Sumaila Issah (2025)

This study explores the role of self-efficacy in shaping children’s drawing practices across Ghana’s rural, peri-urban, urban, and metropolitan contexts. Guided by the social cognitive theory by Bandura (1977), the research investigates how mastery experiences, observational learning, and supportive feedback from teachers and parents influence children’s artistic confidence and expression. Employing a qualitative, multiple-case study design within a social constructivist framework, data were collected through spontaneous and directed drawings, semi-structured interviews, and field observations involving pupils aged 7-10, their parents, and teachers. Findings reveal that children with high drawing self-efficacy frequently choose familiar and culturally resonant subjects, reflecting lived experiences and environmental familiarity. Repetition, guided practice, and positive reinforcement significantly enhanced artistic performance and emotional engagement. Feedback from teachers and parents, when constructive and affirming, was found to foster motivation, resilience, and willingness to experiment with key traits of creative growth. Conversely, environments lacking in encouragement or cultural relevance diminished artistic confidence. The study enriches existing literature by expanding the focus beyond urban settings and highlighting the socio-cultural dynamics that mediate self-efficacy in artmaking. It concludes that cultivating children’s drawing self-efficacy requires not only pedagogical skill but also culturally responsive strategies and active parental involvement. Recommendations include practicebased and observational learning tasks, training in feedback delivery, and policies that integrate culturally grounded art education into early childhood curricula.

Elizabeth Asamoah (2025)

This paper sought to introduce and analyse Samuel Dowaana Mensah’s “Toondan Jilma Lana Naa Osei Tutu II (Otumfuo Osei Tutu II – A Glorious Leader), a multilingual choral composition depicting code switching and written for SATB in honor of his royal majesty Otumfuo Osei Tutu II, on the occasion of his silver jubilee celebration. Using interculturalism as the underpinning theoretical framework, the aim is to expose the reader to the biography of Samuel Dowaana Mensah and through the formalist approach, the compositional features embedded in the work are unknown, using musical analytical parameters. The paper uses purposive sampling method with interviews as instrument for data collection. “Toondan Jilma Lana Naa Osei Tutu II (Otumfuo Osei Tutu II – A Glorious Leader) depicts Mensah’s conscious usage of multiple languages to express his identity and the awareness of his thematic intercultural activities. The conclusion offers an analytical presentation of a choral composition that serves as a foundation for the study and creation of choral works by utilising a variety of indigenous compositional features.

Isaac Essah Adu, Nicholas Opoku, Samuel Osei Sarpong (2025)

This study examines graffiti as a form of visual communication and cultural commentary on the campus of Kwame Nkrumah University of Science and Technology (KNUST), focusing on its aesthetic, philosophical, and symbolic dimensions. Often dismissed as vandalism, graffiti is here repositioned as a legitimate art form that bridges traditional African visual languages with contemporary global narratives. Using a qualitative research approach that combines semiotic and content analysis, the study analyses four selected graffiti artworks created by KNUST students, uncovering their embedded meanings related to identity, social critique and philosophical inquiry. The Semiotic Theory of Communication, in conjunction with Empirical Aesthetics, serves as the study’s theoretical foundation. The sampled works transform public spaces into arenas for dialogue, creative resistance and self-expression. The findings highlight graffiti’s role in shaping cultural discourse and amplifying marginalised voices. The study concludes by advocating for the recognition of graffiti within academic frameworks, its preservation through archival practices, and the establishment of designated spaces for artistic engagement and cultural exchange.

Patrique deGraft-Yankson, Joseph Essuman (2025)

This study investigates the phenomenon of body idolisation among Ghanaian youth, exploring its underlying motivations, cultural influences, and broader societal implications. Adopting a phenomenological approach, the research examines how young people perceive their bodies as instruments of empowerment, self-expression, and social validation. The analysis highlights the growing dominance of visual-centric paradigms, the loosening of traditional cultural norms, and the impact of global influences in shaping contemporary body aesthetics. These evolving practices generate tensions between individual self-expression and societal expectations, reflecting a broader negotiation between tradition and modernity. The findings contribute to the global discourse on body image and aesthetics, offering valuable insights for educators, policymakers, and other stakeholders. The study underscores the need for a balanced approach that acknowledges youth agency while fostering informed aesthetic considerations. It advocates for a deeper societal understanding of body idolisation, enabling constructive engagement with the trend and guiding young people in navigating the complexities of bodily self-presentation.