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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.
Brew-Riverson, E. H. (2016). Teaching Acting at UEW - An Experiential Observation. The International Journal Of Humanities & Social Studies, 4,
Abstract
It is an undeniable fact that Acting is at the core if not the fulcrum on which everything theatre swings. Though it is an art that eludes statutory tied-down definitions, it predates even the age old held notion that the Greeks gave it birth. This paper dares to assert that though commendable that high academia admits this age-old art into its curriculum, there is still the evident struggle, even in our times, as to the most accurate value to place on this eternally fascinating art that possesses the dual proclivity to prop up society for the better or spearhead the expiration of that very society’s core values. In the author’s nine-year experience of teaching Acting at the University of Education, Winneba the observation is that the student-actor’s mental or psychological antenna picks up this obtrusive though covertly expressed suspicion of both his place and that of his art in high academia initiating intermittent dithering of his self-confidence. Albeit, for more than half a decade of the setting up of the Department of Theatre Arts here at UEW, it has been an exhilarating process of discovery for both facilitators and student-actors or student theatre-practitioners that no apology is owed for asserting their creative intellectual identity in a world where they still do exert a crucial influence as into which direction that defined world is headed. Drawing attention to the fact that the student-actor embodies language in action this paper is a reflective presentation of a typical Acting class orientation that positions student actors/performers as the creative intellectuals that they are.
It is an undeniable fact that Acting is at the core if not the fulcrum on which everything theatre swings. Though it is an art that eludes statutory tied-down definitions, it predates even the age old held notion that the Greeks gave it birth. This paper dares to assert that though commendable that high academia admits this age-old art into its curriculum, there is still the evident struggle, even in our times, as to the most accurate value to place on this eternally fascinating art that possesses the dual proclivity to prop up society for the better or spearhead the expiration of that very society’s core values. In the author’s nine-year experience of teaching Acting at the University of Education, Winneba the observation is that the student-actor’s mental or psychological antenna picks up this obtrusive though covertly expressed suspicion of both his place and that of his art in high academia initiating intermittent dithering of his self-confidence. Albeit, for more than half a decade of the setting up of the Department of Theatre Arts here at UEW, it has been an exhilarating process of discovery for both facilitators and student-actors or student theatre-practitioners that no apology is owed for asserting their creative intellectual identity in a world where they still do exert a crucial influence as into which direction that defined world is headed. Drawing attention to the fact that the student-actor embodies language in action this paper is a reflective presentation of a typical Acting class orientation that positions student actors/performers as the creative intellectuals that they are.
Kemevor, A.K., & Awuah, H., (2014). The Heritage of Pomadze Community.
Abstract
School of Creative ArtsJul 17, 2015
Kemevor, A.K., & Serebour, S., (2014). The Akwatia Community.
Abstract
School of Creative ArtsJul 17, 2015
Kemevor, A.K (2014). Traditional Ingenuity in Ghanaian Atumpan Drum Construction (From Locally Obtainable ‘Cordia Millenii’). International Institute for Science and Technology and Education, 22,
Abstract
The forest abounds in different species of trees that the African wood carver capitalizes on to make artifacts. Design and construction of drums particularly in the form of wood art has been in existence for so many years. The purpose of this article is to highlight on the design of traditional carving of Atumpan drum as an excellent art work; As an artwork, its nature, design elements and production process have been discussed. The selection of appropriate wood and design motifs for production and their symbolism have also been considered. Descriptive research method based on the qualitative research approach was employed. This study shows an important distinction between the seeing, viewing, and liking of a specific piece of art and lack of understanding. The investigation of creativeness in the art requires some theoretical originality to enable the development of an effective research method capable of subtly reporting upon original artistic activity. The study states that traditional methods and approaches of Atumpan drum carving must be revived in order to give room for creativity which is indispensable for any development to happen.
The forest abounds in different species of trees that the African wood carver capitalizes on to make artifacts. Design and construction of drums particularly in the form of wood art has been in existence for so many years. The purpose of this article is to highlight on the design of traditional carving of Atumpan drum as an excellent art work; As an artwork, its nature, design elements and production process have been discussed. The selection of appropriate wood and design motifs for production and their symbolism have also been considered. Descriptive research method based on the qualitative research approach was employed. This study shows an important distinction between the seeing, viewing, and liking of a specific piece of art and lack of understanding. The investigation of creativeness in the art requires some theoretical originality to enable the development of an effective research method capable of subtly reporting upon original artistic activity. The study states that traditional methods and approaches of Atumpan drum carving must be revived in order to give room for creativity which is indispensable for any development to happen.
School of Creative ArtsJul 17, 2015
Kemevor, A.K., & Kassah, J.K (2015). Challenges of Technical and Vocational Education and Training and Educational Stakeholders in the Volta Region of Ghana. International Journal of Humanities Social Sciences and Education, 2,
Abstract
The purpose of this paper was to find out the attitude of Educational Stakeholders towards challenges confronting Technical and Vocational Education and Training (TVET) in the Volta Region of Ghana. The qualitative research method with questionnaire and interview guide helped to examine the nature and scope of the Technical and Vocational education in Ghana as well as the roles it plays in creating jobs for unemployed Ghanaians and to minimize poverty and the challenges of Technical and Vocational Education in Ghana. The stratified random sampling method was used in sampling out the various subjects. These comprised stakeholders such as parents, teachers, employers, government and private institutional heads, alumna and, students of second cycle institutions were selected for the study. These groups were chosen because they would provide relevant information needed for this paper. Technical and Vocational Education and Training in the Volta Region of Ghana faces a lot of challenges. This paper revealed that technical and vocational institutions in Ghana are inadequate considering the number of Junior High School graduates in the system. This has resulted in large class size in the few existing Technical and Vocational Institutions. The large class sizes do not match with the supply and provision of training resources. This does not allow the instructor to attract and sustain the attention of all students during demonstration lessons. Also, the infrastructure and training facilities of the institutions are in deplorable state resulting in outdated training content. This paper recommended Ministry of Education and other stakeholders in charge of Technical and Vocational Education and Training to formulate policies that will make TVET meet international standard so that graduates of TVET also meet the demands of international labour market.
The purpose of this paper was to find out the attitude of Educational Stakeholders towards challenges confronting Technical and Vocational Education and Training (TVET) in the Volta Region of Ghana. The qualitative research method with questionnaire and interview guide helped to examine the nature and scope of the Technical and Vocational education in Ghana as well as the roles it plays in creating jobs for unemployed Ghanaians and to minimize poverty and the challenges of Technical and Vocational Education in Ghana. The stratified random sampling method was used in sampling out the various subjects. These comprised stakeholders such as parents, teachers, employers, government and private institutional heads, alumna and, students of second cycle institutions were selected for the study. These groups were chosen because they would provide relevant information needed for this paper. Technical and Vocational Education and Training in the Volta Region of Ghana faces a lot of challenges. This paper revealed that technical and vocational institutions in Ghana are inadequate considering the number of Junior High School graduates in the system. This has resulted in large class size in the few existing Technical and Vocational Institutions. The large class sizes do not match with the supply and provision of training resources. This does not allow the instructor to attract and sustain the attention of all students during demonstration lessons. Also, the infrastructure and training facilities of the institutions are in deplorable state resulting in outdated training content. This paper recommended Ministry of Education and other stakeholders in charge of Technical and Vocational Education and Training to formulate policies that will make TVET meet international standard so that graduates of TVET also meet the demands of international labour market.
School of Creative ArtsJul 17, 2015
Donkor, E., Adu, C., & Kemevor, A. K. (2014). Comparative Study of Fashion Production Units in Ghanaian Polytechnics. Arts and Design Studies, 24,
Abstract
Technological and vocational Education has emerged as one of the most capable Human Resource Improvement Strategies that African countries need to conform, in other to train and update their technical labour force for speedy industrialization and national development. The impact of Technical and Vocational Education and the way skills training and competences are learnt in developing countries can improve polytechnic education of which Fashion is one. The Ghanaian Polytechnics have mostly since their inception relied heavily on industries outside the school environment to give their students hands-on-training in industrial practices related to their various programmes. Students studying fashion design and textiles also face similar challenges. This study therefore focuses on comparative study of production units in Polytechnics that offer fashion design and textile courses by examining the need to compare production units in Polytechnics and the role production units play especially in fashion education. The study also seeks to identify best practices in the fashion industry that could be replicated in a production unit for effective fashion education in Ghanaian Polytechnics. The study seeks to compare equipment available in production units in fashion design and textile department in Accra, Ho, Kumasi and Takoradi Polytechnics. The simple random sampling technique was used to sample views from the respondents and as data collection instrument a structured questionnaire was administered to one hundred and forty seven respondents (147). Out of the one hundred and forty seven respondents, twenty eight (28) were interviewed. The interpretation of the data reveals that most Polytechnics offering fashion education have production units. From the responses it can be concluded that the machines in the institutions production units if maintained and used properly will improve polytechnic education and also bridge the gap between Polytechnics and industries. Since the institutions will produce competent and skilled graduates, garment manufacturing industries will have confidence in the polytechnic’s graduates and willingly employ them. Based on the study certain recommendations have been made.
Technological and vocational Education has emerged as one of the most capable Human Resource Improvement Strategies that African countries need to conform, in other to train and update their technical labour force for speedy industrialization and national development. The impact of Technical and Vocational Education and the way skills training and competences are learnt in developing countries can improve polytechnic education of which Fashion is one. The Ghanaian Polytechnics have mostly since their inception relied heavily on industries outside the school environment to give their students hands-on-training in industrial practices related to their various programmes. Students studying fashion design and textiles also face similar challenges. This study therefore focuses on comparative study of production units in Polytechnics that offer fashion design and textile courses by examining the need to compare production units in Polytechnics and the role production units play especially in fashion education. The study also seeks to identify best practices in the fashion industry that could be replicated in a production unit for effective fashion education in Ghanaian Polytechnics. The study seeks to compare equipment available in production units in fashion design and textile department in Accra, Ho, Kumasi and Takoradi Polytechnics. The simple random sampling technique was used to sample views from the respondents and as data collection instrument a structured questionnaire was administered to one hundred and forty seven respondents (147). Out of the one hundred and forty seven respondents, twenty eight (28) were interviewed. The interpretation of the data reveals that most Polytechnics offering fashion education have production units. From the responses it can be concluded that the machines in the institutions production units if maintained and used properly will improve polytechnic education and also bridge the gap between Polytechnics and industries. Since the institutions will produce competent and skilled graduates, garment manufacturing industries will have confidence in the polytechnic’s graduates and willingly employ them. Based on the study certain recommendations have been made.
School of Creative ArtsJul 17, 2015
Siaw, S.D., Kemevor, A.K., & Dzramedo, B.E (2014). The appropriate effects of elements and principles of designing apparel in fashion. Global Journal of Arts Humanities and Social Sciences, 2,
Abstract
Fashion makes a dramatic statement about one’s personality and when worn with elegance and flair, gives an impression of sophistication and style. That is why a true fashion designer is said to possess the ability to transform a piece of fabric into a work of art. It can be said therefore that, the proper use of elements of art play an important role in designing beautiful and attractive dresses. That is why several factors ought to be considered before choosing the right design elements and principles for a fabric. This and many other factors led to the need to understand designers and consumers technicalities on the proper use of elements and principles for designing apparel. The study employed structured questionnaire survey of 105 respondents of fashion designers and consumers with basic ideas on fashion. The data analysis was carried out with simple frequency levels and using the regression analysis to test the hypothesis of the study and determine the coefficient of the effects of elements and principles on fashion design. It was established that, most consumers and designers have a general idea on elements and principles of design as being part of garment construction and daily dressing codes but also acknowledge that they were not aware of its technicalities and effects on the overall look of fashion. The study however recommends that, a broader awareness on these materials of design with descriptive and common word should be selected and that which easily represents each concept group and effectively communicates its essence.
Fashion makes a dramatic statement about one’s personality and when worn with elegance and flair, gives an impression of sophistication and style. That is why a true fashion designer is said to possess the ability to transform a piece of fabric into a work of art. It can be said therefore that, the proper use of elements of art play an important role in designing beautiful and attractive dresses. That is why several factors ought to be considered before choosing the right design elements and principles for a fabric. This and many other factors led to the need to understand designers and consumers technicalities on the proper use of elements and principles for designing apparel. The study employed structured questionnaire survey of 105 respondents of fashion designers and consumers with basic ideas on fashion. The data analysis was carried out with simple frequency levels and using the regression analysis to test the hypothesis of the study and determine the coefficient of the effects of elements and principles on fashion design. It was established that, most consumers and designers have a general idea on elements and principles of design as being part of garment construction and daily dressing codes but also acknowledge that they were not aware of its technicalities and effects on the overall look of fashion. The study however recommends that, a broader awareness on these materials of design with descriptive and common word should be selected and that which easily represents each concept group and effectively communicates its essence.
School of Creative ArtsJul 17, 2015
Opoku, M., Baiden, S., & Kemevor, K. A. (2015). QUALITY SYSTEMS OF FINISHING CLOTHING IN THE SMALL SCALE INDUSTRIES IN GHANA.. Projournal of Humanities and Social Science (PHSS), 3,
Abstract
The study is intended to address the quality systems of finishing locally manufactured garments which contribute tremendously to the sales and acceptance of garments globally of the small scale industries in Ghana. The sample size of the study was 70 respondents which mainly constituted fashion designers, fashion students and consumers. Questionnaires, interviews and observations were used for data collection and analysis made. Major findings from the study indicated that most of the local fashion designers do not adhere to quality systems of finishing since they were trained informally and besides, no law governs their activities. The inability of these designers to practice the appropriate finishing procedures affects their sales both locally and internationally. On the other hand, the clothing students admitted that finishing cannot be underestimated or ruled out in garments production since it (finishing) plays a very vital role in terms of the volume of sales which is directly related to the quality of the final output. They however asserted that finishing forms part of the core courses taught in school. Consumers had little knowledge in garment finishing as revealed by the study. The study concludes with a call on institutions, agencies and stakeholders to collaboratively help develop and sensitize local fashion designers on the importance of finishing in garment designing for a better global acceptance and value.
The study is intended to address the quality systems of finishing locally manufactured garments which contribute tremendously to the sales and acceptance of garments globally of the small scale industries in Ghana. The sample size of the study was 70 respondents which mainly constituted fashion designers, fashion students and consumers. Questionnaires, interviews and observations were used for data collection and analysis made. Major findings from the study indicated that most of the local fashion designers do not adhere to quality systems of finishing since they were trained informally and besides, no law governs their activities. The inability of these designers to practice the appropriate finishing procedures affects their sales both locally and internationally. On the other hand, the clothing students admitted that finishing cannot be underestimated or ruled out in garments production since it (finishing) plays a very vital role in terms of the volume of sales which is directly related to the quality of the final output. They however asserted that finishing forms part of the core courses taught in school. Consumers had little knowledge in garment finishing as revealed by the study. The study concludes with a call on institutions, agencies and stakeholders to collaboratively help develop and sensitize local fashion designers on the importance of finishing in garment designing for a better global acceptance and value.
School of Creative ArtsJul 17, 2015
Yirenkyi, S.M. & Amponsah, E.K. (2014). Theatre and Social Change: Reasserting Traditional Values through Theatre, The Role of Kobina Sekyi.. American Journal of Social Sciences Arts and Literature, 1,
Abstract
The Culture of a people is supposed to identify them as a unique group of people and therefore needs to be regarded and protected with all the people's might, will as well as resources and everything they have. this paper explores how Africans (Ghanaians) always revere and hold in the highest esteem that which is from the colonizer (Western world) as opposed to theirs. Through the spectrum of the playwright, Kobina Sekyi, one of Ghana's premiere writers, an attempt is made to analyse and interpret his play,The Blinkards as a base look at this phenomenon of "Africaness Bastardisation" as a choice as opposed to heeding to call for National Self Assertion. A case will be made to back tress the point that Theatre /Drama has the potency to positively affect Social Change
The Culture of a people is supposed to identify them as a unique group of people and therefore needs to be regarded and protected with all the people's might, will as well as resources and everything they have. this paper explores how Africans (Ghanaians) always revere and hold in the highest esteem that which is from the colonizer (Western world) as opposed to theirs. Through the spectrum of the playwright, Kobina Sekyi, one of Ghana's premiere writers, an attempt is made to analyse and interpret his play,The Blinkards as a base look at this phenomenon of "Africaness Bastardisation" as a choice as opposed to heeding to call for National Self Assertion. A case will be made to back tress the point that Theatre /Drama has the potency to positively affect Social Change
School of Creative ArtsJul 16, 2015
