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Amponsah, E.K. & Yirenkyi, S.M. (2014). Kwaku Ananse: Profiling the Ageless Hero of Ghanaian Folktales. West African Journal of Musical Arts Education., 2,
Abstract
It is an undeniable fact that, one character who has been able to keep his name, stature and personality since his creation to date is Ananse the spider. Ananse, has been and is still known in all quarters of the Ghanaian society, from the child living in the smallest village of the Ghanaian Akan society, to the most learned professor in academia. A critical analysis of this creature will unravel certain mysteries and questions which seem to surround him such as what or who is Ananse? This study will examine his description as ageless, accolades as hero and supreme. It will further investigate how he was chosen to be the main protagonist of Ghanaian folktales and how his name has been used to brand stories or folktales, especially among the Akan communities in Ghana, thus, Anansesem (Stories about the spider)
It is an undeniable fact that, one character who has been able to keep his name, stature and personality since his creation to date is Ananse the spider. Ananse, has been and is still known in all quarters of the Ghanaian society, from the child living in the smallest village of the Ghanaian Akan society, to the most learned professor in academia. A critical analysis of this creature will unravel certain mysteries and questions which seem to surround him such as what or who is Ananse? This study will examine his description as ageless, accolades as hero and supreme. It will further investigate how he was chosen to be the main protagonist of Ghanaian folktales and how his name has been used to brand stories or folktales, especially among the Akan communities in Ghana, thus, Anansesem (Stories about the spider)
School of Creative ArtsJul 16, 2015
Adomina, M. A. K
PASMAE. J. N Ayettey Auditorium, South Campus, Winneba. 10th July, 2014
Paper presented:
The Arts as communication tool for social development.
Abstract
One of the important aspects of African Musical Arts is drumming. Among the people of Mafi-Tonu Ewe communities in the Volta region of Ghana, drumming enhances communication, socialization and education. The facet of this paper highlights the educational role of drumming and then focuses on drumming as a form of communication in music and dance activities. It also examines how the structures of drum patterns, in performance practice, can have implications for the music educator. In dealing with it, I draw on the body of literature on African and Ghanaian ethnographic field research on music, dance and drumming and my own experience as a drummer, dancer and musician. It uses two models: Drumming as a form of communication and social well-being and then educational implication of drumming.The former being the main framework.
One of the important aspects of African Musical Arts is drumming. Among the people of Mafi-Tonu Ewe communities in the Volta region of Ghana, drumming enhances communication, socialization and education. The facet of this paper highlights the educational role of drumming and then focuses on drumming as a form of communication in music and dance activities. It also examines how the structures of drum patterns, in performance practice, can have implications for the music educator. In dealing with it, I draw on the body of literature on African and Ghanaian ethnographic field research on music, dance and drumming and my own experience as a drummer, dancer and musician. It uses two models: Drumming as a form of communication and social well-being and then educational implication of drumming.The former being the main framework.
School of Creative ArtsJul 15, 2015
Edu, J. K.
School of Creative Arts, Faculty seminar. Seminar room, Central campus, Winneba October 10, 2014
Paper presented:
Scenography: Examining a new marketing strategy for corporate promotion and development
Abstract
This paper presents a critical overview of the recent development by both public and private institutions in Ghana as regards the application of scenic design concepts as an effective interpretation for the promotion of goods and services in the 21st century. Additionally, how these organizations have uncontrollably utilized the design concepts effectively to translate and communicate the values of their business ideas, products and services to consumers. The purpose of the study is to examine the synergy between scenic design and business in relation to institutional identity and the role of the scenic design concept in business promotion and branding. Data for the study was collected using oral interviews and informal interactions. Finally, the research question that directs the discussions in this paper is: how does the scenic design effectively promote corporate business. Findings indicate that scenic design is a visual statement that enhances business practice and presentation.
This paper presents a critical overview of the recent development by both public and private institutions in Ghana as regards the application of scenic design concepts as an effective interpretation for the promotion of goods and services in the 21st century. Additionally, how these organizations have uncontrollably utilized the design concepts effectively to translate and communicate the values of their business ideas, products and services to consumers. The purpose of the study is to examine the synergy between scenic design and business in relation to institutional identity and the role of the scenic design concept in business promotion and branding. Data for the study was collected using oral interviews and informal interactions. Finally, the research question that directs the discussions in this paper is: how does the scenic design effectively promote corporate business. Findings indicate that scenic design is a visual statement that enhances business practice and presentation.
School of Creative ArtsJul 15, 2015
Edu, J. K.
WASRC-PASMAE, CONFERENCE & SPECIAL ANNUAL PATAG INSET WORKSHOP. J. N. Ayettey, Winneba June 10 - 14, 2014
Paper presented:
Animated costume puppets: An effective model medium for the dissemination and sensitization in education for participatory community development
Abstract
Traditionally, the adopted forms of organizing open theatre forums aimed at behavioural change within a given community as a result of identified social issues have been hitherto promoted through the use of identified structures like theatre for development, theatre for communication and theatre for behavioural change to mention a few. The animated costume puppet theatre as a complimentary model opens up to a broader perspective in collaboration within the creative arts industry aimed at a total visual educational programme. This paper discusses the impact of the model under review in relation to the socio - economic development of Ghana in the 21st century. It also highlights a unique application and principles of animated puppetry theatre with a fusion of costume props as a more efficient and effective structure for a community mobilization and sensitization programme.
Traditionally, the adopted forms of organizing open theatre forums aimed at behavioural change within a given community as a result of identified social issues have been hitherto promoted through the use of identified structures like theatre for development, theatre for communication and theatre for behavioural change to mention a few. The animated costume puppet theatre as a complimentary model opens up to a broader perspective in collaboration within the creative arts industry aimed at a total visual educational programme. This paper discusses the impact of the model under review in relation to the socio - economic development of Ghana in the 21st century. It also highlights a unique application and principles of animated puppetry theatre with a fusion of costume props as a more efficient and effective structure for a community mobilization and sensitization programme.
School of Creative ArtsJul 15, 2015
Nukpezah, P.
AfTA Annual International Conference. Accra, Ghana July 2014
Paper presented:
Tertiary Theatre and Performance Education in Ghana: The Winneba Experience.
Abstract
This presentation explores the current history of tertiary theatre education in Ghana. It considers how it has evolved within the university educational system over the years. The study reflects on how theatre and performance have been challenged within the university community and asks the question that how can a critical discourse about theatre be achieved if the current trend is still a struggle for identity within academia? It further discusses a survey on the perception of students pursuing Theatre in the University of Education, some parents and university staff all in Winneba. The Winneba experience is analyzed led by the conviction that theatre still holds a place in the transformation of lives for a greater sense of purpose in life and nation building. This awareness, it is believed would alert curriculum developers to the possibility for reshaping theatre in the present and future.
This presentation explores the current history of tertiary theatre education in Ghana. It considers how it has evolved within the university educational system over the years. The study reflects on how theatre and performance have been challenged within the university community and asks the question that how can a critical discourse about theatre be achieved if the current trend is still a struggle for identity within academia? It further discusses a survey on the perception of students pursuing Theatre in the University of Education, some parents and university staff all in Winneba. The Winneba experience is analyzed led by the conviction that theatre still holds a place in the transformation of lives for a greater sense of purpose in life and nation building. This awareness, it is believed would alert curriculum developers to the possibility for reshaping theatre in the present and future.
School of Creative ArtsJul 02, 2015
Nukpezah, P.
WASRC-PASMAE CONFERENCE & SPECIAL ANNUAL PATAG INSET & WORKSHOP. Accra, Ghana June 2014
Paper presented:
The Place of Theatre Arts Education in Ghana's Future
Abstract
Theatre as has been observed by many provides an arena for the rehearsal of life experiences. Through these rehearsals, it is believed people adopt new ways of life. Much of Ghana’s developmental challenges is said to be the result of the attitudes or behaviour of its people. It is also observed that attitudes/behaviour whether desirable or undesirable are learned, and could be changed through appropriate conditioning. Though a lot of progress has been made in understanding the causes of these attitudes /behaviour of the Ghanaian and the need to prevent them, various reports still show a number of challenges. The distinct effects of the numerous intervention strategies adopted to address these challenges of the Ghanaian have not yet been realized. This article recounts a participant’s observation of the use of theatre as an educational tool in understanding the underlying causes behind these challenges in four Winneba communities; namely Gomoa Kweikrom, Gomoa Pomadze, Essuekyire and Winneba prisons. The observations made show how Freire’s concept of education, which advocates for cooperation, unity, and cultural synthesis were employed in the theatrical activities, all in the hope of enhancing attitudinal/behavioural change of Ghana’s future. This paper however admits that although there are not many visible features to show, the processes have contributed to some notable achievements to the host communities in the Winneba Municipality and on the lives of the project facilitators.
Theatre as has been observed by many provides an arena for the rehearsal of life experiences. Through these rehearsals, it is believed people adopt new ways of life. Much of Ghana’s developmental challenges is said to be the result of the attitudes or behaviour of its people. It is also observed that attitudes/behaviour whether desirable or undesirable are learned, and could be changed through appropriate conditioning. Though a lot of progress has been made in understanding the causes of these attitudes /behaviour of the Ghanaian and the need to prevent them, various reports still show a number of challenges. The distinct effects of the numerous intervention strategies adopted to address these challenges of the Ghanaian have not yet been realized. This article recounts a participant’s observation of the use of theatre as an educational tool in understanding the underlying causes behind these challenges in four Winneba communities; namely Gomoa Kweikrom, Gomoa Pomadze, Essuekyire and Winneba prisons. The observations made show how Freire’s concept of education, which advocates for cooperation, unity, and cultural synthesis were employed in the theatrical activities, all in the hope of enhancing attitudinal/behavioural change of Ghana’s future. This paper however admits that although there are not many visible features to show, the processes have contributed to some notable achievements to the host communities in the Winneba Municipality and on the lives of the project facilitators.
School of Creative ArtsJul 02, 2015
