http://41.74.91.244:8080/handle/123456789/646 2026-07-11T17:58:33Z http://41.74.91.244:8080/handle/123456789/5414 Textile arts of the Anlo Hetsofui clan a historical acuity Kpogo, R.R. Anlo is one of the sub-groups of the Ewe people who speak the Anlo dialect (Anlogbe). The Hetsofui clan is one of the 15 clans of the Anlo and has been involved in various traditional artistic practices as part of their culture and heritage. In times past, the Anlo Hetsofui clan was known for producing various art forms including textiles arts on commercial scale which has socioeconomic impact on the people but the textile arts keep fading in recent times. The study seeks to identify and describe the characteristics, symbolic functions and documentation of the textile arts of the Hetsofui clan. The study employed qualitative research, using descriptive research to identify and examine the textile arts. Qualitative research was used for the study because it allowed for a detailed description of the textile arts and facilitated close interactions between the researcher and the participants in their natural settings. Twenty-four (24) participants were purposively chosen, and data were collected using a semi-structured interview and participant observation. The findings, among others, indicated that the textile arts of the Hetsofui clan include the characteristics, symbolism, and functions of Ketiba, Aflagba, Gbadze, Papa, Kevi, Bayaxa, Tsatsa, and Kete, all of which have been documented in this study. The arts of the Hetsofui clan are mostly associated with their daily livelihood including social, cultural, religious and chieftaincy purposes. It is recommended that these artefacts be produced by artists with the active support of chiefs, queens, opinion leaders, and indigenes, in order to enhance aesthetic value, promote appreciation, and ensure the preservation and sustainability of their cultural heritage A thesis submitted to the school of Graduate Studies in partial fulfilment of the requirements for the award of the degree Master of Philosophy (Arts and Culture) Department of Music Education School of Creative UNIVERSITY OF EDUCATION, WINNEBA NOVEMBER, 2024 2024-11-01T00:00:00Z http://41.74.91.244:8080/handle/123456789/5369 Non-formal music education practices in Asafo music of Awudome Kwanta Ansah, M.B.K This study investigated the non-formal music education practices within the Asafo music ensemble of Awudome Kwanta, Ghana, to identify pedagogical structures suitable for formal classroom integration. Guided by Vygotsky’s Sociocultural Theory and the concept of "Cultural DNA," the research employed a qualitative case study design involving forty purposively sampled participants, including master drummers (Ʋugafola) and warlords (Asafofia). Findings revealed that Asafo operates as a sophisticated educational institution where recruitment is interest-driven and training utilizes cultural immersion through scaffolding and modelling within the Zone of Proximal Development. Whiles the formal schooling education oftentimes involve more of the summative assessment, Asafo employs continuous formative assessment, where mastery is validated through real-time performance excellence and leadership roles. Despite its effectiveness, the tradition faces threats from Westernization and religious misconceptions. The study proposes an "Asafo-Informed Classroom Model," advocating for the adoption of role-based learning and peer-scaffolding to enhance the cultural relevance and sustainability of music education in Ghana. It concludes that integrating these non-formal structures into formal curricula preserves indigenous heritage while fostering a grounded musical identity. A thesis in the Department of Music Education, School of Creative Arts, submitted to the School of Graduate Studies in Partial fulfilment of the requirements for the award of Master of Philosophy (Music Education) in the University of Education, Winneba OCTOBER, 2024 2024-10-01T00:00:00Z http://41.74.91.244:8080/handle/123456789/5360 Klama songs as teaching resources in the Ningo-Prampram Municipality Ayin, N.L This study examines the potential of Klama songs as educational resources in Ghanaian primary schools, particularly in the Prampram community. The research addresses the gap in utilizing indigenous musical forms like Klama in pedagogical practices, aiming to promote culturally responsive pedagogy. A qualitative research approach was employed, using a case study design. Twenty Klama songs were collected, and 10 were sampled for analysis. Data were collected using observation and interviews, which were then analyzed using thematic analysis. The findings reveal that Klama songs promote cultural preservation, improve student engagement, and enhance understanding of local contexts. The study argues that Klama songs are valuable teaching resources for Ghanaian basic schools. The research culminated in developing a practical methodology for teachers, providing guidelines on effectively incorporating Klama songs into their lessons. It was recommended that educators utilize Klama songs to promote culturally responsive pedagogy. Further research is suggested to investigate the impact of Klama songs on student learning outcomes and explore their potential in promoting cultural heritage and social cohesion. A thesis submitted to the school of graduate studies in partial fulfilment of the requirement for the award of the degree of Master of Philosophy (Music Education) Department of Music Education School of Creative Arts JANUARY, 2025 2025-01-01T00:00:00Z http://41.74.91.244:8080/handle/123456789/5343 Innovation in sound production practices in theatre education a case study of the Department of Theatre Arts, University of Education, Winneba. Nyarko, E.E. The theatre's visual and non-visual design elements, including scenery, lighting, sound, costumes, and make-up, have benefited greatly from the advancement of technology. The role sound plays in theatrical productions is essential. The study investigates the relevance of sound reinforcement to sound production during stage productions, also looks into the basic processes involved in theatrical sound production and reinforcement, and lastly develops an innovative sound reinforcement approach for performances. Using the semiotic theory, the design was anchored on participant observations, interviews, and group discussions. The study showed that sound plays a vital role in theatrical production to aid comprehension. The study further revealed the relevance of sound amplification to stage productions and aimed at the basic process involved in theatrical sound production. The study examined and looked into how to improve sound production during staged performances. The study concludes that facilities built for theatrical productions should be well-designed to meet standards and well-equipped with the requisite systems and technology to aid sound production, and users should be taken through the requisite training in how to operate the facilities provided. A dissertation in the Department of Music Education, School of Creative Arts, submitted to the School of Graduate Studies, in partial fulfilment of the requirements for the award of Master of Philosophy Degree (Arts and Culture - Technical Theatre) in the University of Education, Winneba 2024-06-01T00:00:00Z