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.

This paper exposes Nicodemus Kofi Badu as one of the relatively younger generation Ghanaian Choral Music composers. It is projected as a spotlight into his family and educational background, musical endeavours as well as titles and awards he had won. This information built up in the paper was conducted through interview with Kofi Badu himself. In addition I collected his pieces and studied to ascertain the fact that he can be characterized a younger generation composer who has utilized traditional music elements in his choral works. It is palpable among other things that Nicodemus Kofi Badu belongs to the third generation of Ghanaian Choral Music composers.This implies that he has received training from the first and the second generations and has incorporated what he learned in his works to make him distinct from his contemporaries. The paper closes that, in order to come out with much music theory related to African art music, research works must be conducted on more composers of diverse styles in Africa/Ghana.

The need for the creative forces of the playwright, the director, the actor, the designer and the architect as well as the dexterity of the general crew to forge and constitute a cohesive, potent effort in the development of a successful theatre production cannot be over-emphasized. As theatre artists, it should serve us well to take into cognizance the impact of what the likes of Adolphe Appia, Gordon Craig and the doyenne Efua Sutherland spent a large part of their lifetime to achieve in order that theatre might be what it is today and ought to be in the already-here tomorrow. This essay considers the inseparable interplay of the academic thinker’s invaluable inferences and the practically creative academic’s tangible exhibitions and demonstrations.

The Arts can be active instrument for meaningfully progressive development in Ghana. It can also be used as ‘litmus test’ in national economic development to expedite the developmental success stories of Ghana. Can Ghana rethink the place of her art in national development to save her from her titanic economic affliction? The paper attempts to discuss the massive artistic orientation for Ghana in using her arts to accumulate wealth and promote health to her people, and justify how this could be done, supporting this argument with empirical and circumstantial evidences. Based on the findings of this study, further suggestion are given through which wealth creation and health promotion could be maximized so that the arts and craft industry could become the lynchpin of the country’s economy.

The purpose of this paper is to examine the original indigenous music of the foundation emergence and the decline of Ghanaian highlife music.  The foundations of Ghanaian highlife music can be traced between the1880s and the 1920s through Ghanaian native entertainment music, colonial military and police marching bands, local masquerades, brass bands and the popular ‘concert’ party theatre. Ghanaian highlife music emerged on the scene from the 1920s to the 1970s.The first Ghanaian highlife music was recorded in 1928 in London by the Kumasi trio under the leadership of Jocob Sam. This indigenous music style was known as the palmwine highlife music. It rose to its peak during the independent and post independent eras with hits such as E. K. Annang’s ‘Onua do’ and E..H. K. Williams ‘mene wobeko Tamale’. The momentum was sustained in the post-independent era by Daniel Amponsah’s rendition of ‘Yaa Amponsah’ and ‘Odo Akosomo’ and Kwaa Mensah’s ‘Odo me, me som do no’. The end of the 1960s and the beginning of the 1970s saw the decline of indigenous Ghanaian highlife music with the advent of both popular music from Europe and America and electric guitar bands. Today, Daniel Amponsah popularly known as Koo Nimo stands as a living legend of the indigenous Ghanaian highlife music style.

The popular conventional view of the brain is that, it is rational, logical, ruler of all. The body in this medium has been primarily considered as merely the vehicle that carried the brain from one cerebral task to another. Now, however, current research has revealed that there is no hierarchy, no separation between the body and the brain. What the Greeks knew 2000 years ago that in order to obtain the best performance from the brain, the body and brain need to be tuned together. Formerly, the press and books informed us of physical fitness as a means of increasing mental sharpness and reducing stress, to overall health and well-being.  But the story emerging from brain research is amazing.