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Enhancing Mood, Period, and Rhythm: The Influence of Appropriate Costume in Yaw Asare's Ananse in the Land of Idiots
(University of Ghana, 2001-12) Kwakye-Opong, R.; Adjei, C.; Djisenu, J.; University of Ghana, College of Humanities, School of Performing Arts, Department of Theatre Arts
The bases of costuming of most plays are inappropriate in Ghana because some directors are ignorant of what actually goes into costuming. In most instances, there are a lot of anachronisms where costumes do not march up with the period and occasion. Also lack of funding for productions, has made directors and designers handicapped, thereby making use of any available costume. For fear of being charged high prices, directors sometimes do away with capable costume designers, and leave the job in the hands of actors, forgetting that costume goes beyond just wearing a dress on stage. This thesis project is to provide suitable costumes based on the design interpretation of the play, the different processes it underwent up to the opening day. It also gives record of character analysis, design concepts, problems encountered, and the evaluation of the performance.
Libation Chant For Nii
(University of Ghana, 2002) Lartey, S.A.
The present composition, written for wind band, brass and percussion, IS meant to explore ways of Africanizing military band repatriates by blending African elements With western techniques. It shows an awareness of pioneer works by Amu. Nketia and Akan Euba among others African composers who paved the way in which African music can be adopted for global advantage and use The rhythmic and melodic motives Implemented in the 5 Sections of the work Consist of childhood reminiscences related to Labadi (Ga) traditions as well as to Practices and behaviors inherited from scholarly exposure to Adagme and Ewe music What is Illustrated by this approach IS that effectiveness In African Art music may be considered as arising at the intersection between experience of organized knowledge. Learned techniques and a solid traditional background with an extreme tolerance in the process of implementation.
Post Independence Playwriting in Ghana: A Critical Comparative Appraisal of the Dramatic Works of Asiedu Yirenkyi & Ben Abdallah
(University of Ghana, 2002) Akenoo, M.K.
Post-independence playwriting in Ghana is mainly characterized by experimentation and “avant-gardism” that can be geared towards the development of professional theatre. These characteristics are portrayed in the plays of new emergent playwrights like Efua Sutherland, Joe De Graft, Ama Ata Aidoo, Bill Marshall, Martin Owusu, Asiedu, Yirenkyi, and Ben Abdallah as compared to the pre-independence playwrights like Kobina Sekyi, F.K. Fiawoo and J.B. Danquah whose works were mainly patterned on Western direction and orientation. To this end, the works of the pre-independence playwrights constitute what can be aptly described as “closet drama” from the critical standpoint. Efua Sutherland pioneered and laid the foundation for professional playwriting and professional theatre in Ghana. This era saw the rapid development of professional theatre in Ghana. The first play written by Efua Sutherland, titled Foriwa, was produces shortly after Ghana’s independence in 1957. This was followed up later with Edufa and The Marriage of Anansewa respectively by the same playwright. The evolution and development of professional playwriting and professional theatre in Ghana came to its full apogee with the emergence of Asiedu Yirenkyi and Ben Abdallah on the Ghanaian playwriting scene. Their works, in terms of subject, theme, and style, are clear manifestation of playwriting, which is unique and distinct from their predecessors ‘of the pre-independence days. Basically, the two playwrights blend traditionalism with modernism in their writings; and furthermore, whilst Asiedu Yirenkyi searches for audience awareness, Ben Abdallah, an avant-garde playwright, is steeped in portraying, the “Abibigoro” concept in this persistent search for an African theatre.
Ananse as a Folkloric Character in New Ghanaian Drama
(University of Ghana, 2013) Addo, A.A.; Owusu, M.; Arkhurst, S.
This study explores the various roles that Ananse play in Ghanaian Drama and how this folkloric character has evolved and transformed with time. The study also seeks to determine if Ananse as a folkloric character is justifiably a villain as society has most often dubbed him, or if he has other redeeming qualities which equally need to be highlighted. This thesis therefore seeks to answer the question of who Ananse really is as a folkloric character as well as what motivates his actions. Again it assesses the features of Anansegoro as the basis for the study. The appropriate framework within which this thesis is embedded in the post- colonial theoretical discourse. This is because it forms part of the theatre in post- independent Africa. Within this framework, Ghanaian writers made conscious efforts to explore the indigenous socio-cultural structures such as their history, cultural beliefs, practices, customs and the totality of the African experience in creating their own unique theatres. Apparently, this theatre can very easily be identified and described as a true reflection of African and Ghanaian heritage in particular. The study also documents the contributions of four Ghanaian playwrights namely; Efua Sutherland, Yaw Asare, Martin Owusu and Efo Kodjo Mawugbe in the growth and development of theatre in Ghana. It focuses its analysis on four plays in which Ananse is depicted as a folkloric character in order to examine Ananse’s role and what he seeks to achieve in the various plays. The analysed plays include, The Marriage of Anansewa (1975) by Sutherland, Ananse in the Land of Idiots (2006) by Asare, The Story Ananse Told (1999) by Owusu and Ananse- Kweku Ananse (2004) by Mawugbe. The study examines new perspectives to certain features of Anansegoro mostly in the style and the treatment of Ananse as a character by each playwright. The subject-matter and motivations of the playwrights in each play is also discussed. The study reveals that Ananse as a folkloric character is not always a villain. He is a cultural hero in whom most of our traditional values, customs and practices are reflected. He is also a hero from whom we gain advice and learn traditional values. At other times he is merely a narrator or the owner of the story whose role is to tell us how things are in the society. In other words, my study argues that against the traditional stereotype of villainy, Ananse is a multi-dimensional character that epitomizes the attributes of heroism and villainy.
Semiotics of the Mask in the Drama of Esiaba Irobi
(University of Ghana, 2013) Ajumeze, H.O.; Asiedu, A.M.; Owusu, M.O.
The mask in African cultural tradition is a significant element of ritual and festival performances, which ethnographic, political and religious functions transcend to the modern stage. Using the drama of the Nigerian, Esiaba Irobi, my study explores the Igbo mask and masking tradition as a heuristic model for African performance. In this study, I demonstrate that the African masking tradition constitutes an embodiment of deictic and iconographic realities that are syncretised to modern post-colonial drama. My study examines the semiotic processes through which Irobi‘s postcolonial dramas absorb the cultural codes and symbols inherent in the Igbo mask tradition. While providing an alternative paradigm to the usual recourse to western aesthetic and theoretical models, this study also foregrounds Irobi‘s drama, significantly a representative of the third- generation of Nigerian writing, as distinctive in its own right. Consequently, the study interrogates previous studies which investigate Irobi‘s drama solely from the prism of Soyinka‘s influence. My study concludes that through the appropriation of Igbo mask idiom, Irobi‘s drama interrogates rather than acquiesce with Soyinka‘s tragic vision. Analysing the three selected plays; Nwokedi, The Other side of the Mask and Cemetery Road, I argue that Irobi‘s drama represents demonstrable recuperation of an endangered masquerade tradition in a postcolonial milieu.
Unequal Yoking: A Theatrical Exploration Of Religious Conflict In Marriage In Ghana
(University of Ghana, 2013-05) Agordoh, L.A.
Research has shown that conflict in marriage is inevitable. The incidence and prevalence of religious conflict in marriage, however, leaves much to be desired. This research intends to discuss religious conflict in marriage of same-faith couples. This is termed as intra-faith based marriages because couples practice the same-faith, with differences in doctrines due to church affiliation. This research through the play Unequal Yoking exposes the excesses of differences in doctrines of same-faith- as juxtaposed to marriages of inter-faith couples. The play further discusses other issues that are likely to cause conflict in marriage. This research also seeks to establish the fact that intra-faith based marriages have more conflict due to different practices in doctrines. Interviews and questionnaires were administered and findings based on the subject truly represented. The questionnaires were administered within the confines of The University of Ghana, Legon campus and with members of the Sheepfold Chapel on the Spintex Road in Accra. The questionnaires were administered to respondents who were legally married and living with their spouses. The data was collated and analysed accordingly.
Encouraging the Adoption of Improved Farming Methods at Mayera with Theatre
(University of Ghana, 2013-07) Cobbah, J.E.; Arkhurst, S.; Asiama, E.K.
In spite of the numerous efforts being made by researchers within the agricultural sector to link farmers with improved and modern methods of farming, there are still a lot of farmers operating at subsistence levels. This research examines an additional rather than a substitutional means to assist in the effective linkage of agricultural research and processes to farmers in Ghana. This is done by exploring how Theatre (using Theatre for Development processes) can be used as a vehicle to further advance the course of information dissemination so that farmers across the country can enhance their operations by adopting cheap but effective and efficient methods that have been tested over time in their areas for increased productivity. The research methodology includes participatory processes that use improvised theatre to communicate to farmers. This process educates and encourages community members to adopt these very simple but effective methods of farming to improve upon their activities so that their production yields will be enhanced to provide them better livelihoods.
The Lunsi Traditional Music Of The Frafras In Tamso
(University of Ghana, 2013-07) Oppong, E.
Lunsi musical type, according to the Frafra in Tamso, is a traditional music meant for general use in the community. It can be performed at funerals, weddings, parties and any other recreational events. This study accesses the difference in lunsi at its place of origin and at Tamso so far as instrumentation, costume, recruitment, training, performance, communication, and migration are concerned. The study also examines the characteristics of lunsi music as compared to that of African music in general. Furthermore, the study characterizes lunsi music as part, or one of the traditional musical types of the Northern region of Ghana. Therefore, as a result, augments the existing traditional music literature of Tamso and also that of the Northern region of Ghana. To achieve the discussed objectives above, appropriate methods were employed. Since most of the resource persons involved, in the music concerned were illiterates, oral questions were used to acquire necessary information about the music in question. The lunsi ensemble of Tamso was assisted financially to organize a performance; where the true colour of the music was manifested; during which a video coverage of the performance was taken. The video of the performance provided a source of information and analyses. In dealing with the popularity of the music in question, a questioner was prepared for non-Frafras; generally non-Northerners; which determined the degree of popularity of the music among other Northern indigenous music. In addition, published documents were accessed. Lunsi music of the Frafra exhibits the two general rhythmic characteristics of Africans namely, syncopation and cross beats. This is as a result of the simultaneous use of contrasting rhythmic patterns within the same scheme of accents or meter. In addition, the manifestation of two or more meters in the same scheme confirms the African nature of lunsi music in Tamso. It is also discovered that inasmuch as there is the use of a standard or key pattern in Lunsi music, it does not conform to the seven-stroke figure commonly used among most African ethnic groups. Furthermore, the study reveals that all drums in lunsi music are double-headed, and that they are either hourglass or cylindrical in shape. The study also reveals that while the lunsi drum performs the communicative role back home, the weiya rather does it in Tamso, while the remaining drums in the ensemble are mainly used as accompaniment. Moreover, lunsi is identified as court music back home, but it is a recreational music, used for ensuring social solidarity among the Frafra in Tamso. The study further reveals that back home, traditional costume, (comprising “kalambiu” and “newerenada”) is used for performing lunsi music. However, T-shirt and a traditional trouser made of traditional cloth are used in Tamso. Lastly, the results show that back home recruitment for lunsi music group could be obligation or retention, affiliation or appointment method. However, among the Frafra people in Tamso, only the appointment method was employed for recruitment into lunsi music group. To Zablog Zakariah Abdullah (African Studies, Legon) and the author of lunsi institution of Dagbon, lunsi is an institution. To him, there is a special family for the institution. Unless you are born or initiated into this family, you cannot be a lunsi.
A Critical Study of the Music Industry in Tamale
(University of Ghana, 2013-07) Yamusah, M.S.; Collins, E.J; Boamah, E.; University of Ghana, College of Humanities School of Performing Arts Department of Music
This is a study of the expanding music industry in Tamale, focusing on its artistes. It examines how they create and produce their music, how they market and promote the music and their images, and also the nature and art of their performances and the scope of their export beyond Tamale. The contemporary popular musicians of Tamale have been making all efforts since to gain a national appeal and attention to no avail. The problem discussed in the study is that, as long as an artiste bases in northern Ghana he/she will most likely never become a national music icon in Ghana: until he/she migrates to Accra. This thesis reviews literature on the traditional and neo-traditional music of Dagbon. Then moves on to examine the underlying problems of the Tamale music industry – and suggests solutions. The study draws much of its information from the perspectives of the artistes, through interviewing them, and analyzing what they have to say. Tamale is the center for these contemporary popular artistes and their music, but most of them until as recent as 2008/2009, only recorded their music from Accra and Kumasi. The music industry in Tamale still faces major challenges. The artistes and their music appear not to have travelled much beyond their home region especially into southern Ghana. Other problems include limited formal education among artistes, and the lack of capital investment. However, it has some very visible prospects for a brighter future. This study sets the tone for real discussions of the music industry in Tamale based on facts and verifiable information. It also uncovers some of the challenges to the industry. This study is an attempt at throwing light on the life problem for many young people in the Tamale area, who have the gift of music, which they thereby wish to use as a medium to enhance their socio-economic livelihood. Finally, this thesis lays the foundation for further academic studies into the music industry in Tamale.
The Use of Indigenous Ghanaian Elements in Contemporary Orchestral Music
(University of Ghana, 2013-07) Ferguson, E. E. A.; Kongo,P.Z.; Boamah,E.; University of Ghana, College of Humanities , School of Performing Arts , Department of Music
Intercultural composition is the style of composition that blends both western and non-western elements together. Although composition can be done for solo or various sections of instruments, the height of this praxis is ultimately that for orchestra. At the inception of the orchestral tradition in Ghana, mostly western pieces were performed for audiences. From a process that began with Phillip Gbeho, a few composers from Ghana like Kenn Kafui and Nicholas Nayo have composed for orchestra, incorporating both indigenous and western elements. However, in our current musical tradition that is largely choral based, composing for orchestra in general seems to have been relegated to the backdrop. This study aims at a creative compositional process for orchestra employing resources from Kpanlogo, Agbadza and Apatampa traditional music forms. These resources of interest, including rhythms, folksongs and other stylistic parameters will be transcribed and studied. Three original compositions will be produced based on the resources from these traditional music forms. Analysis will be to identify the compositional styles and techniques that will be employed in the compositions such as African pianism and syncretism. The study, involving a sampling of selected scores by some Ghanaian composers will briefly identify their compositional trends and styles. Of particular interest will be examples of their use of melodic and rhythmic resources. Research approaches will include libraries, participant observation and employment of qualitative data collection. It is expected that this study will open a new chapter on Art compositions for orchestra and serve as a reference source on how to employ indigenous and western elements in composition.
Gender Portrayal in Edufa and in the Chest of A Woman
(University of Ghana, 2013-12) Nugah, E.B.; Kwakye-Opong, R.; Asiedu, A.M.; University of Ghana, College of Humanities , School of Performing Arts , Department of Theatre Arts
This work examines gender portrayal in Edufa by Efua Theodora Sutherland and In the Chest of a Woman by Efo Kodjo Mawugbe both of whom are of blessed memory. It considers Sutherland as the mother of modern Ghanaian Drama and Mawugbe as an icon of Ghanaian Drama; assessing their contributions and achievements as playwrights and dramatists in Ghana. An in-depth analysis of the plays was carried out to ascertain the conflicts and messages imbedded in them. The study was based mainly on library materials including journals, articles, play texts, book of tributes and other relevant information on the playwrights. The investigation arrived at the conclusion that both Sutherland and Mawugbe witnessed male domination and female marginalisation in Ghana from the 1960’s. Both dramatists represented excellently the issue of gender imbalance in Ghana in their plays. They also encouraged female empowerment and the need for change in certain practices in society which tend to hinder progress. The on-going struggle against gender imbalance in society, especially in Ghana is undoubtedly reflected in the plays. The study also underscores some misconceptions and dangers that surround what gender represents.
Promoting Asante Customary Marriage through Theatre for Development
(University of Ghana, 2014-06) Bogya, E.; Kwakye-Oppong, R.; Arkhurst, S.; University of Ghana, College of Humanities, School of Performing Arts, Department of Theatre Arts
This study is centered on “aware pa”, a customary marriage rite of the Asante in Ghana. “Aware pa”, until recently, was a complete marriage ceremony after which a man and woman were recognized as husband and wife. Observations have however, revealed that there is wrong perception of this customary marriage rite and the adoption of foreign culture has changed the name and outlook of the “aware pa” ceremony. Based on these observations, four main processes were employed for the study to find out why majority of the Asante people have negative perception of the customary marriage rite, why the change of the name to “engagement” and how to promote the customary marriage rite. The processes used were; library research,field work and story creation, performance and follow-up. From these processes, it was revealed that most people within the study area perceive culture to mean something primitive hence the adoption of “engagement”, a more refined name in place of “aware pa”. The study also showed that the Asante is losing touch with their custom and traditions as it was discovered that most people did not really understand “aware pa”. It was also revealed that religious doctrines do not oppose the „aware pa” since family endorsement of a marriage is required before the church ceremony. The family endorsement is the “aware pa” ceremony. The lack of knowledge and wrong perception of “aware pa” and the blind adoption of foreign culture became a fertile ground to use Theatre for Development (TfD) approach in promoting Asante customary marriage rite in Kumasi. To ensure the perpertuation of tradition, this study recommends the Asanteman Traditional Council to embark on educational campaign of the “aware pa” ceremony to erase the misconconception and also inform those who are ignorant of it. The council needs to further look at the extravagant nature with which marriage ceremonies are celebrated forcing otherwise prospective husbands to remain bachelors. Also course and subject contents of cultural studies in both lower and higher institutions should be reviewed to include issues of traditional values like the “aware pa”.
Unconventional Urban Settlements: An Analysis of the Nature, Causes and Responses of Homelessness in Accra
(University of Ghana, 2014-06) Tei-Kumadoe, E.; Amanor, K.S.; Atobrah, D.; University of Ghana , College of Humanities , School of Performing Arts , Department of Theatre Arts
The ongoing breakdown of the extended family support system and the economic hardships brought about by the Economic Recovery Programmes of the 1980s have contributed to visible expressions of urban poverty. These are manifested in two types of precarious urban settlements which have sprung up throughout many parts of Accra, the slum and the non-slum. This study perceives the latter as homelessness. It analyses its nature, causes and responses from the public towards the phenomenon. The study applies the concepts of social exclusion, structural poverty and the interconnectedness of home and work in the informal sector in examining the phenomenon of homelessness in Accra. To achieve this, four locations in the Greater Accra region which bear two types of homelessness are observed and dwellers are interviewed. In addition to this, institutions that, and individuals who, interact with the homeless are also examined. These yield the results that the homeless people of Accra are clustered at the town/city centres and dispersed within the residential areas. They also have few personal possessions and engaged in economic activities that principally dictate the nature and place of their accommodation. Few of them benefit occasionally, in clothes and health care, from charity events organized by some institutions such as Joy Fm and the Maternal Health Channel. More significantly most of the homeless are engaged in daily interactions with non-homeless members of society. These interactions establish relationships of trust and reciprocity which revolve round the daily lives of the homeless making urban life less difficult. This study shows that the homeless of Ghana do not exist outside of the community as it is in most countries but are rather integrated within the community. The study also established that social exclusion results in long term deprivations of the excluded and used the colonial and post colonial government relationship with rural areas of Ghana to support this.
An Analytical Study of the Choral Compositions of James Tsemafo-Arthur
(University of Ghana, 2014-07) Gyima-Aboagye, E.K.K; Amuah, J,A; Harper, C; University of Ghana, College of Humanities, School of Performing Arts, Department of Music
This study investigates the choral compositional techniques, styles and creative interests associated with the choral works of James Tsemafo-Arthur, an African art music composer. The study outlines how this composer utilizes some intrinsic African elements in his compositions, the influence of his cultural and religious background on his composition, as well as his compositional philosophies. The study, apart from serving as a record of another African art music composer, will motivate and serve as a guide to budding composers to compose more inspiring choral music, and also enable readers to better appreciate Tsemafo-Arthurs’ individuality, originality and ingenuity as a composer. This feat was achieved through the collection of primary and secondary data which included interviews and analytical study of representative works. Also to facilitate the above, a tripartite methodology of historical, descriptive and analytical methods was adopted. The following analytical parameters: formal structure, musical texture, dynamics/performance directions, Melody, Harmony, Rhythm and Metre, Interpretation of song texts, Cadential points, Text and Tune relationship, were employed for the analysis of the representative choral works and how he addresses the issues of identity, enculturation and hybridity through his compositions. Major findings of the study reveal a mastery of the composer over the Fante language in which he has the bulk of his compositions. His compositions span a wide variety of themes categorised as follows: Philosophical, Adapted/Arrangements, Patriotic, Church music and Occasional. In his composition, Tsemafo-Arthur explores the major and the pentatonic scales and uses varied compositional styles. In conclusion, Tsemafo-Arthur is one of the African art music composers whose religious and cultural backgrounds have had great influence so much on. His mastery over the Fante language really makes him a poet and a great composer who has contributed tremendously to the growth of choral music in Ghana. Throughout his compositions, Tsemafo-Arthur identifies himself as a Methodist, a Fante, a Ghanaian, and an African. Most of his compositions are structured to strictly follow after the spoken language, punctuated at cadences with some traditional modes which reinforce their African authenticity and the ebibindwom flavour for his Methodist identity.
Theatre Spaces and their Suitability for Productions: A Comparative Study of the Efua Sutherland Drama Studio and the National Theatre of Ghana.
(University of Ghana, 2014-07) Obeng , G.O.; Kwakye-Opong, R.; Aveh, A.; University of Ghana,College of Humanities School of Performing Arts Department of Theatre Arts
This study examines the suitability or otherwise of the National Theatre of Ghana and the Efua Theodora Sutherland Drama Studio (E.T.S Drama Studio) at the University of Ghana, taking into account what these structures entail as theatre spaces for productions. This research then became significant because the researcher realised not much documentation has been done on these structures especially in terms of what each possesses and what it does not. Hence this study seeks first to fill the vacuum and to add up to existing knowledge. The study is based primarily on library materials, including books, web documents, and journal articles both electronic and print. Among these is The Legacy of Efua Sutherland: Pan-African Cultural Activism (2007). The researcher employed the qualitative research design and purposively sampled her respondents for the interviews. The data collected was analysed with various productions to establish how suitable or otherwise each space presented itself for the various kinds of productions mounted in them.
An Analytical Study of the Choral Compositions Of James Tsemafo-Arthur
(University of Ghana, 2014-07) Gyima-Aboagye, E.K.K
This study investigates the choral compositional techniques, styles and creative interests associated with the choral works of James Tsemafo-Arthur, an African art music composer. The study outlines how this composer utilizes some intrinsic African elements in his compositions, the influence of his cultural and religious background on his composition, as well as his compositional philosophies. The study, apart from serving as a record of another African art music composer, will motivate and serve as a guide to budding composers to compose more inspiring choral music, and also enable readers to better appreciate Tsemafo-Arthurs’ individuality, originality and ingenuity as a composer. This feat was achieved through the collection of primary and secondary data which included interviews and analytical study of representative works. Also to facilitate the above, a tripartite methodology of historical, descriptive and analytical methods was adopted. The following analytical parameters: formal structure, musical texture, dynamics/performance directions, Melody, Harmony, Rhythm and Metre, Interpretation of song texts, Cadential points, Text and Tune relationship, were employed for the analysis of the representative choral works and how he addresses the issues of identity, enculturation and hybridity through his compositions. Major findings of the study reveal a mastery of the composer over the Fante language in which he has the bulk of his compositions. His compositions span a wide variety of themes categorised as follows: Philosophical, Adapted/Arrangements, Patriotic, Church music and Occasional. In his composition, Tsemafo-Arthur explores the major and the pentatonic scales and uses varied compositional styles. In conclusion, Tsemafo-Arthur is one of the African art music composers whose religious and cultural backgrounds have had great influence so much on. His mastery over the Fante language really makes him a poet and a great composer who has contributed tremendously to the growth of choral music in Ghana. Throughout his compositions, Tsemafo-Arthur identifies himself as a Methodist, a Fante, a Ghanaian, and an African. Most of his compositions are structured to strictly follow after the spoken language, punctuated at cadences with some traditional modes which reinforce their African authenticity and the ebibindwom flavour for his Methodist identity.
A Study of Roverman Productions in the Promotion of Theatre in Ghana
(University of Ghana, 2014-07) Gyekye, B. A.; Adjei, C; Arkhurst, S.; University of Ghana, College of Humanities, School of Performing Arts, Department of Theatre Arts
The study sought to assess the promotion of theatre in Ghana, focusing on Roverman Productions as the current driving force in making theatre active. Both qualitative and quantitative research designs were employed for the study. A simple random sampling technique was used to select one hundred and twenty five (125) respondents for the study. The results from the study revealed that Roverman Productions, though is contributing to theatre promotion, however, it targets only a section of the population of theatre goers or enthusiasts as a result of its business philosophies. The group runs on commercial basis and therefore, employs several marketing strategies such as sponsorship and advertisement to be able to promote its shows. It is recommended that more effort should be made by Arts Centres and other stakeholders by collaborating with Roverman Productions to create performance spaces in various regions. Policy initiatives specifically aimed at reducing the cost of productions must be implemented and strengthened by government. This would greatly enhance theatre groups’ abilities to produce quality theatre shows that have impact on the lives of audience. The study also recommends that players (institutions and stakeholders) in theatre sectors must strive to bridge the professional and managerial gaps between the educational institutions and the commercial theatre groups, to achieve best theatre practices.
Mitigating Domestic Violence in Ghana Through Theatre
(University of Ghana, 2014-07) Odoi-Yeboah, M; Aveh, A; Kwakye-Opong, R; University of Ghana, College of Humanities, School of Performing Arts, Department of Theatre Arts
Theatre has been with humanity over the centuries due to its importance to society. Not only is the theatre meant for fun, but also to discuss pertinent issues bothering people. Hence, many playwrights have resorted to theatre to explain philosophies, theories and instigate change in society. Theatre therefore engages the audience mentally and psychologically when issues raised in the play are of primary interest to the audience. Domestic violence has become a household name in the country owing to, perhaps, its prevalence. Over the years, government, religious bodies and other gender advocacy groups have spent time and resources fighting this violence that keeps on surging. A research problem is thus identified, as to how theatre can be used to mitigate this increasing trend of domestic violence incidents. Through unstructured interviews and observation, relevant data was obtained from stakeholders as well as victims/survivors and perpetrators of domestic violence. The data gathered was later assessed using the qualitative method. Plays and other materials that discuss issues on domestic violence were also accessed and analysed. Interventional efforts against domestic violence in Ghana were also discussed. Results assembled after carrying out the methodology served as an invaluable resource in writing the play Sorry Ever After. The play aims at educating its readers, through the actions and inactions of the characters, about the causes, effects and prevention of domestic violence. Finally, the play hopes to spur its readers into action against domestic violence.
Saxophone Solos in Ghanaian Highlife Music: An Analytical Study of Tempos and the Ramblers International Bands
(University of Ghana, 2014-07) Aidoo, S.; Collins, J.; Harpper, C.; University of Ghana, College of Humanities, School of Performing Arts, Department of Music
Highlife dance band music is one genre of popular music in Ghana that makes use of both Western and African idioms. This makes highlife music to be enjoyed by both Africans and Westerners. One unique characteristic of this type of highlife music is improvisation. Other instruments such as the trumpet and guitar perform this style but the saxophone instrument, is preferred above all the others. This study aims at recording and compiling selected saxophone solos by the Tempos and Ramblers highlife dance bands through live and prerecorded media. The saxophone solos will then be transcribed to and studied more critically. Analysis will be to identify the styles and techniques that are used such as vibration and pitch bending. The study will also examine other musical elements such as melody, scale, rhythm, pitch, articulation, phrasing, dynamics and tonal organization. Since it is a well-known fact that Ghanaian dance band musicians do not read music from scores I shall find out possible traces of variations, copious repetitions and similarities of rhythmic patterns in the same music performed on different dates and conditions as well as locations, stock progressions and other points of interest when Western and African idioms are combined. In addition, I shall listen to other instrumental solos and draw my own conclusions on why the saxophone is the more preferred instrument for improvisation. Other research strategies will include libraries, interviews, participant observation, and employment of qualitative data collection. It is expected that the compilation of saxophone improvisation repertoire will reveal the contribution of Ghanaian highlife dance band music and will serve as reference material for the study this style of popular music.
The Artistic Director and the Management of Professional Theatres in Ghana, Abibigromma As A Case Study
(University of Ghana, 2014-07) Tefe, B.G.K.; Djisenu, J.K; University of Ghana, College of Humanities, School of Performing Arts, Department of Theatre Arts
This study is an exploration of the directorial and managerial styles as well as the operational challenges of resident theatres in Ghana, with a focus on Abibigromma, the resident theatre company of the School of Performing Arts, University of Ghana, Legon, as case study for the research. The goal of the study is to provide an alternative to the dual functions of the Artistic Director; being both artistic and managerial. The study exposes structural and organisational deficits in Abibigromma’s operations as a non-profit professional theatre and provides alternative measures to ameliorate them. Using the qualitative approach, both structured and unstructured interviews were conducted, involving one hundred and sixty three (163) respondents, current and past stakeholders in the Ghanaian theatrical context. There was also a Focus Group Discussion among members of Abibigromma, and the researcher was a Participant- Observer, having directed two plays in Abibigromma. Findings indicate that the overriding objectives of research, performance and experimentation of Ghanaian and African Art forms are still relevant. However, these objectives are not fully pursued due to directorial and managerial shortcomings. A structural review and an organisational reconstruction of the entire operations of Abibigromma by the School of Performing Arts in particular, and the University in general, are recommended.

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