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Analytical Study of Selected Catholic Masses Composed by Anthony Kobina Yebuah.
(University of Ghana, 2015-07) Twum-Barimah, P.; Andoh, T. E.; Amuah, J.A; University of Ghana, College of Humanities, School of Performing Arts, Department of Music
The Catholic Church is spread in most parts of the world and has different forms of worship. The main form of Catholic worship is the Holy Mass. The Second Vatican Council has enabled Masses to be said and sung in the vernacular languages of a people in order for them to participate fully. The Primary focus of this study is Anthony Kobina Yebuah, a prominent Ghanaian composer of the Catholic Archdiocese of Accra. Anthony Yebuah is among a few composers who write liturgical music for Catholic worship. He has also composed both vocal and instrumental music which does not pertain to Church music. Since there is paucity of available documentation of Ghanaian Catholic musicians and composers together and their contribution to the growth of the Catholic Church in Ghana especially in the Archdiocese of Accra, this subject demands scholarly attention. The study discusses the background of Anthony Kobina Yebuah as well as two works composed by him namely, Sacred Heart and Corpus Christi Masses. The study also seeks to examine the compositional techniques used by Anthony Kobina Yebuah. This was achieved through personal interviews, phone interviews and interviews via the internet with Anthony Yebuah and some selected close associates of his. Reading of books, journals via the internet and the library together with analysis of the two Masses by the analyst. The findings from the research reveals that Anthony Kobina Yebuah is a well-trained musician and composer. He uses both Western and African elements in the composition of the two Masses. Yebuah composes the two Masses for specific occasions and some of these can be accompanied with percussive musical instruments like the axatse and clappers.
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.
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.
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.
Art Forms, Communication and Marketing: Creating Dances for Staged Commercials
(University of Ghana, 2015-10) Benedictus, M.; Sowah, O. N. K.; Newman, S. A.; University of Ghana, College of Humanities, School of Performing Arts, Department of Theatre Arts
Dance is an important tool for communication of thoughts and sentiments by individuals and the community as a whole. This communicative ability of dance has made it essential for modern day communication. In recent times, many business establishments in an attempt to accrue the maximum returns through advertisements resort to the use of art forms as a means of attracting potential consumers. This thesis explores in details, how dance, through choreography can be packaged into a rhetorical figure(s) to persuasively communicate and attract a target audience. The final choreographic work details how dance movements can be effectively linked to products to ensure better dance-based advertisement through the synthesis of contemporary African dance and popular dance. Finally, the thesis recommends the adoption of dance-based commercials to attract corporate bodies to advance sponsorship packages for dance productions.
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.
Branding and Packaging in the Commercialization of Ghanaian Traditional Dances
(University Of Ghana, 2018-07) Akuka, R.A.
Commercialization of dance has become an integral part of the evolving creative industry in Ghana. Commodification of Ghanaian traditional dance as a “product” significantly needs to be branded and packaged in a manner that makes it a commercially viable venture. Framed within attractive quality and sociological aesthetic theories, this study seeks find out why Ghanaian Dance industry has been unattractive and to explore how Ghanaian traditional dances are branded and packaged by both professional and amateur dance companies and to highlight the commercial value of the Arts specifically dance. It mostly adopts a qualitative mode of investigation within a multidisciplinary framework that sees dance as both a cultural form and a stage art. The thesis recommends a frame work of the Awareness, Interest, Desire and Action model as a tool for commercialization and the adoption of vertical organizational structure alongside with some marketing activities that could enhance traditional dance brands to be more commercially viable.
Branding In Theatre Marketing In Ghana: The Case of Roverman Productions
(University of Ghana, 2015-07) Adzraku, B. M.; Adinku, B. M.; Agyeman, O.; University Of Ghana, College of Humanities, School of Performing Arts, Department of Theatre Arts
Branding in the theatre seeks to connect a theatre company and its product to its audience. This is with the aim of achieving a company‟s mission and audience satisfaction. Though generally not much attention has been paid to branding in theatre practice, however, it is important to note that a few theatre practitioners are working towards improving this aspect of theatre. Amongst the groups and companies who engage in theatre practice in Ghana, Roverman Productions is one of the few which has attained a credible reputation. This paper seeks to investigate how Roverman Productions has engaged branding and how effective it has been. In conducting this research, the qualitative method is employed. The research finding of this paper will serve as a guideline for branding in theatre practices in Ghana.
Career Sustainability in the Ghanaian Music Industry: The Case of Okyeame Kwame
(University of Ghana, 2019-06) Brew, J.O.
The discourse on music sustainability within ethnomusicological circles has largely focused on the protection of the environment and the sustenance of both music traditions and their material music cultures which are endangered. Thus, there is hardly any discourse on the sustenance of the careers of the musicians whose work actively keeps these music traditions alive; although there have been observations made about the difficulties associated with sustaining a career in music. In Ghana, music making has largely been observed and practiced as a community affair in many indigenous African societies. For that reason, the profession has been historically perceived as one that cannot be taken on a full-time basis. This notion appears to have spilled over to contemporary music making in the country and therefore tensions often arise in relation to compensating musicians. Drawing on the case of Okyeame Kwame, a hiplife musician in Ghana, this thesis examines the philosophies and strategies that he has employed in the sustenance of his music career by first discussing him within the broader framework of the Ghanaian music industry. Framed within the theoretical notion of music sustainability and ecology, the thesis argues that music career sustainability is a complex phenomenon that goes beyond talent to include business management skills. From this perspective, musicians should see themselves as entrepreneurs whiles still utilising their creative outputs.
Change and Continuity of Edzoxoxo Linyimewavu of the People of Dzogbefeme – Avatime
(University of Ghana, 2015) Hulla, W.Y
This study offers a theoretical perspective for understanding music as a concept and cultural process of medium of musical change. By reviewing the existing theories of change scholarly and contextualizing it within the African context. The researcher identifies musical change in Edzᴐxoxo warrior music of the people of Dzobgeƒeme- Avatime for critical examination through the theories of change. To be able the researcher achieve the set goals, this research is anchored around the following objectives: The research traces the ethnography and historical background of Avatime people, and traces the Historical aspect of Edzᴐxoxo as a musical type of Dzogbeƒeme – Avatime, also to identify the types and sources of change in Edzᴐxoxo Linyimewavu, to compile and transcribe as many of Edzᴐxoxo songs as much as possible for analysis and for recording purposes, again to explain why changes or modifications have been encouraged and the impact of these changes on the continuity of music and culture among the people. To identify and clarify the non-musical sources or forces that support and explain the various adjustments and innovations in the music and dance area. To be able to achieve these objectives, the researcher moves from house to house to interview forty people including chiefs and elders and gathers data on the historical facts of the people of Avatime. The various settlements they made on their journey from Ŋᴐtsie under the cruel King Agᴐkᴐli in the Republic of Togo and the possible reasons for their departure from the various places. For the findings be comprehensive, facts would be collected from an Avatime in the Diaspora group who settled in present day Togo-Gafe for their side of the history of Avatime. Data has been collected from the elderly people who witness and experience the formation of some changes in the Edzᴐxoxo musical group: Its composition, mode of University of Ghana http://ugspace.ug.edu.gh iv performance, drum set, playing techniques, tuning and others. The researcher then visits some of the cantors to record both old and new songs which facilitate the objectives of the work and forty- five songs were recorded from the cantors. Some of the drummers will also be interviewed to gather some knowledge from the old and new styles of rhythmic structure. A full performance to be organized and recorded with audiovisual cameras and systems which helps the researcher to play it over and over to enable him transcribe with the finale software for the musical analysis. The Akan songs will be translated to enable the researcher understands the lyrics and categorize the song text into the role, importance and magnitude in which each song is use and perform in the Edzᴐxoxo musical performance. This research identifies some characteristic changes in the continuity of the Edzᴐxoxo music over time. It is evident that, the master drum of the Daʋatram music was replaced with a smaller and handy one which is hanged on the shoulders to make for easy mobility during processions. In 1946, a young group of drummers from Afram Plains introduce the bell adapted from the asafo company ensemble of the Akans into the Edzᴐxoxo ensemble. The bell time line pattern was originally played by two supporting drums by hocket technique in complement to one another. The young group from Afram plains also influenced the rhythmic patterns with the introduction of triplets in the time line play by the bell and the change of the rhythm of some melodies by the introduction of triplets. Customarily, women are not allowed to perform warrior music but eventually because women are allowed to go to war to play specific special roles, they are now allowed to perform eventually. The new membership of the Edzᴐxoxo music composition of the ensemble in terms of gender also brought along singing in harmonic thirds and occasionally fifth intervals and the octave. Akan songs were introduced, and added to the Eʋe repertoire. Previously, the music was slow, but it is now relatively fast and stable due to the introduction of the bell which was not introduce from the onset. Despite the various numerous characteristic changes, the linyimewavu (warrior music) is one of the indigenous music that survive the Western pressures of Christian religion music, perceptions and technology probably due to the high sense of traditional security system and the recurrence of funerals of members and royals that necessitate the performance of the group from time to time, couple with annual festive occasions. This study has been undertaken fundamentally to salvage the situation of extinction of certain vulnerable African musical genres having no documentation, Edzᴐxoxo music is no exception. Even membership is by performance, if one is identify once or more he or she becomes a member. No register registration fee for members but at least there is a story that can be told and read about, after this project. The young scholars need encouragement to study music and support the few in the universities, research into the indigenous music in the hinterlands, to dig out the large volumes of untapped musical types and revive some important musical types that are extinct in the African society. The researcher faces a lot of problems travelling to the villages and paying drinks (foreign gin) and other form of charges for purification for invoking some powers and the spirits of the ancestors become burdensome and scary for the young researchers to carry. The traditional authorities should have a second look at collecting money and other materials from students seeking help for their projects.
The Contributions of George Worlasi Kwasi Dor to the Musical Tradition of the Evangelical Presbyterian Church, Ghana
(University Of Ghana, 2019-07) Dzisah, A.
This study examines the contributions and influence of George Worlasi Kwasi Dor to the musical traditions of the Evangelical Presbyterian Church, Ghana in the style of prominent composers such as Ephraim Amu, N.Z. Nayo and R.N Ndor within the rubrics of Interculturalism in music theorized by Akin Euba (Dor, 2013). For more than a century and a half, the Evangelical Presbyterian Church, Ghana has continuously followed the Bremen model for the celebration of the Eucharist. This practice continued until the inclusion of some compositions of George Worlasi Kwasi Dor into the Eucharist format. Over the years, G.W.K. Dor has since remained the only Ghanaian composer in the E. P. Church, Ghana whose compositions have had a significant impact on the format for celebrating the Eucharist. G. W. K. Dor’s compositions continue to feature prominently at the West Volta Presbytery Church Choirs’ Union (WVPCU) conferences as compared to other composers. Apart from satisfying the liturgical, theological and the linguistic needs of churches such as E. P. Church, Ghana, the A. M. E Zion, Methodist Church Ghana and Roman Catholic Church Ghana, other governmental agencies have also benefited from G. W. K. Dor’s compositions. Methods of collecting data included primary and secondary sources. Primary data was gathered during an interview section with G. W. K. Dor, selected Rev. Ministers of the E. P. Church, Ghana, the paramount chief of Peki traditional area, choir directors and instrumentalists etc. Secondary sources included library search, internet and analysis of media content. Analysis of formal and LaRue’s Quadrant Framework for Style Analysis were some of the analytical tools that were used to examine the building blocks of the compositions. The compositions are made up of indigenous and Western musical idioms, recurring themes and coherent melodic structures. The research clarifies the fact that G. W. K. Dor is the first choir director to have started the concept of Praise Band in the E. P. Church, Ghana. This thesis argues that the contributions made by George Worlasi Kwasi Dor to the musical tradition of the E. P. Church, Ghana were achieved through intercultural musical practices and that they are significant musical additions to the church repertoire.
Costume Aesthetics: Found Objects as Dressing in the Production of the Slaves
(University Of Ghana, 2016-07) Mamiya, W.A.S.
Waste management has become one of the social menace in Ghana, thus the need to find remedy to the situation. Therefore, this research promoted the use of found objects in designing costume thereby, exhibiting the beauty of what is considered waste in the production of The Slaves; a play written by Mohammed Ben Abdallah and directed by Elijah Twum. The thesis further explored the concept of recycling and reusing of waste materials as an experiment to create costumes; thus bestowing a new identity to the objects found. The costumes designed for this production also interpreted the play metaphorically to reveal how man is enslaved by items considered waste. It also provided a platform to confer the status of value, to the seemingly valueless, thereby drawing the connection between costume design and found objects. The study captures the various processes in using found objects in designing costumes; the ‘creative-design process’ which is an embodiment of the artistic approach as well as the phenomenological method to the study. This enabled the researcher to attain the needed outcome through the use of the formal elements. Analysis of the components of the design revealed the aesthetic value of designing costumes with found objects. The investigation further highlighted the socioeconomic benefits of engaging found objects in designing costumes as well as the various challenges and recommendations.
Costuming Allegorical Characters for Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf
(University of Ghana, 2015-07) Agudu, J. E.; Djisenu, J. K.; Adjei, C.; University Of Ghana, College of Humanities, School of Performing Arts, Department of Theatre Arts
This research explores how allegorical characters can be costumed using Ntozake Shange‟s For Colored Girls who have Considered Suicide When the Rainbow is Enuf as a case study. It delineates on the need for a costume designer to enmesh herself in the total objective of the author and director before creating a suitable costume within the allegorical purview. It therefore traces the historical and biographical sources of the author to deduce ideas for the creative process. The play written in 1974 and set in America among the ‘black’ community is presented on the contemporary Ghanaian stage. This document portrays how the various seven major characters were costumed within the allegorical parameters as well as the processes associated with it. This also includes the synopsis, themes in the play, character analysis, design concept, action chart, colour chart, working journal and challenges encountered during the costuming process and finally evaluation and suggestions.
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.
Dance And Politics: A Synthesis For National Cohesion And Development In Ghana
(University of Ghana, 2016-07) Amoo, L.A.
According to earlier scholars including Nketia (1965) and Opoku (1964), dance education and practice in Ghana emerged as an offshoot of a cultural educational programme that was geared towards inculcating strong sense of discipline and professionalism amongst Ghanaians, to induce collective co-existence and national growth after the attainment of self-rule in 1957. Furthermore, Adinku (1994) recalls Nkrumah’s employment of indigenous dance and arts as a unifying tool amongst citizens during the early periods of Ghana’s post-independence era. Yet, even though dance theatre system in Ghana by the National Dance Company epitomizes growing standards of arts within the continent currently, not much has been seen in terms of dance theatre for sensitization and public advocacy. This thesis gives an account of dance theatre not merely as a means of entertainment, but as a strong tool for communication and discourse. It sheds light on some political concerns that undermine good governance and responsible citizenship in Ghana, and Africa at large. It is a testimony of the power of dance to speak on political issues that are detrimental to sustainable national cohesion and development. Within this thesis, the Asipim1 dance theatrical production, by the prolific choreographer and dance scholar Francis Nii-Yartey2 is employed as case study in ascertaining the value of engaging dance theatre in political discourse, through both primary and secondary sources of data collection.
Dance and The Anglican Faith: Rethinking Ghanaian Neo- Traditional Dances For Church Ministration
(University of Ghana, 2019-07) Bannerman, B.K.
This research aims at incorporating some Ghanaian neo-traditional and contemporary dance forms such as Agbadza, Adowa and Apatampa into the liturgy of St. Monica Anglican Church, Accra. While different dance styles resembling Ghanaian traditional dances have penetrated church services, few studies exists to reveal how these dance forms have been fused into church services. I define Ghanaian neo-traditional dances as those removed from their original setting for aesthetic, entertainment and education purposes. This research explores the role of some Ghanaian Neo-traditional dance forms in the Anglican Church using St. Monica Parish as the case study. Some of these above mentioned dance forms have rhythmic patterns that have been integrated into church chord music resulting to the acceptance in the Church. I applied a context base approach to study the culture of the Anglican Church since dance and music serve as tools for communicating with God. This study is based on Kierkegaard‟s theory of existentialism, giving congregants the freedom to express themselves to enhance the worship experience. The research approach is qualitative, employing ethnography as its paradigm. The research resolves the question of the incorporation of Ghanaian Neo-traditional dances into the church. As part of the research, a choreography presentation spoke to the need for integrating movement aspects into the church. Therefore, the research is important as it strives to present Ghanaian Neo-traditional dance style in a positive light, as vital as the survival of indigenous culture and a constructive contribution to an entrenched Ghanaian cultural identity. University of Ghana http://ugspace.ug.edu.gh
Dance In The Management Of Hypertension: A Case Study Of Patients in Abokobi Health Centre, GA-East Municipal Assembly.
(University of Ghana, 2016-07) Agbayizah, D.M.
The study sought to assess the role of non-pharmacological activities in the management of hypertension. Specifically, it aimed at assessing the impact of dance therapy on the management of hypertension, and the prospects of integrating it into the healthcare system. The study adopted the mixed method approach including experimental research design, using the case study of Abokobi Health Centre in the Greater Accra Region. For the quantitative part of this study, a randomized control approach was used, which comprised a test group (that underwent dance therapy sessions) and a control group that was on (alternate vital drugs). Blood pressure levels of respondents ‘before’ and ‘after’ the treatment processes for both control and test groups were tested quantitatively using paired-sample mean t-test. The findings show that the control group experienced an increase in blood pressure while the experimental group (those that participated in the dance therapy) experienced reduced blood pressure levels. The qualitative aspect of this study employed the use of in-depth interviews with the study participants and health officials. The use of dance therapy in hypertension management has prospects because of its additional strengths in terms of cultural friendliness, promotion of social interaction and cost effectiveness. However, the key challenges that may impede its adoption or integration include the availability of trained dance resource persons, resources mobilization [both financial and facilities], difficulty in running dance sessions parallel to pharmacological prescriptions, difficulty in getting patients to participate, and a possibility of stigmatization. However, the study provides key strategies to counter these potential challenges so as to enhance the integration process. From the experimental design and qualitative interviews, the study concludes that dance therapy has an impact on reducing blood pressure at a significant level therefore complementing the orthodox pharmacological treatment processes remains key. This study further argues that dance therapy approach is not only efficacious but also possesses other socio-economic dimensions that could be exploited to enhance its adoption. Key strategies to address integration challenges involves managerial support, and the adoption of an appropriate policy direction, that defines the integration process and other ramifications, a need to train healthcare professionals on the efficacies, origin, and success stories of dance therapy in hypertension management, offering a sensitization process aimed at effectively reorienting the minds of hypertensive patients towards the efficacy of dance therapy. It is also imperative to partner with key stakeholders and opinion leaders.
Defining Our Lives With Music: A Case Study Of The Krobo Woman
(University of Ghana, 2016-06) Opare-Darko, A.N.D
Throughout the years though enormous study has been done on the history and beads making of the Krobo’s, very little attention has been given to their music. The research focuses on the participation and perception of women in the production and performance of Klama music which is the traditional music genre found among the Krobo of Odumase in the Eastern Region of Ghana, and the Dangbe in general. My findings indicated that women are highly regarded in the Krobo society and their musical performances are essential for the sustenance of society. The research also identified some of themes portrayed in their songs. The Krobo women like in any other African society use their musical performances as a platform to deliberate on issues concerning the society. The research employed the qualitative and descriptive methods of research, using research data tools such as interviews and participant observations which aided in analyzing data. Klama music is an important vehicle for the construction of gender identities among Krobo people and a space where women have a prominent role. As such it deserves our undivided attention.
The Development and Contributions Of Youth Choirs in Ghana
(University Of Ghana, 2016-06) Esson, E.D.K.
The primary focus of this study is to examine the development and contributions of youth choirs in Ghana. The research seeks to attempt an in-depth study at the concept of the youth choir as an institution which came to the limelight of choral music industry about three decades ago. The acceptance of this youth choir system due to its economic boom in recent times has gained a maximum popularity as well as provided an avenue for both professional and unprofessional musicians but has not received much scholarly attention. The purpose of the study is to trace the historical events that necessitated the formation of youth choirs and delve into their development and contributions to the socio-economic impart with the specific attention on motivation of the formation, conflict management and the performance practices/styles. The research methodology is primary based on fieldwork which includes discussion, interviews, participant observation during rehearsals sessions and performances, library research, journals and recordings of some of the works performed by the youth choirs. The study discovered that the community youth choirs and all others when properly run will create employment to its members and become an asset to the host community and the nation as a whole in several ways. Youth choir system also provides an avenue to unearth and develop the musical prowess of the youth. It is therefore recommended that every community, institution, government agency and organisation should be encouraged to form a youth choir or sponsor the existing ones since they help to address and solve some of the unemployment issues in the country
Development of Brass Band Music of The Salvation Army, A Study of The Mamprobi Corps
(University of Ghana, 2016-07) Okyere, D.A.
This study focuses on the history and development of brass band music of the Salvation Army specifically Mamprobi Corps from the 1993 to 2016. The thesis takes a critical look at: the traditional performance practice, questions and resources of orality and modes of transmission, styles, type of instruments, transcriptions and analysis of some selected music performed by the band currently. The field recordings and the musical transcriptions of selected musical items clarify and support the research of the interplay of tradition, creativity, improvisation, innovation and the place of oral-aural modes of learning and performance, and stylistic traits in historical perspectives. Furthermore, the study examines the role brass band plays in the church, and non-church contexts, continuity and change. Finally, the research discusses the relevance of the Mamprobi Corps band today.

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