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Addo, M. N. & Amiisah, E. R. K. (2020). Physically Challenged Persons and Selection of Fabrics: A Case Study in Sekondi-Takoradi Metropolis, Ghana. INTERNATIONAL JOURNAL OF INNOVATIVE RESEARCH & DEVELOPMENT, 9,
Abstract
Clothing which is one of the basic needs of human being, plays a significant role in an individual’s life at all stages. Physically challenged persons, however, are confronted with the choice of certain fabrics for clothing due to their disabilities. Evidence shows that two out of ten persons living in Ghana have problems with the right choice of textiles fabric for use as garment. The type of attire or article to which the people would like to use the fabric or cloth for remains unknown. This lack of data has been making it impossible for fashion designers and artisans to produce ready to-use articles and attires for the physically challenged persons. This study aims at assessing physically challenged persons and selection of textiles fabric for use considering the mobility gadget and its related comfortability among the physically challenged people in the Sekondi Takoradi–Metropolis. The research design used was descriptive and observation survey. An orderly sampling strategy was applied to select 300 respondents, comprising physically challenged cloth merchant, fashion designers and the public. Data for the study was obtained using structured questionnaires, interview and observation. The results of the study revealed that majority of the people in the formal sector like using the fabric for social function than any others. The findings indicated that two-thirds of the respondents who, to some extent, consider the durability of the textile’s fabric in connection to the mobility gadget used but due to the low income earning it offset them to consider the price to durability. There was also a healthy relationship between patterns selection of textile fabric for garment and convenience of the mobility gadget. These findings provide a holistic understanding of the challenges physically challenged persons faced in the choice of fabrics for use considering the mobility gadget and its related comfortability. The study recommends that people should have positive mind towards the physically challenged and those with knowledge of fabric properties should assist them in the selection of good fabric to enhance their conditions. Keywords: Physically challenged persons, choice of textiles fabric, garment, Sekondi-Takoradi metropolis, western region, Ghana
Clothing which is one of the basic needs of human being, plays a significant role in an individual’s life at all stages. Physically challenged persons, however, are confronted with the choice of certain fabrics for clothing due to their disabilities. Evidence shows that two out of ten persons living in Ghana have problems with the right choice of textiles fabric for use as garment. The type of attire or article to which the people would like to use the fabric or cloth for remains unknown. This lack of data has been making it impossible for fashion designers and artisans to produce ready to-use articles and attires for the physically challenged persons. This study aims at assessing physically challenged persons and selection of textiles fabric for use considering the mobility gadget and its related comfortability among the physically challenged people in the Sekondi Takoradi–Metropolis. The research design used was descriptive and observation survey. An orderly sampling strategy was applied to select 300 respondents, comprising physically challenged cloth merchant, fashion designers and the public. Data for the study was obtained using structured questionnaires, interview and observation. The results of the study revealed that majority of the people in the formal sector like using the fabric for social function than any others. The findings indicated that two-thirds of the respondents who, to some extent, consider the durability of the textile’s fabric in connection to the mobility gadget used but due to the low income earning it offset them to consider the price to durability. There was also a healthy relationship between patterns selection of textile fabric for garment and convenience of the mobility gadget. These findings provide a holistic understanding of the challenges physically challenged persons faced in the choice of fabrics for use considering the mobility gadget and its related comfortability. The study recommends that people should have positive mind towards the physically challenged and those with knowledge of fabric properties should assist them in the selection of good fabric to enhance their conditions. Keywords: Physically challenged persons, choice of textiles fabric, garment, Sekondi-Takoradi metropolis, western region, Ghana
Essel, O. Q & .Amissah, E. R. K.
AFRICAN STUDIES ASSOCIATION OF AFRICA (ASAA) THIRD INTERNATIONAL BIENNIAL CONFERENCE 2019. United States International University-Africa. Nairobi, Kenya 24th to 26th OCTOBER 2019
Paper presented:
Fashion journalism (re)presentation on apprenticeship-trained fashion designers of Ghana from the 1950s to 1970s
Abstract
Sartorial apprenticeship system in Ghana predates colonialists’ invasion. This system of training tailors, dressmakers and designers in fashion making and production was handed-down from generation to generation. It was the main mode of skill development and training acquisition. This system produced creative tailors, dressmakers and designers who produced both simple and complex dress fashion for the people. Their designs helped in clothing the kings, chiefdom and the Ghanaian society at large. They produced pure Ghanaian classical fashion that continue to inspire global fashion, and dress fashion that exhibits cross-cultural influences in main market places. Colonialists’ contact with the people of Ghana, sought to the introduction of relatively new system of training they called formal education while the apprenticeship system was labelled as informal education. Though the introduction of formal education in Ghana was not totally negative, the elitist nomenclature and popular perception about it portrayed it as most perfect system of sartorial education and training. This bred negative perceptions about apprenticeship training as inferior and positioned it as the preserve of those who are not academically gifted. Consequently, this brought into existence two main modes of fashion education and training namely academic (formal school education) and non-academic (apprenticeship). Amidst the longstanding colonial-inspired perception of non-academic fashion training and education as inferior, how did the Ghanaian fashion press (re)presented apprenticeship-trained tailors, dressmakers and designers in the local popular print media at the time? What narrative did the press give about the dress fashion creation of the tailors, dressmakers and designers? How did Ghana’s press (re)presentation of tailors, dressmakers and designers repress and or transmit local fashion history? The study investigates the shifting perceptions of apprenticeship-trained dress fashion designers and their (re)presentation in the eyes of the press (fashion journalism) in the 1950s. This historical study is premised on textual analysis of fashion discourse in journalism in the 1950s since the period experienced massive government-sponsored fashion training and education of designers overseas.
Sartorial apprenticeship system in Ghana predates colonialists’ invasion. This system of training tailors, dressmakers and designers in fashion making and production was handed-down from generation to generation. It was the main mode of skill development and training acquisition. This system produced creative tailors, dressmakers and designers who produced both simple and complex dress fashion for the people. Their designs helped in clothing the kings, chiefdom and the Ghanaian society at large. They produced pure Ghanaian classical fashion that continue to inspire global fashion, and dress fashion that exhibits cross-cultural influences in main market places. Colonialists’ contact with the people of Ghana, sought to the introduction of relatively new system of training they called formal education while the apprenticeship system was labelled as informal education. Though the introduction of formal education in Ghana was not totally negative, the elitist nomenclature and popular perception about it portrayed it as most perfect system of sartorial education and training. This bred negative perceptions about apprenticeship training as inferior and positioned it as the preserve of those who are not academically gifted. Consequently, this brought into existence two main modes of fashion education and training namely academic (formal school education) and non-academic (apprenticeship). Amidst the longstanding colonial-inspired perception of non-academic fashion training and education as inferior, how did the Ghanaian fashion press (re)presented apprenticeship-trained tailors, dressmakers and designers in the local popular print media at the time? What narrative did the press give about the dress fashion creation of the tailors, dressmakers and designers? How did Ghana’s press (re)presentation of tailors, dressmakers and designers repress and or transmit local fashion history? The study investigates the shifting perceptions of apprenticeship-trained dress fashion designers and their (re)presentation in the eyes of the press (fashion journalism) in the 1950s. This historical study is premised on textual analysis of fashion discourse in journalism in the 1950s since the period experienced massive government-sponsored fashion training and education of designers overseas.
Amissah, E. R. K. & Amporful, A. (2018). Intra-Cultural Issues on Polygamous Marriages in Ghana: A Case Study of the People of Anlo in the Volta Region. THE INTERNATIONAL JOURNAL OF HUMANITIES & SOCIAL STUDIES, 6,
Abstract
Polygamous marriage is persistently prevalent in several sub-Saharan countries and remains a socio-cultural issue in the world. A considerable body of research has concluded that polygamy has impacts on children’s and wives’ psychological, social and family functioning but not much was done on this in Ghana. From a case study of the people of Anlo in the Volta Region of Ghana, this study aimed to examine the socio-cultural issues on polygamous marriages among the people and its impact on the family especially on women and children. A random sample of 61 respondents from 61 different families (31 senior high school children and 30 women) were used. Structured questionnaires on socio-demographics, socio-cultural practices of polygamy, family relationship qualities and four psychosocial scales were used to elicit responses from subjects for analysis. The results indicated high prevalence of polygamy in the study area with inverse relationship between education and attitudinal acceptance of polygamy. The study concludes that polygamy affects family quality; creating acrimony, tension, jealousy and competition among co-wives and step-siblings. It also affects psychosocial life of the family members, predominantly in women and children. Targeted sensitization, awareness of the implications of polygamy, educational and economic empowerment are key steps to address this, while focusing on children as the potential key entry points to addressing this in the next generations. Keywords: Polygamy, family, exogamy. Anlo, marriage
Polygamous marriage is persistently prevalent in several sub-Saharan countries and remains a socio-cultural issue in the world. A considerable body of research has concluded that polygamy has impacts on children’s and wives’ psychological, social and family functioning but not much was done on this in Ghana. From a case study of the people of Anlo in the Volta Region of Ghana, this study aimed to examine the socio-cultural issues on polygamous marriages among the people and its impact on the family especially on women and children. A random sample of 61 respondents from 61 different families (31 senior high school children and 30 women) were used. Structured questionnaires on socio-demographics, socio-cultural practices of polygamy, family relationship qualities and four psychosocial scales were used to elicit responses from subjects for analysis. The results indicated high prevalence of polygamy in the study area with inverse relationship between education and attitudinal acceptance of polygamy. The study concludes that polygamy affects family quality; creating acrimony, tension, jealousy and competition among co-wives and step-siblings. It also affects psychosocial life of the family members, predominantly in women and children. Targeted sensitization, awareness of the implications of polygamy, educational and economic empowerment are key steps to address this, while focusing on children as the potential key entry points to addressing this in the next generations. Keywords: Polygamy, family, exogamy. Anlo, marriage
Amissah, E. R. K. & Afram, A. P. (2018). A Comparative Study of Bonwire Kente and Daboya Benchibi. Latest Trends in Textile and Fashion Designing, 1,
Abstract
Weaving is one of the indigenous crafts, very common in the Ghanaian tradition. This craft is very much associated with three regions in Ghana. These are Volta region in the southern sector, Ashanti region in the middle sector and Northern region in the northern sector. Prominent areas within these regions are Avetime Kpetoe in the Volta region, Bonwire in the Ashanti region and Daboya in the Northern region. Woven fabrics produced from each of these areas possess specific characteristics different from other. The purpose of the study was to ascertain the production processes involved in the manufacturing of Daboya“Benchibi” and Bonwire“Kente”. The study aimed at bringing out the similarities and differences in the Daboya“Benchibi” and Bonwire“Kente”. The study centred on the qualitative design paradigm and employed the descriptive research method. The study used observation and interview as data collection instruments to identify, describe and analyse the production process, differences and similarities in the production processes of the two weaving traditions. The purposive sampling was used to select six weavers for the study. Three each from the selected communities. The descriptive method was used to analyse the data. The study found out that designing, warping, heddling, reeding, tying-up and actual weaving constituted the production processes involved in the production of both Daboya“Benchibi” and Bonwire“Kente”. The study revealed that Daboya“Benchibi” and Bonwire“Kente” have differences in terms of style of weave, designs and materials used. The study recommends that the physical features, techniques and various skills in these traditions of weaving should be upheld to serve as a unique trademark and legacy for both communities. Keywords: Kente; Benchibi; Weaving; Master weavers; Warp; Weft
Weaving is one of the indigenous crafts, very common in the Ghanaian tradition. This craft is very much associated with three regions in Ghana. These are Volta region in the southern sector, Ashanti region in the middle sector and Northern region in the northern sector. Prominent areas within these regions are Avetime Kpetoe in the Volta region, Bonwire in the Ashanti region and Daboya in the Northern region. Woven fabrics produced from each of these areas possess specific characteristics different from other. The purpose of the study was to ascertain the production processes involved in the manufacturing of Daboya“Benchibi” and Bonwire“Kente”. The study aimed at bringing out the similarities and differences in the Daboya“Benchibi” and Bonwire“Kente”. The study centred on the qualitative design paradigm and employed the descriptive research method. The study used observation and interview as data collection instruments to identify, describe and analyse the production process, differences and similarities in the production processes of the two weaving traditions. The purposive sampling was used to select six weavers for the study. Three each from the selected communities. The descriptive method was used to analyse the data. The study found out that designing, warping, heddling, reeding, tying-up and actual weaving constituted the production processes involved in the production of both Daboya“Benchibi” and Bonwire“Kente”. The study revealed that Daboya“Benchibi” and Bonwire“Kente” have differences in terms of style of weave, designs and materials used. The study recommends that the physical features, techniques and various skills in these traditions of weaving should be upheld to serve as a unique trademark and legacy for both communities. Keywords: Kente; Benchibi; Weaving; Master weavers; Warp; Weft
Amissah, E. R. K. & Lecther-Teye, S. M. (2018). Review Article Volume 2- Issue 4 - February 2018 Curr Trends Fashion Technol Textile Eng Copyright © All rights are reserved by Emmanuel RK Amissah Artistic and Cultural Significance of Ghanaian Printed Fabric Designs. Current Trends in Fashion technology & Textile Engineering, 2,
Abstract
The main objective of the research is to examine the artistic and cultural significance of Ghanaian printed fabrics. The study specifically sought to identify the various Ghanaian printed fabrics within the Ghanaian cultural set-up, examine the artistic and cultural significance of the fabrics and appraise some aspects of the printed fabrics. The research design used was the qualitative approach based on a simple descriptive survey. The purposive sampling technique was used to select eight (8) fabric designs for the study. Interview and observation were used in collecting data. The analysis of the study was based on a pictorial view of the designs. This technique enabled the researchers to deal with the artistic study of the research. The findings of the study showed that there are many Ghanaian printed fabrics with different names that have cultural significance derived from various traditional values and beliefs. Artistically, the fabrics come in different colour-ways, providing a venue for a variety of aesthetic experience for their users. The simple and complex designs associated with these fabrics go a long way to provide the individual with numerous means of appreciating textile products. The main recommendation of the study is that, conscious efforts be made by the various centres of national cultures to have special collections of these fabrics as a means of beefing up the stock of knowledge that exists in the meanings of the fabric designs. Keywords: Artistic; Culture; Aesthetics; Fabrics; Colour-ways; Symbolism
The main objective of the research is to examine the artistic and cultural significance of Ghanaian printed fabrics. The study specifically sought to identify the various Ghanaian printed fabrics within the Ghanaian cultural set-up, examine the artistic and cultural significance of the fabrics and appraise some aspects of the printed fabrics. The research design used was the qualitative approach based on a simple descriptive survey. The purposive sampling technique was used to select eight (8) fabric designs for the study. Interview and observation were used in collecting data. The analysis of the study was based on a pictorial view of the designs. This technique enabled the researchers to deal with the artistic study of the research. The findings of the study showed that there are many Ghanaian printed fabrics with different names that have cultural significance derived from various traditional values and beliefs. Artistically, the fabrics come in different colour-ways, providing a venue for a variety of aesthetic experience for their users. The simple and complex designs associated with these fabrics go a long way to provide the individual with numerous means of appreciating textile products. The main recommendation of the study is that, conscious efforts be made by the various centres of national cultures to have special collections of these fabrics as a means of beefing up the stock of knowledge that exists in the meanings of the fabric designs. Keywords: Artistic; Culture; Aesthetics; Fabrics; Colour-ways; Symbolism
Yorke, J. O., Amissah, E. R. K., Essuman, J. & deGraft-Yankson, P (2017). A Conceptual Shift in Educational Logo Designs: The Impact of Kwame Nkrumah’s Cultural Policy on Ghana’s Educational Philosophy. Arts and Design Studies, 60,
Abstract
This paper explores the conceptual shift in educational logo designs as an indirect result of Kwame Nkrumah’s cultural policies on Ghana’s educational philosophy. The study was an Art Historical research situated within the qualitative research paradigm and the data collection instruments used were interviews, field notes, observation and discussions. 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 was concerned with qualities and non-numerical characteristics of the data. The data collection techniques used was observation and structured interviews and the data collected was in the form of narrations. The study examined how the ideologies of the founding fathers of the formal educational institutions established in Ghana both before and after political independence. It identifies the significance of the ethnic insignias and Adinkra symbols used in capturing their visual corporate identities as against the reorientation of the thinking of the “new” Ghanaian. The selected educational institutions used for the study are Adisadel College - Cape Coast, Wesley Girls' Senior High School - Cape Coast, St. Augustine’s College - Cape Coast, Ghana National College - Cape Coast, University of Cape Coast - Cape Coast, Kwame Nkrumah University of Science & Technology – Kumasi and University of Education, Winneba – Winneba. Keywords: Adinkra, Ideologies, Kwame Nkrumah’s cultural policies, Philosophy of Africa’s formal education.
This paper explores the conceptual shift in educational logo designs as an indirect result of Kwame Nkrumah’s cultural policies on Ghana’s educational philosophy. The study was an Art Historical research situated within the qualitative research paradigm and the data collection instruments used were interviews, field notes, observation and discussions. 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 was concerned with qualities and non-numerical characteristics of the data. The data collection techniques used was observation and structured interviews and the data collected was in the form of narrations. The study examined how the ideologies of the founding fathers of the formal educational institutions established in Ghana both before and after political independence. It identifies the significance of the ethnic insignias and Adinkra symbols used in capturing their visual corporate identities as against the reorientation of the thinking of the “new” Ghanaian. The selected educational institutions used for the study are Adisadel College - Cape Coast, Wesley Girls' Senior High School - Cape Coast, St. Augustine’s College - Cape Coast, Ghana National College - Cape Coast, University of Cape Coast - Cape Coast, Kwame Nkrumah University of Science & Technology – Kumasi and University of Education, Winneba – Winneba. Keywords: Adinkra, Ideologies, Kwame Nkrumah’s cultural policies, Philosophy of Africa’s formal education.
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.
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
