Johnson Kwaku Edu (2024)

The initial design of the National Theatre of Ghana, created by Chinese and Ghanaian architects, lacked indigenous artwork in spite of its architectural grandeur and cultural significance. Later, sculptures and other art pieces were integrated to enhance the theatre’s cultural representation and highlight Ghanaian heritage. However, there is a gap in understanding the full significance and impact of these artworks on the theatre’s cultural landscape, which undermines their potential benefits in cultural preservation, national identity, tourism, and intercultural understanding. This study aimed to explore the contribution of these art pieces to the theatre’s cultural representation and their role in Ghanaian heritage. A historical case study design was used to examine the integration of art into the theatre’s environment. Purposive sampling selected knowledgeable participants, ensuring rich data collection through semi-structured interviews. Descriptive and narrative approaches provided a comprehensive analysis. Findings indicate that the sculptures and artworks at the National Theatre of Ghana play a crucial role in narrating Ghanaian stories and enhancing cultural representation. These visual narratives reflect the country’s rich cultural heritage, offering both locals and visitors a deeper connection to Ghanaian traditions and history. In conclusion, the incorporation of these artworks underscores the importance of preserving and celebrating indigenous artistic traditions as vital components of national identity and cultural heritage. The study highlights the potential of such artworks to foster pride and continuity among Ghanaians. Additionally, it suggests future research and practical applications, such as informing cultural policy, promoting tourism through the theatre’s unique artistic features, and fostering intercultural understanding through the appreciation of Ghanaian art.

John Francis Annan, Godfred Sackey & Portia Owusu (2024)

From historical roots in the castles, choral art music became entrenched within the fabric of various churches in Ghana, serving as a conduit for early Ghanaian composers to delve into music theory and composition. The significant contributions of these pioneers have inspired subsequent generations of church-based art music composers in Ghana, catalyzing the progressive evolution of the genre. Despite their profound contributions to Ghanaian musical heritage, church music composers like Sitsofe Kwame Ayi often remain overlooked within scholarly discourse and academic research. This underrepresentation diminishes the recognition of their artistic achievements and perpetuates a broader imbalance in the study of Ghanaian music history. In this study, the authors delve into the life and works of composer Sitsofe Kwame Ayi of the Seventh-Day Adventist Church in Ghana. Through a biographical lens, the study examines four of Ayi’s compositions: “Ka Hwɛ” (Taste and See), “Kyerɛ Wo Dɔ” (Show Your Love), “Tie Bi” (Listen), and “Suban Pa” (Good Character). Employing a purposive sampling technique, the research centres on interviews and document analysis as primary instruments for data collection. Through analysis of Ayi’s selected compositions, the study illuminates the composer’s adept navigation of domiciled intercultural influences within his music.