This article aims to introduce and analyse C.W.K. Mereku’s Asomdwee Hen, an operetta, which has been the most performed African oriented musical drama in Ghana.The work which combines drama with music tells the story of the faith of Christians on the birth of Christ. The article does not only examine the African musical compositional features but pulls out the aesthetics of this traditional musical drama through musical analysis and delves to unearth the relevance of the work in the field of practical African musical drama composition. It concludes that the potential vivifying catalyst of the work is seen in the several artistic multicultural vicissitudes of thought, such as drum patterns, tonality, vocal style and language, submitted to the musical treatment by the composer. Asomdwee Hen is indeed a fundamental platform for the creation of African musical drama and pursuit of its aesthetics.

The creation and production of meaningful artefacts for trade and tourism is one way by which accelerated industrialisation could be achieved in Africa. This could first be realised through knowledge acquisition and skills development. The research sought to gather information about what residents in Asogli Traditional Area in the Volta Region of Ghana know about their own artefacts, and to identify interpretation challenges regarding them. The knowledge acquired from the results will guide artists and other creators of works of art and enable them to produce highly impressive pieces of artefacts that offer better understanding for the target audience. Questionnaire as a tool was employed for data gathering while the purposive sampling technique was adopted in the study. The research revealed that only 19.2% of residents understand the meaning of artefacts in Asogli because of lack of supporting literature and other forms of publicity. Most artefacts are practically seen as objects of decoration. It was, therefore, recommended that for the residents and the outside world to acquire knowledge on the artefacts, art and culture symposia should be organised frequently by the local authorities, and brochures or magazines showing pictures of the artefacts and their meanings should be published occasionally and distributed among residents, hotels and libraries for proper education, to generate the expected excitement among all.

This pro-feminist discourse attempts to appreciate the ‘Milk of Nigerian Womanhood’ which was the first International Art exhibition outing held in United Arab Emirates, Dubai, Deira, on the 24^th– 26^thApril 2012 by the Female Artists Association of Nigeria. This article is a report of The Milk of Nigerian Womanhood exhibition. It is hinged on qualitative narrative description mode of research. It stands on the tripod of Art, Tourism and Entrepreneurship. The main thrust of the article is art appreciation of the entries into the various specialized areas of art such as Ceramics, Bead Art, Sculpture, Textiles/Fashion, Painting, Graphic design, Film and Performance. Art, tourism and entrepreneurship are interlaced in the discourse.

The focus of this studio-based research is to transform scrap metals into aesthetic masterpiece of art. It is premised on the assumption that the intuitive technique of rejuvenating junks provides the freedom and flexibility to exercise creative expressions on a three dimensional level of art. This study therefore seeks to rejuvenate junks thereby analyzing scrap metals as alternative materials for Ghanaian sculptors. Having identified the aesthetic and artistic expressions of scrap metals, therefore, a piece of sculpture was created with scrap metals as means of establishing the viability of the materials as potential material for creation of sculpture with a story to tell. It also brings out the value of a composed scrap metal bull with different approaches, techniques and procedures as abound in the composition of the work.

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The concept of role-playing; auditions and the selection of artiste to play a part in a script is an exclusive decision making privilege reserved for a would-be producer, director, choreographer and or musicologist before a theatre production can be said to have taken place. However, poor or wrong casting has often been the bane of most highly speculated and perhaps well funded theatre productions in the past. In Nigeria for instance, this kind of artistic and managerial deficiency has often lead to decline in the patronage of the theatre. Unfortunately, there are little or no academic awareness in this direction. To bridge this gap therefore, this article takes a look at the casting modes and parameters employed in two selected productions in Nigeria with a special interest in analyzing the effects and significances of the choices made to the overall aesthetic contexts of the productions. The study is therefore highly qualitative and analytical as well as qualitative in nature. The study highlights factors ranging from height, skin color, diction, level of education, gender, age, star-profile, professionalism, shape/bodily size, artiste fee, budget, performance venue, etc, as common determining indices for the selection of actors in most Nigerian play productions. It cautioned against director’s personal desires and ambition as it reiterates that the choices made or not made do have far reaching effects on the overall evaluation of a production in ways that is better imagined.

This article explores the love stories in Kofi Anyidoho’s two love poems, namely Do not Give too much of your Love to me and Murmuring,connect them to Atukwei Okai’s love poem Rosimayaand hypothesizes that the poetic personae in these three poems unconsciously dialogue with one another. The article further posits that the three poems can be adapted and produced as a feature film or can be put on stage for dramatic performance.