Department of Theatre Arts

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    FESPACO-Promoting African Film Development and Scholarship
    (Journal of Film and Video, 2020) Africanus Aveh, M.
    if there is any single event that has significantly developed and promoted African film over the past half century, then it is the Festival Panafricain du Cinéma et de la Télévision de Ouagadougou (Pan-African Film and Television Festival of Ouagadougou), or FESPACO, based in Ouagadougou, Burkina Faso, West Africa. The festival also has been a source of great scholarship in film studies.
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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.
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    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.
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    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.
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    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.
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    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.
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    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.
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    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.
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    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.
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    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.