Department of Theatre Arts

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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.
Technology and News Production: The Case of Ghana Television and Tv3 Limited
(University Of Ghana, 2017-07) Kpelle , G.I.
The invention of new media technologies is always a catalyst for change in the broadcast industry. This change facilitates and enhances the creation, processing, sharing and dissemination of information in the industry. With the introduction of new technologies such as the internet, satellite cable system and fibre optics in broadcasting, media practice across national boundaries has taken a turn for the better. The advancement in technology has radically changed and transformed the delivery of news footage to the newsroom in terms of immediacy and timeliness of news for broadcast. This study employs a comparative and phenomenological qualitative research methods with participatory observation and in-depth interview of respondents of two television stations in Ghana - GTV and TV3 to ascertain how they are responding to the advantages of this era of digital technology using diffusion of innovation theory. The study concludes that whereas TV3 is adopting quite a considerable number of new media technologies to ensure news footage is transmitted fast to the news room, GTV, even though is also using some of the new technology, sometimes, experience delays in their news delivery as a result of human factors. More so, lack of logistics like inadequate funds, infrastructure, unstable internet connectivity, consistent training and ability to manage large-sized data are some of the challenges that confronts both television stations thereby limiting their effective and efficient use of the new technology.
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.
Trends and Technological Advancement in Stage Lighting Case Studies of Abibigromma and National Theatre Players, 1980 – 2010
(University of Ghana, 2017-07) Lamptey, M.L.
The study was embarked upon to investigate the trends and technological advancement in stage lighting with Abibigromma and the National Theatre Players as case study groups. The study becomes significant owing to the limited literature in the area of trends and technological advancement of stage lighting in the Ghanaian theatre practice. The qualitative research method is employed, which allows the use of historical, literary and case study methodologies helped to unravel the use of stage lighting in the Ghanaian theatre from 1980–2010. Data for the research was based on interviews, still photographs extracted from four (4) video recorded stage productions of Abibigromma Theatre Company and National Theatre Players, documented library materials, internet sources and other supporting materials. The purposive sampling technique was used to assist in gathering relevant data. Analysis and interpretation on the gathered information showed the continuous use of spot and flood lights by the two theatre groups. One of the major findings discovered by the study shows, that the use of stage lighting was minimal during the initial stages of the groups’ performances. The style of mounting one flood light on two separate lighting stands was initially adopted. The theatre groups later improved upon the style by fixing two flood lights on separate lighting stands, with the lights facing the stage to give enough visibility to the audience. It is recommended, that Abibigromma Theatre Company and the National Theatre Players groups should invest in newly developed lighting instruments in order to incorporate a touch of technologically advanced lighting system into their stage performances.
Experimentations in Creative Writing: Automatic Writing and The Aesthetics of Subconscious Processes
(University of Ghana, 2017-07) Quaye, A.A.
Automatic Writing at first sight carries along with it meanings like free-writing or spontaneous writing. Indeed, both meanings qualify as descriptions for the discourse of automaticity. As convenient and easy as these may look in experimentation, Automatic Writing goes beyond merely writing on any thought or idea. The discourse has its roots in psychoanalysis where it is employed by psychologists as clinical tools for addressing medical issues like personality disorders of Dissociation, Hysteria, Amnesia and other psychotic related conditions. The recognizable beginnings of Automatic Writing is found in separate aspects of Spiritism and Possessions. Available resource on Spiritism are mere reportages or philosophical assumptions. Though manifestations of the Spiritism and communications/possession abound in almost all cultures, there is often no empirically proven fact for its existence. In this work, Automatic Writing is considered as an occult methodology for creative writing. Both psychological and spiritual automatic writing contents, there appears to be evidence of ideas usually beyond the sensory perception of the writer involved. This suggests that external forces were at play during writing. If the writer is in the unconscious state and the subconscious is at work, then Roland Barthes concept of Death of the Author is a valid argument under automatic writing. Since the extinction of automatic writing devices, the human hand has assumed the status of a machine that only takes dictations and traces as instructed either by subconscious processes or spiritual forces. Beyond the controversies, the discourse possess an appreciable aesthetic quality worthy to be probed into. Indeed, denial of authorship is a key characteristic of Automatic Writing because of the autobiographical appearance of the creative work. There certainly can be a case of supervisor/student experimental automatic writing discipline aside the usual experimenter/subject case. An altered state of consciousness is a key element in achieving a state of automaticity.
History of Set Design in Ghana: A Study of Productions of Concert Party, National Theatre, and the Efua Theodora Sutherland Studio, 1960–2000
(University of Ghana, 2017-07) Mawukplorm, H.A.A.
The study sought to trace the history of set design in Ghana through the study of some selected productions of the Concert Party, the National Theatre and the Efua Theodora Sutherland Studio. The qualitative research design was employed for the study. Two sampling techniques were employed to gather data for the research; purposive sampling technique was used to select a total of 12 respondents for the study, and sequential sampling technique was used in selecting the documents for analysis. The outcome from the research revealed that the travelling theatre tradition; Concert Party employed a minimal use of set design, using bill bards and painted canvases which served advertisement purposes, as background for the performances. From the time the Keysoap brand of the Unilever Brothers Ltd. Ghana, together with the Ghana National Theatre organized a revival series of the dying Concert Party tradition, set design has steadily developed from a two-dimensional representation of geographical locations, to a three-dimensional realistic, naturalistic (rocks, houses, huts, trees, forests, etc.), and representational design for performances at the National Theatre and Efua Theodora Sutherland Studio. The study recommends that future researchers expend energies on how technological development has influenced the advancement of set design in Ghana. Considering the difficulty encountered in acquiring materials for study, it is also recommended that archives are established to keep relevant documents of performances.
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.
Using Creative Dramatics For Vocabulary Development In Public Basic Schools
(University of Ghana, 2016-07) Ahiaku, B.I.A.
The process of teaching and learning is old as human beings. Teaching has been carried out by human beings to disseminate information, knowledge and skills for successful development. Psychologists and Educationists have designed several teaching and learning methods to provide effective ways of teaching and learning. Among other teaching methods one can mention Creative Dramatics teaching method. This method has been tested in the USA and European Countries, and proven to be effective and efficient teaching method. The objective of this study was to test the effectiveness and efficiency of Creative Dramatics teaching method. By comparing it as well as using it as an alternative to the Direct Instruction in the Ghanaian teaching environment. The study was also to identify challenges faced by teachers using Direct Instruction in Basic Schools in Ghana Education Service (GES). To carry out the study of Creative Dramatics, teaching experiments were conducted and quizzes as well as class tests were administered to assess pupils/students. With the marks obtained from students, descriptive statistics were computed and conclusion drawn. Questionnaires were also administered to teachers in some selected Basic Schools in the GES. It was established that Creative Dramatics is an effective and efficient teaching method which can be adopted in the Ghanaian contest. The main barriers to the use of Creative Dramatics in Basic Schools in GES borders on the fact that GES teachers have little understanding and mastery of Creative Dramatics, and faced with the inadequacy of resources.
The Vocabulary Of Political Drama: The Voice Of The Playwright In The Return Of Nkrumah
(University of Ghana, 2016-07) Darkey-Mensah, D.
This is an analysis that sets out to demonstrate by example the treatment of a political subject matter in a play-text that focuses on the art vocabulary with the hope of not sacrificing the content for its form. The independent use of history, poetry, prose, metaphoric and symbolic illustrations are fundamental to several initiatives in the creation of the resultant play The Return of Nkrumah. The dissertation therefore discusses the blunt vocabulary of plays and the findings result in the creation of a play-text that treats contemporary political issues of national interest. Pertinent issues regarding corruption, theft, greed and the manipulation of power are discussed and transformed into a creative work. This is because the observation is that most Ghanaian plays are skewed towards the experiment of form than of content. Unlike their other African contemporaries such as Femi Osofisan, Zakes Mda, Cont Mlanga among others, who sternly and unrelentingly critique their countries by directing their plays against economic and political incongruities, unfavourable government policies, corruption, among others, most Ghanaian plays are social dramas that comment on general social norms and vices but not necessarily aimed towards the Ghanaian government and some of its hostile policies. The research then, became significant because the experimental play, The Return of Nkrumah, whiles treating the issue of corruption, also establishes an artistic concept that exhibits a gallery of literature in the contemporary Ghanaian drama, by introducing a style of presentation where independent poems are fashioned into the dramatic structure. These poems carry the central theme of the play. Hence the study, seeks to fill in the vacuum, and to add up to the existing political dramas in the Ghanaian theatrical circle. The major research method employed is the qualitative research approach. Data have been collected from archives, interviews, observations, and published works. The resultant play, The Return of Nkrumah, reveals the pragmatic consequences of greed, bribery and corruption, theft and other political incongruities on the development of the Ghanaian nation. The focus of the play seeks to sensitize Ghanaian civil servants especially those that matter in decision-making on the harmful effects of corruption and recommend that the anticorruption campaign must first start from the grassroots. The play is intended to generate a scholarly debate amongst theatre critics on the artistic concept and among audience as a contribution towards minimizing this social problem. The study recommends that in creating a political play with didactic nuances, it is important that the plot is not too metaphorical, such that the political subject matter is lost. In addition, future researchers will need to explore further, political drama as machinery for reshaping the Ghanaian political structure.
The Representation of the Kasena Culture through Kasem Language Films
(University Of Ghana, 2017-07) Aketema, J.
The film camera is one of the greatest technological inventions the world has ever had. Many countries have used filmmaking as a tool for promoting their culture. Thus, as a result of enculturation, some Ghanaians unfortunately propagate the images they see in these foreign films in theirs. This research, therefore, is an exploration of the content of some Kasem language films such as Kwara Jei (2010), Anɛmana (2014), and Chira Kambia (2015). The study assessed how the images in these films relate to the Kasena culture in their description and depiction of some traditional Kasena institutions using a qualitative approach with in-depth interviews and focus group discussions as instruments; and Kasem language and cultural experts, film tutors, Kasem language film directors, and Kasena Vora (Soothsayers) as participants. It emerged that there are indeed some forms of misrepresentation in some of the films with respect to issues bothering on the portrayal of Kasena chieftaincy and the Vogo practise among others. The Kasem language film directors also admitted to copying some of their cultural representation from films from Nigeria and other foreign films. This work recommends that Kasem language film directors endeavour to research by contacting heads of traditional institutions, Kasem language and cultural experts to guide them on how best to represent the Kasena culture in Kasem language and cultural films.
Set Design With Adinkra Symbols For Tv3‘S Ghana’s Most Beautiful 2014
(University of Ghana, 2016-07) Koomson, S.
Seeking to project and promote the Ghanaian identity and culture through women, TV3, a private television in Ghana has since 2007 introduced its flagship programme Ghana’s Most Beautiful (GMB). A comprehensive deconstruction of the show reveals appreciable level of efforts put in by the producers to project and promote the Ghanaian culture in some aspects such as costume designs and dance performances. However, that commendable effort is quite negligible in the area of set design. Ghanaian elements appear loudly silent in the set designs for GMB. Owing to this shortcoming, this project used four selected Adinkra symbols OkƆdeɛ mmƆwerɛ (talons of eagle), Duafe (wooden comb), Dweninimmɛn (ram horn) and Mate Masie (what I hear, I keep) to design the set for the eighth season of GMB. The design concept culminated in a blend of the four symbols into a ―crown-like‖ set. The thesis-project utilized the artistic methodology. This methodology became handy and effective as it required the researcher to practically construct the design and not only to describe and document it. It became apparent that although Adinkra traces its origin to Asantes, its utilitarian relevance goes beyond the Asante culture. That notwithstanding, it was also strikingly obvious that perhaps artists have excessively utilized Adinkra symbols to the detriment of symbols from other ethnic and regional jurisdictions. The thesis-project concludes and recommends that scenic design students are encouraged to extensively research on and use in their designs more Ghanaian symbols which are gradually becoming extinct. This will help preserve and document these symbols for posterity.
Scenic Design In Ghana: Philosophies And Styles Of Some Designers
(University of Ghana, 2017-07) Niikoi, N.N.
Existing written works in the field of technical theatre have not advanced much as compared to that of dramatic literature in Ghana. A number of researches and publications have been made on Ghanaian theatre and literature, which basically dwell more on the history and development of the Ghanaian Concert Party traditions, the Ghanaian theatre forms, Ghanaian playwrights and various acting troupes or players. However, it appears very little has been said on the technical aspects; the scenic designers, their designs and constructions, which are equally essential in stage productions. The creation of abstract, natural, or realistic scenic designs for stage productions by Ghanaian scenic designers, have contributed immensely to theatre practice in Ghana. This research therefore seeks to examine four Ghanaian scenic designers. It makes use of the historical research approach from qualitative research methodology based on an in-depth interview with the designers in focus, to trace the trends of scenic design in Ghana. With emphasis on historical and philosophical contexts, each designer is examined on areas such as significance of work, motivation of work, key ideas, inspiration, and impact of works on other designers. This paper is in two major parts; firstly, it documents the lives of these Ghanaian scenic designers; John Djisenu, David Amoo, Edu Johnson and Prince Kojo-Hilton in the growth and development of scenic design in Ghana. The second part then focuses on analysis and interpretation; purpose, aesthetic and thematic concerns of their works vis-à-vis their philosophies, styles and innovations. It was revealed that their designs were influenced by both indigenous and foreign experiences and encounter with some art movements.
‘In The Pipeline’: Highlighting Political Propaganda In Ghana Through Drama
(University of Ghana, 2017-02) Afful, G.K.
This work is an academic exercise undertaken for my master’s degree – MFA- at the School of Performing Art, University of Ghana. The study examines the phenomenon of political propaganda campaign in contemporary Ghana from the standpoint of drama since 1992. As a playwright, I settled on a play entitled In the Pipeline for my project work. My motivation for such a work derives from personal experience, interviews and observation in Ghana politics; my academic curiosity to analyse political campaign improprieties and also my fervent desire to contribute in awareness creation. Theatre is the medium adopted in this work based on the research I undertook in my study area, and the data collected on political activities at Kintampo District Assembly, and general observation on political situation in our country Ghana. Based on this, I developed a theatrical piece to interrogate, investigate, and critically analyse and evaluate my findings of the research field. My work is a contribution to the existing body of knowledge where drama/theatre is used effectively to conscientize, educate, inform, entertain and critique the Ghanaian political environment.
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.
Scenic Design, Improvisation and Non-Conventional Theatre Spaces in the Production of Abdallah’s The Slaves
(University Of Ghana, 2016-07) Adomako-Mensah, A.
Spaces abound to accommodate theatrical performances in Ghana, yet most performances are limited to the conventional theatre spaces (usually underscored by built-up auditoriums, stage, wings etc.). Also some conventional theatre space (such as the proscenium) over the years has bridged a gap between audience, performers and the environment. This is partly due to the introduction of modern trends in pyrotechnic and special effects (projections and sophisticated lighting systems); being embraced in the modern theatre experience. This development to an extent has put the creative role of a scenic designer (in achieving a spectacle) into jeopardy. People have resorted to nature as a place of relaxation and have utilized the space for picnics, prayer grounds, learning arena etc. This notwithstanding, much attention has not been given to the fact that nature can serve as an alternative theatrical site in Ghana. Thus an exploration of natural environment as an alternative theatrical site, employing the use of found objects (natural and recyclable materials) through improvisation in the creation of scenic design, necessitated this study; as Ben Abdallah’s The Slaves served as a source material for this experiment. The study also sought to examine the influence of modern trends in development of the creative ability of the scenic designer. Furthermore, there was a need to examine the aesthetic experience between the audience and performers in the created environment. The research approached an art-based methodology, with the creation of the setting of The Slaves mostly reliant on the imagination and intuition of the scenic designer. Research employs techniques from art movements namely: Abstract Expression, Symbolism and Realism. The concept of Constructivism and Mimesis are theories underpinning the study
A Re-Interpretation of Efua Sutherland’s The Marriage of Anansewa as a Ghanaian Musical Theatre.
(University Of Ghana, 2016-07) SAM, J.E.
Ghanaians have all along been involved in drama through rituals, festivals, events of enstoolment of chiefs, oral narratives, ceremonies, and so on. Music has always played integral part in these events. Various musical types such as Opera, Operetta, American Minstrelsy and Vaudeville emerged as a result of external (colonial acculturation, exposure to foreign media patronage, etc.) influences. Adaptation of foreign musicals genres into local content, which imitate Ghanaian socio-cultural life is another effect worth noting. Examples of these can be drawn from our popular early ‘Itinerant’ Concert Party, ‘Keysoap’ Concert Party, Osofo Dazie, Obra, and Cantata television programmes. However, a regular feature across all these Ghanaian musical adaptions is the borrowing of existing songs by both traditional and popular musicians to convey the plot of the story. This thesis examines a particular kind of musical genre with a connective story expressed in script or dialogue with emphasis on speaking, singing and dancing in the story telling process. The music usually scored out of a libretto (lyrics) from play text by a composer, referred to as book musical. As a Master of Fine Arts project (MFA), the experiment seeks to re-interpret some spoken dialogues into sung dialogues with Ghanaian traditional and popular music styles and accompaniment using Efua Sutherland’s The Marriage of Anansewa as case in point. The creative process begins with the interpreted play texts as song texts, converted into melodies with their musical accompaniments through MIDI technology. The performative aspect follows with audition, production conference, rehearsals, and performance. The main objective of this project is to model a Ghanaian book musical theatre
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.
Scenic Design In Children’s Theatre: Appropriating Colours For Philip Ridley’s Play, Feathers
(University of Ghana, 2016-07) Effina-Williams, C.
The desire to explore children’s colour experiences for their scenic interactions informed this research. In view of this, the study explored colours from the perspective of children by using the medium of appropriation to design a set to complement their theatre experiences. With review of literature, the study discussed the approaches to children’s theatre through the eyes of Schonmann. Weincek’s guide to scenic design for children was used to examine the nature of their set designs and colour experiences. The approaches to the concept of appropriation were also discussed which helped to place the research within a particular context. Framed by the experiential value of artistic methodology, the representational art concept was employed in creating familiar designs that fall within the children’s schema. Subsequently, focus group discussion was employed to seek the colour preferences of fifty children between the age brackets of eight and thirteen years. Their colour choices fell within the polychromatic colour scheme and this was utilised to complement the creation of a set design towards children’s total theatre experience. The formalistic approach was also used to describe the elements incorporated in the design with which colours were significantly interpreted. Analysis of the responses from the audiences (children) helped to achieve the purpose of the study. The findings of the research were made available with recommendations for enhancing such practice. In effect, children’s colour preferences help to convey their own ideas, emotions, and also enhance communication. They can also make children owners of a theatre presentation which aids them to interpret, interact, and question experiences on their own terms.
Diabetes Education and Popular Theatre: The Case of Tafi Agome Community.
(University Of Ghana, 2016-03) Kananzoe, I.S
It is projected that high rate of death attributed to the cause of diabetes shall rise by 2030. Until recently, however, issues relating to ill health, especially in the Sub-Saharan Africa used to be dominated by infectious diseases and not non communicable diseases like diabetes. The Ghana Diabetes Care Model is the approach used thus far in diabetes education. This investigation explores the Popular Theatre process as a possible complement to the ‘top down’ approach of the Ghana Diabetes Care Model. The method is a seven-step procedure that is both democratic and participatory in nature and uses the community people as performers. The existing knowledge gap is that local native proficiency in diabetes education is deficient. There is, therefore, the need for a multidisciplinary praxis to curb it. Thus, the study sets out to ascertain the effectiveness of the use of Popular Theatre techniques in diabetes education in the Tafi Agome Community, Volta Region, using Paulo Freire’s theory of conscientisation as framework. The findings of this enquiry reveal that Popular Theatre resonates well with the community and is able to conscientise people to own the technique. Consequently, the study highlights the efficacy of Popular Theatre in health communication and contributes to the paucity of knowledge on theatre as a viable health education methodology.
The Playwright’s Concern with the Plight of Children in Illegal Mining Communities in Ghana
(University of Ghana, 2015-07) Adu-Kumi, O.; Aveh, A.; Djisenu, J.K.; University of Ghana, College of Humanities School of Performing Arts Department of Theatre Arts
Theatre is a powerful means through which humanity is informed, educated and entertained. The playwright thus, plays a very important role in achieving these in the theatre. Through observations and research, the playwright instigates change in society. Presently, we live in a society where children live and work under very difficult conditions which affect their social, psychological and physical well-being. One of such conditions is in the illegal mining sites. Interventional efforts against children in the Illegal mines were discussed. The research focused on using drama as a tool to curb child work in the illegal mines and established ways in which drama has helped in mitigating such social issues. As a result, the techniques in playwriting and theories of dramatic writing were examined. The qualitative method, specifically unstructured interviews and participant observation were used in gathering information. Findings from the research informed the writing of the play, Money Stone. The play portrays the working conditions of children working in illegal mining communities. It also educates stakeholders on the dangers these children are exposed to, emphasizing the need for a change for the better.

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