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.

Culture is an all-embracing phenomenon, encompassing knowledge, beliefs, arts and other capabilities which are acquired by man as a member of a society. Culture integrates and binds every members of the society together through shared ideas and standards. More importantly, it must be made visible and reflected through food, occupation, clothing including other seemingly unnoticed aspects of arts and culture. This may include fabric choice, motif and colour. Textile constitutes an area which reflects the culture of a people who settle in a particular location and have their cultural characteristic features that differentiate them from others around. Hence, this study investigates the cultural affinity of Aso-Oke among the Yoruba of Nigeria. The study revealed that Aso-oke is important to Nigeria’s history and culture. It also serve as a means of job creation and economic empowerment while its production bring about several other tertiary industries like marketing and fashion. It recommends that the school curriculums of textiles oriented educational institutions must be redesignedto accommodate the study of indigenous art and culture including Aso-oke weaving tradition so that the nation can develop materially and culturally.

This paper is intended to project the inherent beauties and communicative essentials of the creative works produced by students and lecturers of Department of Art Education in the University of Education, Winneba. These works are poorly displayed at obscure corners of the University and are accorded the least of regards in the University’s inventory. Through aesthetic discourse, this paper brings out the value of three selected works of art – one conceptual painting, one abstract painting and one sculpture in the round. The revelations of the kind of beauty these works exude coupled with the messages they put across give justification to the need, not only to take good care of these works, but to really find ways of putting them within the public domain.

Adjacent to the administrative heartbeat, located at the South Campus of the University of Education, Winneba, is a non-panoptic horseshoed visually-spiced technical frieze clothing the amphitheatre that enjoys visual ovation from users of the main gateway to the campus. Encapsulated from the top part is a two-wavy serpentine beam wall that imitates the randing technique of basket weaving pattern, a treatment creating sense of duality and strength as well as directing the eye of viewers to the work. The painstakingly executed work is an embodiment of the plethora academic disciplines of the University to its students; a living reminder of the obligatory dedicative service the nation requires from her academic products; an indelible imagery of the history of Winneba fishing folks, and the portrayal of the distinctive ‘Aboakyer Festival’ of the Effutu (of Winneba). The skilful use of simplified planes, the varying degree of reliefs and the elaborative details of the poly-thematic oeuvre show an influence of incisive philosophical manoeuvring and symbolism of sculptural elements overtly packaged in a non-conventional interplay. As a result of its entablature, viewers are faced with aesthetic scrambling, which involves movement around the curvaceous structure to gain a full glimpse of the sculpture with multi-sectional aesthetic enjoyment. The sectional details are hereby appreciatively presented. 

A glaze as defined by Rhodes  (1977)  is a glassy coating melted in place on a ceramic body which may render the body smooth, non-porous and of a desired colour or texture.  A glaze therefore is a glass-like substance coated on a ceramic body to become durable and attractive. Glazes are essentially made from common rocks, earthy minerals and substances, such as clay, feldspar, limestone and dolomite.  Some glazes can also be made from common salt, wood ash and shells.  Most of these natural glaze materials can be found in several locations in Ghana.  The results of earlier studies conducted by me indicate that very useful local glaze materials such as Feldspar, Green rocks, Nepheline syenite, Dolomite and several other fusible clays are available and abundant in several parts of Ghana.  I believe that it is possible to produce glazes locally using the clues provided in this paper. The objective is to enhance the development of local glazes through research for the ultimate development of the ceramic industry in Ghana.

Hand craft dyeing processes has been with traditional batik makers, tie dye producers for centuries coupled with indigenous techniques without any major technological advancement in their dyeing processes. These indigenous techniques most of the time result in varied dyeing defects. This project seeks to develop an automated dyeing machine (Boafo) for small scale dyers, batik, tie and dye in Ghana. The experimental approach was used in execution   and testing of the machine. Findings revealed that the machine (Boafo) offers minimum handling of chemicals and fabric by operator. This speeds up production rate of a given time and maintains calendaring lustre of fabric even after dyeing process, thus improve performance in the dyeing methods adopted by local craft, small scale industries and institutions working in the domain of dyeing textile fabrics.

Traditionally, the word hybrid has been associated with science to mean the fusion of two different elements to generate an often improved version. The term ‘hybrid’ as employed by some sculptors to define what they do is never-ending in meaning. Different sculptors from different cultural backgrounds give diverse meanings to what they put together to denote hybridity in sculpture. In this practice -based research, the sculptor prefers to use the term Hybrid Sculpture,to describe forms that emanated from the fusion of a variety of organic and inorganic materials; namely wood, metal, plastics and fabric, using a blend of both conventional and innovative approaches to making sculpture. These included carving, welding, assemblage/construction and scorching.