The study seeks to contribute to the royalty and unity of the Akuapem State through ideation and execution of textile regalia for Akuapem state paramountcy. The study is grounded on the Studio-Based research design employing the Universal Design Methodology taking inspiration from Akuapem state symbols and the chieftaincy structure with ‘unity in purpose’ as a design philosophy. The results revealed unique textile regalia consisting of a figurative palanquin and Triple-Headed colossal umbrella. The regalia are designed with the main Akuapem State symbol, the five (5) divisional symbols and the eight (8) Akan totems, which do not only reaffirm the unity of the State but also define the hierarchy of the chieftaincy system in the Akuapem State. Akuapem is a major ethnic group in the Eastern Region of Ghana, which consists of sixteen (16) different towns and kingship with rich cultural tradition and unique symbolism, which the study establishes could be harnessed for socio-economic development of the state. However, the schisms among the chiefs witnessed over the years have been the major setback to the developmental agenda of Akuapem State. The study ideated symbolic textile regalia to serve as a unified force to address the schism among the state for progressive development. The study recommends the adoption of the triple-headed umbrella regalia for the paramount chief and the double-headed umbrella for the divisional chiefs. This is to pave way for the sub-chiefs to use the single-headed umbrella for easy identification and hierarchy and status of the various chiefs during festivals and state functions.

Avihɛwo (dirges) play pivotal roles in the performance of funerals among the people of Tafi traditional area in Ghana. However there has been grave concern about the decline in the performance of avihɛwo in recent times in the Tafi Traditional area. This study explored the factors that brought about decline in the performance of avihɛwo in contemporary times in the area. An ethnographic study was adopted in a purely qualitative paradigm. Forty (40) women dirge singers were sampled through purposive sampling technique for the study. Interview, focus group discussion and observation were used to collect data for the study. Qualitative data gathered from the respondents were analysed using thematic analysis and responses were categorized into themes. The study revealed a decline in the live performance of dirges in Tafi traditional area. Almost three decades ago, the live performance of avihɛwo was a prominent feature of all funeral celebrations in Tafi, however the situation is changing. The dirge singers expressed their emotions, grief and condolences through their songs for the deceased person and the bereaved family. This phenomenon has been linked to the ban on wakes by some religious leaders in the area due to Christian beliefs, transformation in burial and funeral rites due to acculturation, modernity and technological advancement, and youth disinterest in dirge singing. Historically, dirges are exclusively performed to epitomize pain due to death, but a myriad of factors threaten its live performance in recent times in Tafi traditional area. There is the need for traditional authorities to encourage live performance of dirges during funerals and also sensitize the people to remove biases and misconceptions against dirges in the area. Finally, lead singers and cantors in the Tafi traditional area to gesture, choreograph and interpret dirges to the audience during funerals in order to rejuvenate its live performance.

This study examines how speakers of Ghanaian languages construct their identities in a multi-cultural Higher Educational Institution (HEI) in Ghana. Situated in the Communication Theory of Identity (CTI), the data were elicited through interviews, observations and focus group discussions from 12 purposively selected participants from a public university in Ghana. The data were thematically analysed and the findings revealed that speakers of Ghanaian languages construct two kinds of identities: public and private. Both strands are constructed through identification processes that include proximity to culture, massive local presence and corresponding hegemonic outlook, de-ethnicisation and identity negotiation, and self-branding in virtual spaces. The study concludes on the existence of a homologous relationship between language users and identity construction from both stands of the essentialist and non-essentialist perspectives. It recommends efforts at minimizing stereotypical behaviours of ‘othering’ and ‘categorization’ in HEIs on the bases of a person’s ethnicity, cultural diversity, or languages spoken in an era of internationalisation and cross-cultural teaching and learning.

There have been series of concerns regarding Western wind instrumental instruction in Ghana mainly due to the lack of comprehensive wind band pedagogy curriculum in Ghanaian universities and Colleges of Education (CoE). The consequence of this lack is noticeable among both formal and informal wind instrumental ensembles across the country. Employing a mixed-method design, this research examined strategies that could lead to effective and efficient band rehearsals. Data was gathered concerning the proportion of instructional time spent on teaching techniques/skills and concepts, on active music making, and rehearsal management. From a review of the available literature on best rehearsal practices, new ways were designed to improve instrumental rehearsal in an informal setting. Findings revealed that the amount of time spent on the fundamentals and active music making increased over the course of the study thereby resulting in high technical capabilities and growth of both students and instructor. It was therefore recommended that Ghanaian band instructors work to increase their knowledge of instruments, including good playing technique, the ability to model effectively on a variety of instruments, and should develop a teaching style that is most appropriate to their learners.

Photography has become ubiquitous in contemporary experience, manifesting mostly onscreen. This paper explores the scopophilic trends of modern, post-modern and contemporary living as anticipated in the work of Freud and affirmed by Lacan in the coinage scopic regime. It explores how pervasive imaging has become today and exposes how layered the visual can be in contemporary society. Locating photography’s place in contemporary experience brings into focus decades of thought on semiotic discussions. These discussions introduce the political, social and cultural aspects of photographic experience from the 18th century till date. Enwezor’s reflections on the ubiquity, form and power that the image wields especially on contemporary society, condense these contextual implications the image conjures. Our conclusion is that, despite the unease about the impact of the image on society, it seems to have come to stay as a constructor of contemporary life. This paper therefore introduces the photographic image and highlights some of the concerns that surfaced with its introduction. Important theories and trends are discussed with respect to the proliferation of the image today. The imaging technologies and culture of modern men are explored while the coded messages that images transmit are exposed. Views and projections of critical thinkers from different generations and locations are helpful in analyzing the culture of viewing that has pervaded the living conditions of the 21st century citizen. The conclusion is clearly a matter of interpretation since the discovery of the truth in an image is subjective.

Globally over the years, polishing operation has been an important aspect of finishing in most creative metal works. Investigation revealed that in Nigeria, the first known and used substances for polishing creative metal works have been the traditional use of ashes from animal bones and wood, and lime juice mixed with sand. However, the use of natural lime juice mixed with sand and ash, as metal polishes by traditional metalworkers do not produce the type of high lustre surface finish required by contemporary Nigerian artists. Therefore, Nigeria contemporary metal artists have embraced the use of imported bar polishing compounds in conjunction with polishing wheel in order to achieve desired surface finishing of their products, and to satisfy their clients’ needs and demands. Presently, there has been an increase in the demand and use of bar polishing compounds in Nigeria. The increase in the demand and use of imported bar polishing compounds has created scarcity and high cost in their procurement. Therefore, the article is an appraisal of the emergence of bar polishing compounds. The article discusses the roles, constituents, challenges and prospects of imported bar polishing compounds in the development of the indigenous creative metalwork finishing technology in Nigeria. It also sought to develop potent alternative local bar polishing compounds.

Ogori is a small community in Kogi State, Nigeria. The people are known for the annual celebration of Ovia-Osese festival where Òkítóròkò music is performed. Several studies have been carried out on Òkítóròkò music. However, little attention has been paid to the organisational structure and performance practices of the music, which is imperative to the rite of passage of the maidens. This study intends to fill the gap with a view to exploring the organisational structure of the performing group, performance practices of the music and its cultural sensibilities during the rite of passage of the maidens. In-depth oral interview with seven purposively selected members of the Òkítóròkò musical group was employed. Findings show that, though, the performance of Òkítóròkò music started as a spontaneous activity among aged women at the inception of the Ovia-Osese festival; it has become an organised musical performance. It also reveals that the Iyiodina (the custodian of the initiation rite) is in charge of the musical group, while members cut-across the five clans of the community namely; Adubane, Okibo, Oshobane, Opowo and Eni. The paper concludes that the peculiarity of the Òkítóròkò musical group and the performance practices of the music promote the cultural ingenuity and indigenous prowess of the Ogori people to the globe. This is why the paper recommends that adequate attention should be given to the musical practices of the Ogori so that people can learn about the rich cultural heritage of the community.

So much is known about the decoration and use of calabash in Nigeria. Studies have shown that the nomadic Fulani of northern Nigeria are popularly known for their unalloyed attachment to the calabash for which they have accorded time and energy to decorate as well as give character. The calabash as a household utensil and commercial item also has provided countless uses for them. However, extant literature has not sufficiently paid attention to this art tradition of calabash decoration among the nomadic Fulani, which is a rich and significant aspect of their culture. This study, therefore, sought to bridge this gap by surveying the decoration and the use of calabash in nomadic Fulani culture with a view to shedding more light on the importance of their art. This study hence, adds to the existing literature that promotes this distinctive art piece associated with a unique African ethnic group.

Even though radio and television advertisement have been practiced in Ghana from 1967 to date, these forms of advertising have been confronted with numerous challenges that have affected their rapid development. This article used qualitative research approach and case study design to identify and examine challenges of radio and television advertising in Ghana. The study was delimited to Accra metropolis and twelve organisations. Participants were purposively selected for the study. Unstructured interview guide was used to gather the data. The findings revealed that, the local industry has challenges of lack of equipment, technical personnel, beautiful locations, low clientele, low capital base, high demand for discounts, biased media research reports, proliferation of media houses, non-standardised pricing, lack of censorship among others. Based on the findings, the study recommends that multimedia advertising production agencies must raise the needed capital to procure state of the art equipment, hire the services of professionals, and develop strategies to educate their clients on the importance of professionalism in radio and television advertising. Single network radio and TV stations must network their stations with local and foreign broadcast houses. Ghana government must set-up university of media studies to increase the training of different multimedia professionals and improve infrastructure, landscape design and sanitation across the country. Advertising Association of Ghana must develop national advertising bill and impress upon parliament to promulgate it so that it can be used to regulate advertising production, placement and pricing in Ghana.

The purpose of this study was to construct a concise historical narrative of the formation, development, survival and internationalisation of the Ghana Bigshots Band. It is quite unusual for a pop band to emerge from a Ghanaian university and still survive after school, considering both the academic and industry challenges. The Ghana Bigshots Band, arguably Ghana’s first modern ‘Afro-fusion’ band emerged from a university and came to international prominence. The band has broken the myth of the ‘ivory tower’, where the academia disassociates itself from the realities of the society. Employing interview and documentary research for data collection, the paper consequently unravels that the transition from students’ pop band to a trans-African international band was capital intensive. However, the consistency of maintaining an African identity in the band’s compositions and the ideology of blending tradition and modernity accounted for its survival and internationalisation. This study, is, therefore, recommended as a roadmap for student-musicians who wish to take their craft beyond the academic enclave.