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Hans Kweku Anderson, (2015). Philosophy of education, school curriculum, social chacge and national development.
Abstract
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
Bruce-Amartey, E. J, Amissah, E. R. K. & Safo-Ankama, K (2014). The Decline of Ghana’s Textile Industry: Its effects on Textile Education in Ghana. Arts and Design Studies, 22,
Abstract
There has been persistent, drastic decline of the Textile Industry in Ghana which is affecting the study of textiles in Ghanaian Textiles education institutions. Upon this foundation, the study seeks to examine and discuss the impact of the decline of Ghana’s textile industry on textiles education in Ghana. The population for the study consisted of students, lecturers and heads of departments of selected textiles education institutions in Ghana as well as operatives in Ghana’s textile factories. The methodology employed was the qualitative approach and the descriptive survey. Observation and interviews were the research instruments used to gather data. Some findings were that, of excessive influx of textile products from foreign countries, exorbitant utility cost affecting production, intellectual dishonesty on the part of foreign textile producers and obsolete technology by local textile manufacturers. This has also contributed adversely to the reduction of the intake of textile students in textile education institutions. The study recommends among others that the government of Ghana invests massively in the local textile industry by giving bailouts for the acquisition of new machinery, human resource and manpower development. Again efforts should be made for the provision of equipment and logistics to enhance teaching to make the textiles graduate marketable. Key words: textile industry, textile education, imports, exports, decline and obsolete
There has been persistent, drastic decline of the Textile Industry in Ghana which is affecting the study of textiles in Ghanaian Textiles education institutions. Upon this foundation, the study seeks to examine and discuss the impact of the decline of Ghana’s textile industry on textiles education in Ghana. The population for the study consisted of students, lecturers and heads of departments of selected textiles education institutions in Ghana as well as operatives in Ghana’s textile factories. The methodology employed was the qualitative approach and the descriptive survey. Observation and interviews were the research instruments used to gather data. Some findings were that, of excessive influx of textile products from foreign countries, exorbitant utility cost affecting production, intellectual dishonesty on the part of foreign textile producers and obsolete technology by local textile manufacturers. This has also contributed adversely to the reduction of the intake of textile students in textile education institutions. The study recommends among others that the government of Ghana invests massively in the local textile industry by giving bailouts for the acquisition of new machinery, human resource and manpower development. Again efforts should be made for the provision of equipment and logistics to enhance teaching to make the textiles graduate marketable. Key words: textile industry, textile education, imports, exports, decline and obsolete
Essel, O. Q & Amissah, E. R. K. (2014). In Search of Ghana’s Appropriate Modern Dress Code. Arts and Design Studies, 20,
Abstract
The study sought to identify the changing trends in dressing among Ghanaian youth and assess the impacts of the Ghanaian textile industry on her dress culture. Questionnaire, personal communications and observation were used in collecting the needed data for the study throughout the country including rural, semi-urban and urban areas. Descriptive research methodology was utilized with the focus population consisting of general dress fashion consumers, students, fashion designers, tailors/seamstresses, cultural officers, traditional (chiefs and elders) and religious authorities from across Ghana. The study revealed that appropriate dressing in democratic Ghana is dressing without breaching constitutional liberties. It was also found that Ghanaian females are going wayward in their current dress styles while the males are generally not. The textile industry have had low positive impacts on the socio-cultural and economic wellbeing of Ghanaians as a result not meeting the demand of most preferred and needed ready-to-wear clothing accessories and dress styles. It is recommended that Ghana must train more creative fashion designers, consider amendments of her dress fashion laws, policies and practices, as well as reposition her textile manufacturing industries to venture into producing, processing and finishing of her textile raw materials to satisfy local and global demands. Keywords: appropriate dress, dress code, fashion, constitutional liberties
The study sought to identify the changing trends in dressing among Ghanaian youth and assess the impacts of the Ghanaian textile industry on her dress culture. Questionnaire, personal communications and observation were used in collecting the needed data for the study throughout the country including rural, semi-urban and urban areas. Descriptive research methodology was utilized with the focus population consisting of general dress fashion consumers, students, fashion designers, tailors/seamstresses, cultural officers, traditional (chiefs and elders) and religious authorities from across Ghana. The study revealed that appropriate dressing in democratic Ghana is dressing without breaching constitutional liberties. It was also found that Ghanaian females are going wayward in their current dress styles while the males are generally not. The textile industry have had low positive impacts on the socio-cultural and economic wellbeing of Ghanaians as a result not meeting the demand of most preferred and needed ready-to-wear clothing accessories and dress styles. It is recommended that Ghana must train more creative fashion designers, consider amendments of her dress fashion laws, policies and practices, as well as reposition her textile manufacturing industries to venture into producing, processing and finishing of her textile raw materials to satisfy local and global demands. Keywords: appropriate dress, dress code, fashion, constitutional liberties
Dzramedo, E. B, Amissah, E. R. K. & Awuyah, I K. (2014). Traditional Hand Embroidery and Simple Hand - Woven Structures as Decorative Crafts for Garment Manufacturing. International Journal of Innovative Research & Development, 3,
Abstract
This study explores a field of textile craft, which incorporates the techniques of traditional hand embroidery design and a simple hand woven structure into construction processes of garment production to enhance the fortunes of the local fashion industry in Ghana. It was mainly a studio based project which involved the use of experimental and descriptive methods to explore the possibilities of designing and construction of the weave and embroidery structures. The project was designed to have traditional and cultural significance, so as to provide a new dimension to local garment decorating processes. The results of the study revealed a wide possibility of creating and fashioning various simple hand woven structures of traditional significance into the production of garments. This provides innovative ways of actualizing new creative ideas for the progress of the local industry. The experiment revealed that with careful blending of yarns of various types, colours and sizes, very attractive and significant results can be achieved making it appropriate for use in garment decoration. The basic challenges encountered involved the variations in yarn sizes used, the long floats associated with some weave and embroidery styles and the limitations associated with the weave frame used for the project. These shortcomings can be considered for further studies in the field to improve on the performance of the techniques. In general terms, however, this study has proven that various designing techniques can be incorporated into garment product through mix-media techniques exploited in the project. Key words:Traditional hand embroidery, hand woven structure, creativity, textile craft, Decoration and Garment manufacturing
This study explores a field of textile craft, which incorporates the techniques of traditional hand embroidery design and a simple hand woven structure into construction processes of garment production to enhance the fortunes of the local fashion industry in Ghana. It was mainly a studio based project which involved the use of experimental and descriptive methods to explore the possibilities of designing and construction of the weave and embroidery structures. The project was designed to have traditional and cultural significance, so as to provide a new dimension to local garment decorating processes. The results of the study revealed a wide possibility of creating and fashioning various simple hand woven structures of traditional significance into the production of garments. This provides innovative ways of actualizing new creative ideas for the progress of the local industry. The experiment revealed that with careful blending of yarns of various types, colours and sizes, very attractive and significant results can be achieved making it appropriate for use in garment decoration. The basic challenges encountered involved the variations in yarn sizes used, the long floats associated with some weave and embroidery styles and the limitations associated with the weave frame used for the project. These shortcomings can be considered for further studies in the field to improve on the performance of the techniques. In general terms, however, this study has proven that various designing techniques can be incorporated into garment product through mix-media techniques exploited in the project. Key words:Traditional hand embroidery, hand woven structure, creativity, textile craft, Decoration and Garment manufacturing
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Abstract
Essel, O. Q. (2014). Libation Art in Art of Ghana: Linking the Unlinked.. International Journal of African Society, Culture and Traditions, 1,
Abstract
This paper examines the history of easel painting on libation art in post-independence Ghana in relation to Nkrumah’s non-statutory cultural policy of inculcating libation art in national state functions. Through a visual analytic approach of post-colonial paintings on the subject matter by two pioneering contemporary Ghanaian artists, and analysis of musical libation into hiplife, it concludes that libation is a beneficial intangible cultural heritage permitted by Ghana’s constitution and international laws and must be reinstated at state functions. It posits that though libation shares peculiar religious characteristic verticality with Christian and Islamic prayers, the nation owes no apology to any religious sect for pouring libation at state functions as it has been the case for over five decades after independence. It recommends that a libation manual must be made to encourage its practice by young ones in order to ensure its preservation for the current and future generations.
This paper examines the history of easel painting on libation art in post-independence Ghana in relation to Nkrumah’s non-statutory cultural policy of inculcating libation art in national state functions. Through a visual analytic approach of post-colonial paintings on the subject matter by two pioneering contemporary Ghanaian artists, and analysis of musical libation into hiplife, it concludes that libation is a beneficial intangible cultural heritage permitted by Ghana’s constitution and international laws and must be reinstated at state functions. It posits that though libation shares peculiar religious characteristic verticality with Christian and Islamic prayers, the nation owes no apology to any religious sect for pouring libation at state functions as it has been the case for over five decades after independence. It recommends that a libation manual must be made to encourage its practice by young ones in order to ensure its preservation for the current and future generations.
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.
