Augusta Arko-Mensah, Veronica Agyeiwaah (2023)

The paper was a result of a phenomenographic study which sought to identify a number of conceptions of a Musicianship course among level 200 students pursuing Bachelor of Arts, Music Education, at the University of Education, Winneba in individual interviews of a sample size of 20. The study was premised on the fact that students have diverse understanding of the musicianship course thereby affecting its significance on their general musical practice. These conceptions were grouped into four categories related to the students’ preferred explanations for Musicianship. (a) the ability to play or perform by hearing (b) performing in an ensemble work (c) gaining mastery in reading at sight (d) transcription of musical pitches or sound from audio or video recordings into notation. Using the concept of integrated music learning’ and improvisation as the framework, the findings from this study raised two critical but general issues regarding Musicianship learning. The first of these is the critical role played by students in their everyday practice to acquire the necessary skills for understanding and interpreting concepts in the Musicianship course. A second issue is the tendency for students to extend their understanding and interpretation of concepts in the Musicianship course to actual performance of their major and minor instruments. This study argues that an understanding of the Musicianship phenomenon by students should form an integral component of the teaching of the course, both as points of origin for lesson planning and for the development of curricular materials. It is envisaged that the results of the study facilitate a better understanding of student’s learning of the Musicianship course as part of their training as music educators while it gives further direction to teachers of the course to use the integrated approach to help students acquire the necessary skills in the course. 

Fuseini Ayaaba, Daniel Kwabena Danso (2023)

This research work sought to identify and discuss the socio-economic and cultural relevance of fugu (smock) fabrics, study the extent to which traditional symbols of the Upper East Region of Ghana are incorporated in fugu fabrics, and also design and produce fugu fabrics with selected traditional symbols of Upper East Region of Ghana incorporated in them. The researchers adopted the studio-based research approach as it is deemed the most appropriate for this type of research project. It involved the descriptive and exploratory methods of research. The purposive and quota sampling methods were employed in this research which made it possible to reach the fugu fabric weavers, users of the fugu, sellers of fugu and fugu fabrics for needed data. A sample size of fifty (50) was used and data gathered were obtained through the use of questionnaire and interview. The researchers found that fugu fabrics contribute a lot in the cultural and socio-economic lives of the people in the Upper East Region of Ghana as they use them for funerals, festivals, marriage ceremonies, and it also help them earn good living through occupations such as weaving, sewing, and sale of smocks. Respondents also, generally, expressed interest in the incorporation of traditional symbols in the fugu fabrics of Ghana. The study concluded that the incorporation of traditional symbols in the fugu fabrics of the Upper East Region of Ghana will promote the cultural value of the products, enhance their aesthetic appeal, and also attract more people to purchase them. It is, therefore, imperative for fugu fabric producers and textile artists, in general, to turn attention to the fugu business and work towards the inculturation of fugu fabrics with traditional symbols of Ghana to make the industry a vibrant and more attractive one. The researchers also recommend their newly designed fugu symbolic fabrics for use. 

Kow Eduam Ghartey, Osuanyi Quaicoo Essel (2023)

Studies on the economic impacts of the wax print companies in Ghana abound. However, the design history of the wax prints design culture in post-independence Ghana has received little or no scholarly focus. This study focuses on Akosombo Textiles Limited (ATL) now Akosombo Industrial Company Limited, one of the giants in wax prints in Ghana. Historical research design and expert purposive sampling were used. In all sixteen (16) respondents were selected which comprised of designers, production managers, sales representatives and managers. Semi-structured interview and document review was used to collect the data while available artefacts formed part of the data collected. Historical and document analyses were used as data analysis methods. The study traced the wax prints fabric design and production history of Akosombo Industrial Company Limited, which has been in existence since 1967, highlighting its major fabric design evolution for over five decades of its existence. The study concluded that from 1967 to 2018, ATL produced two (2) main types of designs: ABC Wax designs and Java designs. ABC Wax designs were designed and printed in England while Java designs were designed and printed in Ghana. From 1967 to 2022 the company produced its 19,837 design and counting. AICL design and print both ABC and Java in Ghana from 2018 to present (2023). The study therefore recommends that, AICL should prioritize the creation of fabric design catalogue from 1967 to 2023 for reference, and teaching and learning of designing in Textiles and Fashion related schools in Ghana. The creation of such a catalogue will serve as resource material for analysis on the ABC wax print designs and Java design and to establish how they appertain to Ghanaian culture; as well as for fabric design idea development.

Theophilus Kwesi Mensah, Ebenezer Kow Abraham (2023)

This study was informed by the art-based approach to peacebuilding and unity to situate the Unity Monument as a didactic symbol of unity and peace in Simpa. The illustrative case study design was used in conjunction with semiotics to discuss the aesthetical connotations of the unity monument in relation to its nexus to unity and peace in Simpa. Simpa has experienced a protracted chieftaincy feud which resolution continue to hang around the neck of Kingmakers like an albatross. Many approaches have been explored to no avail. What is missing, is the use of art-based approaches to peace. Through literature review, interviews, and observations data was collected from a sample of nine (9) respondents chosen through purposive and convenience sampling techniques to advance an aesthetical discourse and solicit public opinions on the monument as a viable peacebuilding edifice. The findings revealed a threesome perspective from aesthetes who only consume the hedonistic nature of the monument; the optimists who relate to the unity and peace message in the monument and the skeptics who despite their inclination to the monument as a symbol of unity, doubted its potency in the unity and peace narrative of Simpa. We concluded that while art-based approaches could only do so much, this monument was nonetheless a valid ally (visual reminder) and a physical instantiation to the quest for unity and peace in Simpa. 

Rosemary Quarcoo, Phyllis Forster, Jacqueline Ogoe, Mercy Ampofowah Osei, Victoria Ghanney, Priscilla Agbodo (2023)

The study looked at the acceptability of cloth nose masks produced during the outbreak of COVID 19 in a public University in Ghana. This study looked into staff consumers’ views and experiences with the cloth nose mask produced by the Clothing Production Unit (CPU) of a public university in Ghana. The production quality, durability, comfortability, ease of care and acceptability of the cloth nose was assessed with the intent to use findings to guide future production. The study adopted the descriptive survey design. A self-developed structured questionnaire was used for detail data collection from one hundred (101) respondents who were purposively selected and conveniently reached. The findings generally presented high acceptance level for the cloth nose masks. Specifically, respondents rated sample two (46) and one (44) as the most preferred designs of the cloth nose mask. Also, respondents found the cloth nose masks quality in terms of production (M=3.84), design (M=3.98), comfort of usage (M=3.77), durability (M=3.97), easiness in caring (M=3.95). The study concludes that the cloth nose masks produced by CPU meet consumer expectations and acceptance. This implies that if production is guided by improved practices the cloth nose masks would serve its intended purpose of controlling the spread of covid-19. Therefore, this survey recommends the adoption of the cloth nose masks to supplement other types recommended for use by World Health Organization (WHO) whilst maintaining and/or improving standards of production. 

Despite series of anti-social vices policies and programmes initiated by governmental and non-governmental agencies, complemented by musical efforts of some proactive Nigerian women musicians to curb the threatening vices, the protracted menace still remains opprobrium. In view of this, a reflective nostalgia for impactful past musical works becomes essential to salvage the present time being ravaged by social vices in order to secure the future focus of a transformed society. Therefore, the present study intends to examine two (2) remarkable evergreen anthems ‘Ọmọ mi seun rere’ by Christy Essien Igbokwe and ‘Ọmọ de o ẹ gbọ oun ti mo fẹ sọ’ by Funmi Adams to reminisce or rehash motherhood Yoruba anthems for positive transformation. The research design employed in this study is ex-post facto to determine the motherhood instruction in the two selected anthems for positive transformation. The two (2) purposively selected anthems were analysed, pointing out the motherhood guide instruction therein based on Lewin’s 1940 Change Theory as used by Sherri (2012) and Petiprin (2016). In addition, discography and library materials such as books, journal articles and internet sources were consulted. Findings show that the hub of the two (2) songs is basically to prepare and mould children for future endeavour. More so, social vices were not only outrightly condemned in the songs, but consequences of venturing into them were exposed. The study concludes that being in the lives of children today is the surest way of being in their memories tomorrow. This is why the study recommends that musical works that condemn vices and commend virtue which have gone into oblivion especially by women musicians, need to be revived, so as to complement policies and programmes initiated by governmental and non-governmental agencies in curbing social vices in Nigeria.

It is observed that gender imbalance in Nigerian popular music studies, especially Juju music, over the years, was as a result of male chauvinism which is prevalent in popular music scene. This has contributed to the little scholarly attention paid on the female Juju artistes. Therefore, this paper assesses the emergence of female Juju artistes in Southwestern Nigeria. This is with a view to providing information on the involvement of female Juju artistes which has been largely neglected in research based on liberal feminist theory of Hook (1984). Both primary and secondary sources of data were employed for the study. The primary data includes unstructured oral interview with two purposively selected females and a male Juju artiste; Ayotunde Balogun, Titilayo Oguntoyinbo and Admiral Dele Abiodun. Interview conducted with the male Juju artiste, being one of the living legends of the genre, is to further unearth the period of emergence of the first female Juju artiste. The study also examines one song each of the two purposively selected female artistes. The secondary source in form of books, journal articles, magazine and the internet were also consulted. Findings show that the appearance of Queen Oladunni Oduguwa (popularly called Mummy Juju) and her Decency Unity Orchestra Juju band in the early 1970s, marked the period of emergence of female artistes in the Juju music performance. The study concludes that the presence of female Juju artistes in musicological studies had reflected gender equity in the Juju music scene, thereby increasing women’s opportunity for liberation in the African society.

 The cultural practices in many African societies are often misconstrued as idolatrous practices. While some of the cultural practices are counter-productive, many others intelligently showcase the science of the African forebears in the field of nature conservation, specifically, the sound management of landmass, water bodies, flora, fauna, and aquatic species. Adopting the PRISMA systematic review, Ninety-Six published literature on cultural practices and traditional ecological knowledge for natural resource management such as taboo systems, cosmological belief systems, and totems in some African ethnic societies were scholarly analysed and interpreted, with inferences drawn for contemporary use in the management of the scarce resources in Africa. The findings indicate that these productive cultural practices were cleverly formulated by the African forebears to prevent the wanton looting of nature’s resources while jealously and sustainably protecting them for the current and future generations. The study contends that the restricted times, number, and aspects of nature’s resources for harvesting, the affiliation of nature’s resources to vengeful deities and respected ancestors in the society as well as the earmarking of particular spots as sacred groves are scientific strategies set by the African forebears to sustainably manage the resources in their environment for posterity. Therefore, such traditional instruments for nature resource management must be constantly included in policies and strategies in modern biodiversity and environmental policies for African countries.

This paper examines the determining factors responsible for the idea of sacredness or secularity of a song, the relationship between the sacred and secular, and how the sacred and secular interplay in Ghanaian music. We focus particularly on the sacred and secular binary as reflected in what may be termed ‘Ghanaian Choral Highlife’, as both choral and highlife music initially emerged as distinct sacred and secular musical categories respectively. The research methodology in this work involves data from both primary and secondary sources including interviews, musical works and libraries. The musical elements of selected compositions are analysed, and compared to ascertain their relationship, areas of similarities and differences. Major findings in this study reveal the close relationship between the sacred and the secular in Ghanaian music and how both musical genres influence each other. It also reveals how this influence transcends into Ghanaian Choral  Highlife music. Based on our findings we argue that Choral highlife has come to stay as a result of the relationship between the sacred and secular, that is, between Ghanaian choral music and Ghanaian highlife music.

Deciphering the fascinating history behind a redesigned Takoradi Technical University’s (T.T.U) heraldic crest as well as the secret meaning of its symbols and colours make it significant in heraldry. This heraldic crest has been a depiction of forms such as cogwheel, open book, sea, Adinkra symbol, fonts and colours. This article, therefore, aims to underline the hidden secrets and meanings embodied in the redesigned and sculpted heraldic crest of Takoradi Technical University after Government’s conversion of Polytechnics in Ghana into Technical Universities. Through intrinsic and conceptual statements, the paper projects the artistic and esoteric features of Takoradi Technical University’s heraldic crest in an augmentation to commemorate the institution’s sovereignty as a symbol of excellence in technical and vocational education. The ramification of newly created institutional heraldry revealed a symbolism crowning the promotion of industrialisation and economic development for the Western Region and Ghana in general through manpower training and action research. This is intended to provide support to industry and commerce in the areas of human resource and information development.