper concludes that Cartwright’s TWO is predominated by the theme of love and appears primarily, to be a commentary on the relevance of age, obesity, infidelity, incompatibility, denunciation, abuse and death in consensual, as well as romantic relationships. Keywords: Cartwright, TWO, love, analytical, setting, dialogues, monologues
TWO is a play written by Jim Cartwright an English dramatist. Cartwright designs TWO such that two actors can play all the characters. This paper is an analytical study which draws inferences based largely on descriptions of the setting and of the characters, and on the dialogues and monologues by the playwright in TWO.TWO like dramas do, holds up a mirror to life such that as citizens of life we cannot miss our self-semblances in the images that Cartwright so poignantly evokes. The paper concludes that Cartwright’s TWO is predominated by the theme of love and appears primarily, to be a commentary on the relevance of age, obesity, infidelity, incompatibility, denunciation, abuse and death in consensual, as well as romantic relationships. Keywords: Cartwright, TWO, love, analytical, setting, dialogues, monologues
Amissah, E. R. K, Amoako, B. A, Essel, O. Q. (2016). Nwomu: Hand-Made Embroidery Technique in Asanteland. Literature and Art Studie s, 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. KEYWORDS Nwomu cloth, hand-made, embroidery, Asantes, satin stitch
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. KEYWORDS Nwomu cloth, hand-made, embroidery, Asantes, satin stitch
Essel, O. Q & Amissah, E. R. K. (2015). Smock Fashion Culture in Ghana’s Dress Identity-Making. Historical Research Letter, 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. Keywords: Smock, identity-making, fashion, dress, indigenous cloth
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. Keywords: Smock, identity-making, fashion, dress, indigenous cloth
Atta-Eyison, A. A, Amissah, E. R. K. & Dzramedo, B. E. (2014). Assessing Colour Fastness Property of Batiks Dyed with Vat Dyes in Ghana. Fashion Technology & Textile Engineering, 2,
Abstract
The batik Industry in Ghana has not lived to its full potential due to shortcomings that include the colour fastness of fabrics available on the market. Most batik producers are inconsistent with parameters used in the production of these batiks. To most, achieving the batik effect is enough since there are really no means of assessing whether they meet set quality standard.The objective of this study was to produce batiks using consistent production parameters and test the colour fastness of batiks produced.The research was based on qualitative and quantitative research approaches which used experimental and descriptive methods. Dyeing was conducted to produce batik samples. Colour fastness tests to washing, rubbing and light were conducted on dyed samples.The study revealed that- batiks dyed with vat dyes had good colour fastness. It could be concluded based on the findings that high quality batiks with good colour fastness can be produced if the parameters are set right. This will help improve the sub-standard batik works produced by batik producers in the region and Ghana as a whole. Keywords: Colour fastness; Vat dye; Dyeing; Parameters and Dye auxiliaries; Omo (standard detergent commonly used in Ghana); Batik
The batik Industry in Ghana has not lived to its full potential due to shortcomings that include the colour fastness of fabrics available on the market. Most batik producers are inconsistent with parameters used in the production of these batiks. To most, achieving the batik effect is enough since there are really no means of assessing whether they meet set quality standard.The objective of this study was to produce batiks using consistent production parameters and test the colour fastness of batiks produced.The research was based on qualitative and quantitative research approaches which used experimental and descriptive methods. Dyeing was conducted to produce batik samples. Colour fastness tests to washing, rubbing and light were conducted on dyed samples.The study revealed that- batiks dyed with vat dyes had good colour fastness. It could be concluded based on the findings that high quality batiks with good colour fastness can be produced if the parameters are set right. This will help improve the sub-standard batik works produced by batik producers in the region and Ghana as a whole. Keywords: Colour fastness; Vat dye; Dyeing; Parameters and Dye auxiliaries; Omo (standard detergent commonly used in Ghana); Batik
