Mumuni Zakaria Fusheini (2024)

The study aimed at correlating the pre-knowledge of student-teachers to their exam performance in Visual Arts Specialism at Bagabaga College of Education. The main purpose of the study was to use its findings to inform decisions that would guide subsequent admission criteria in admitting students to study the Visual Arts specialism in the College. Mixed Method approach in the form of survey, narrative and descriptive analyses were employed. Data was collected using online questionnaires and Documentary Analysis Guide. Findings of the study revealed that students’ pre-knowledge of subjects did not match with their College exam grades and that the student-teachers’ self-motivation and mindset were the main determinants of their success in the end of College semester exams. The study, therefore, recommended stakeholders of the College to ensure that students who have the zeal to pursue the Visual Arts Specialism irrespective of their background knowledge should be offered admission into the programme.

John Francis Annan (2024)

This study explores the cultural and artistic dimensions of E.O. Acquah’s Nyansaba within the context of Anansegorndwom (African musical drama with indigenous stories). By drawing on Cultural Theory propounded by Edgar and Sedgwick (2005/2007), the paper analyses how Acquah fuses traditional Ghanaian oral narratives with modern musical techniques, creating a work that bridges the gap between cultural heritage and contemporary composition. The study examines the harmonic structures, rhythmic patterns, and narrative elements in Nyansaba, shedding light on the significance of Ananse stories in Ghanaian culture and how Acquah’s work contributes to the preservation of these traditions. The findings underscore the role of Nyansaba as a vital artistic and cultural expression, offering insights into the symbiotic relationship between music and storytelling in Ghana. It is concluded that the interplay of the composer’s musical theoretical skills, poetry and the Ananse philosophy demonstrates his transformative power of imagination that could become a vehicle for transcending unpatriotic behaviours that can eventually correct the anti-national development attitudes in the Ghanaian citizenry if the musical drama receives the intended patronage.

Fred Yao Gbagbo (2024)

The ‘One Health’ concept promotes peaceful coexistence between humans, animals, and environmental health. The paper employs a conceptual review to explore the ‘One Health’ concept, focusing on the ecological perspectives of human, animal, and ecosystem health connections. The One Health concept was discussed in-depth arguing that the environmental perspective of the connections between human health, animal health, and ecosystem health is multifaceted which could
also affect the reproductive health of the human species, hence, no one person, organisation, or sector alone can adequately address health issues within the ecosystem since health issues encompass animal-human-environment interfaces. It is concluded that by challenging the utilitarian perspective that prioritises individual happiness, asserting that true well-being cannot be achieved in isolation. Rather, it is only through fostering harmony and peaceful coexistence among humans, animals, and the environment that sustainable health outcomes can be realised for all.

Mohammed Kwaku Baidoo, Ignatius Ackom-Mensah Bentum, Charles Adu-Boachie, Cyril Etornam Adala, Peggie Ama Fening (2024)

In 2020, public health education became a very great concern for people all over the world due to the outbreak of coronavirus disease (COVID-19). To protect humanity from this deadly virus, the Centre for Disease Control (CDC) and WHO put in place a preventive mechanism. The media used to print the protocols were mostly paper and stickers which were torn and washed away easily when it rained. This study aimed to design and fabricate COVID-19 protocols on Metal Plaque using metalsmithing techniques to promote Public Health Education. The researchers adopted a qualitative research paradigm with a Studio- Based research design within praxis and exegesis principles in artistic research. Chasing and repousse techniques and Aluminium sheets were used in the construction process. Results of the study revealed that these techniques and the material are suitable for fabricating metal artifacts for education on infectious diseases, drug abuse, illegal mining, waste management, bribery and corruption. It is envisaged that the use of metal plaques for public health education be expanded beyond COVID-19 protocols to include other critical societal issues such as infectious diseases, drug abuse, illegal mining, waste management, and anti-corruption efforts. Public health agencies, educational institutions, and relevant stakeholders should consider metal-based communication tools due to their durability, resistance to environmental wear, and longterm visibility.

Benjamin Oduro Arhin Jnr, Emmanuel Obed Acquah, Ernest Kwesi Amponsah, Alfred Patrick Addaquay, Andrew Yenintete Bamongya, Richardson Commeyfio (2024)

This paper is aimed at exploring the role of creative artists in promoting traditional cultural tourism in Ghana. It is premised on the fact that, the full potential of traditional cultural tourism remains underdeveloped in spite of the rich cultural heritage and the abundance of creative talent in Ghana. This situation hinders the capacity of creative artists to significantly contribute to the growth of cultural tourism, social entrepreneurship, and economic development, although, some creative artists in the industry are contributing without being noticed. Traditional knowledge and cultural expressions have been at the forefront of cultural tourism, which is embedded in the folklore of any society. Folklore has been the intangible asset that has driven many people’s tastes for cultural tourism and the role of the creative artist can shape and forge a new dimension to create a creative economy for sustainable development and for social entrepreneurship, and business opportunities for community and national economic impact. The study dwells on a qualitative approach reviewing archival materials with observations and interviews to seek a deeper understanding of the role of creative artistes and artists in promoting cultural tourism using their creative skills as economic agents. Using convenient purposive sampling, thirty participants were interviewed and it came to the known that creative artists are packaging beverages, using waste materials uniquely, traditional festivals, traditional music, and traditional entertainment creatively needing government’s support to scale it for socioeconomic impact.

Stephen Aidoo (2024)

This paper interrogates the concept of standardisation in the development of the Ghanaian atɛntɛbɛn (bamboo flute) as an indigenous African musical instrument. The paper draws a clear distinction between the concepts of ‘Standardisation’ and ‘Westernisation ‘as it applies to the development of indigenous African musical instruments like the atɛntɛbɛn. The paper further explores the challenges (tuning, finishing and packaging) that the Atɛntɛbɛn and some other Ghanaian musical instruments face outside their primordial origins. To this end, ethnographic and case study designs were employed. The paper makes the point that applying Western sense of standardisation to the development of African musical instruments is bound to create problems in construction, usage and appreciation both within and outside the cultural context of the instrument.

Johnson Kwaku Edu (2024)

The initial design of the National Theatre of Ghana, created by Chinese and Ghanaian architects, lacked indigenous artwork in spite of its architectural grandeur and cultural significance. Later, sculptures and other art pieces were integrated to enhance the theatre’s cultural representation and highlight Ghanaian heritage. However, there is a gap in understanding the full significance and impact of these artworks on the theatre’s cultural landscape, which undermines their potential benefits in cultural preservation, national identity, tourism, and intercultural understanding. This study aimed to explore the contribution of these art pieces to the theatre’s cultural representation and their role in Ghanaian heritage. A historical case study design was used to examine the integration of art into the theatre’s environment. Purposive sampling selected knowledgeable participants, ensuring rich data collection through semi-structured interviews. Descriptive and narrative approaches provided a comprehensive analysis. Findings indicate that the sculptures and artworks at the National Theatre of Ghana play a crucial role in narrating Ghanaian stories and enhancing cultural representation. These visual narratives reflect the country’s rich cultural heritage, offering both locals and visitors a deeper connection to Ghanaian traditions and history. In conclusion, the incorporation of these artworks underscores the importance of preserving and celebrating indigenous artistic traditions as vital components of national identity and cultural heritage. The study highlights the potential of such artworks to foster pride and continuity among Ghanaians. Additionally, it suggests future research and practical applications, such as informing cultural policy, promoting tourism through the theatre’s unique artistic features, and fostering intercultural understanding through the appreciation of Ghanaian art.

John Francis Annan, Godfred Sackey & Portia Owusu (2024)

From historical roots in the castles, choral art music became entrenched within the fabric of various churches in Ghana, serving as a conduit for early Ghanaian composers to delve into music theory and composition. The significant contributions of these pioneers have inspired subsequent generations of church-based art music composers in Ghana, catalyzing the progressive evolution of the genre. Despite their profound contributions to Ghanaian musical heritage, church music composers like Sitsofe Kwame Ayi often remain overlooked within scholarly discourse and academic research. This underrepresentation diminishes the recognition of their artistic achievements and perpetuates a broader imbalance in the study of Ghanaian music history. In this study, the authors delve into the life and works of composer Sitsofe Kwame Ayi of the Seventh-Day Adventist Church in Ghana. Through a biographical lens, the study examines four of Ayi’s compositions: “Ka Hwɛ” (Taste and See), “Kyerɛ Wo Dɔ” (Show Your Love), “Tie Bi” (Listen), and “Suban Pa” (Good Character). Employing a purposive sampling technique, the research centres on interviews and document analysis as primary instruments for data collection. Through analysis of Ayi’s selected compositions, the study illuminates the composer’s adept navigation of domiciled intercultural influences within his music.

 Toyosi Morgan (2024)

Theatre activism is kaleidoscopic as it advocates for various issues in society with a universal trajectory – Change. In all aspects ranging from political to social, cultural, or economic, the main line of discourse transcends reprimanding, advocating with a provocative tone to alienate and instruct the audience, steering a course of action in society. It is however observed that in searching for the immediate ephemeral actions of laughter, tears, and jeers, many directors ignore the dramaturgical influences of performances based on the magnitude of the psychological and after-effects of such sociological events. This research, therefore, interrogates the directorial interpretations of Bolanle Austen-Peters and Ifeoma Fafunwa in the staging of ‘Man Enough’ and ‘Hear Word’ respectively. These selected works are analyzed and juxtaposed against the concept of theatre activism with an emphasis on the implication of theatrics and subtexts, particularly in the dialogues of the works. The study employs Diana Taylor and Kershaw Baz’s theoretical perspective which suggests that to judge the efficacy of performance, instead of using the audience and questionnaires which in the past are inconclusive, one should judge with the conditions of the performance as it is most likely to provide “efficacious results”. The study shows, therefore, that dialogue constitutes an important aspect of communication; hence, the message, as well as underlying associations, must likewise be structured for clarity in the avoidance of misinformation or misplaced priority. 

 John-Doe Dordzro (2024)

There has been a concern about the quality and depth of the musical outputs resulting from participation in school instrumental music programmes. In Ghana, the focus is on the level of technical ability exhibited by students and the extent to which instructors assist students in developing acceptable technical control over their musical instruments. Unfortunately, no study has been done in this area in Ghana. Employing a mixed method design with a sample of 10 Basic School Bands, the present study examines the impact of the two teaching strategies revealed in Dordzro (2021) (rote and staff notation methods), on students’ performance in terms of playing proficiency. Analysis of codes generated from videotapes of rehearsal sessions, field notes, and interviews revealed that teacher-directed instructional technique was the most utilised instructional strategy. Out of the ten bands, only two bands’ performance scores fell within the ‘average’ mark for tone/intonation. Four bands performed averagely well on technique and all ten bands performed ‘poorly’ on interpretation. There was a significant difference between the rehearsal strategies employed and students’ performance. There was also a strong positive relationship between performance scores and rehearsal observation scores.