http://41.74.91.244:8080/handle/123456789/662 Mon, 20 Apr 2026 12:58:02 GMT 2026-04-20T12:58:02Z http://41.74.91.244:8080/handle/123456789/5179 A study of the picture making course at UEW and its alignment with Global contemporary Art trends Kumangtum, R.T. The University of Education, Winneba is currently a public university in Ghana with the core mandate to train teachers. It holds both the opportunity and responsibility to provide excellent teacher preparation for aspiring visual arts educators. Art is continually evolving, embracing innovative techniques, materials, and concepts that challenge traditional artistic norms. Art practices at UEW do not adequately reflect current world practices, because for over a long period, the school has maintained teaching almost the same techniques and methods of art, giving students a limited view of the art industry. The study adopts a case study design, allowing for a detailed examination of the depth of contemporary art practices among Picture Making students at the Department of Art Education, UEW. Participants of the study included Picture Making Lecturers, alumni and students who had at least completed 300 level of their degree programmes. It was realised that the content of the curriculum largely adopts the mimetic approach. Some lecturers had however made some efforts at chipping in a few contemporary art practices in their teaching instruction. Lecturers cited the operational Picture Making component of the accredited Art Education document and the Senior High School Visual Art curriculum as the factors that had for a very long time limited the Department from adopting contemporary art as an area of study for Picture Making. Through a document review of the Picture Making component of the Art Education accredited programme, it was observed that the curriculum leaned towards mimetic and formalistic theories in art practice. Consequently, the contemporary art genre has no place in the curriculum, creating a gap between the Picture Making classroom and the contemporary world of art. Student participants had very limited knowledge of the contemporary art genre. The findings of this research led to the proposal of a four-phased model for Picture Making instruction, and other strategies for incorporating contemporary art into the Picture Making course. The model combines both traditional and contemporary art methods, bridging the gap between the current Picture Making pedagogy and contemporary art practices. It is recommended that conceptual thinking, critical analysis, and interdisciplinary approaches to art-making should be introduced into Picture Making at UEW to provide students with a broader understanding and engagement in contemporary art. 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 the degree of Doctor of Philosophy (Arts and Culture) In the University of Education, Winneba Sun, 01 Jun 2025 00:00:00 GMT http://41.74.91.244:8080/handle/123456789/5179 2025-06-01T00:00:00Z http://41.74.91.244:8080/handle/123456789/5148 Historical analysis of the Cultural significance and dress identity Politics of Ghana’s Parliamentary dress between 1951 to 2023 Donkoh, S. Despite Ghana's sixty-seven years of political independence, the historical trajectory and cultural significance of its parliamentary sartorial practices remain a significant scholarly lacuna. This study directly addresses this gap by undertaking a critical historical analysis of parliamentary dress culture evolution in Ghana from 1951 to 2023. Focusing specifically on the attire of Speakers of Parliament and members of the legislative bodies under their leadership, the study employs a qualitative historical design. Utilizing purposive and stratified sampling, a sample size of forty-four participants were engaged. Primary data was derived from meticulous analysis of historical records, archival photographs, stakeholder opinions, and targeted interviews. The investigation dissects the design structure, embedded symbolisms, and national identity constructs manifested in the parliamentary robes of Ghana's Speakers. It critically highlights the enduring influence of Western-sartorial overtones and documents the deliberate, post-independence incorporation of Indigenous Ghanaian elements under President Nkrumah’s National Personality concept. This shift signified a resurgence of local dress as an emblem of sovereignty and cultural reclamation. Furthermore, the study engages contemporary discourse, notably analyzing Speaker Bagbin’s recent advocacy for decolonizing parliamentary attire. It reveals the perspectives of parliamentarians and cultural custodians on formalizing Indigenous Ghanaian dress styles for parliamentary proceedings. The research also uncovers the tangible impact of parliamentary dress codes on Ghana's local fashion industry, illustrating how political attire influences broader sartorial trends nationally. Key findings illuminate the crucial, yet underexplored, role of clothing in legislative representation and identity formation within a post-colonial African state, Ghana. Theoretically, this study significantly advances understanding of the complex intersection between fashion, cultural identity, and political governance in postcolonial contexts, positioning Ghana within broader African and global discourses. It reveals parliamentary attire as a critical site for negotiating national identity, demonstrating the dynamic tension and synthesis between enduring colonial legacies and deliberate post-indigenous reclamation. Furthermore, the research documents the socio-economic impact of political dress codes on Ghana's local creative industries, informing vital policy debates concerning the formalization and potential legislation of culturally resonant parliamentary attire. Crucially, the findings underscore the urgent imperative for systematic preservation of this evolving facet of Ghana's cultural heritage. The study recommends: further historical research into pre-1951 colonial-era parliamentary dress to uncover obscured cultural expressions; Legislative consideration to formalize Ghanaian parliamentary dress culture; Establishing a dedicated parliamentary museum to preserve robes and artifacts, safeguarding this vital heritage for future scholarship and public engagement. A thesis in the Department of Music Education, School of Creative Arts, submitted to the school of Graduate Studies, in partial fulfillment of the requirements for the award of the degree of Doctor of Philosophy (Arts and Culture) in the University of Education, Winneba DECEMBER, 2024 Sun, 01 Dec 2024 00:00:00 GMT http://41.74.91.244:8080/handle/123456789/5148 2024-12-01T00:00:00Z http://41.74.91.244:8080/handle/123456789/5144 Folklore business in the creative economy of Ghana Arhin Jnr., B. O. Folklore, a vital component of Ghana’s cultural heritage, has been largely overlooked in the country’s creative economy. It has been observed that folklore business is declining with inadequate contribution to the creative economy of Ghana. The study sought to assess the folklore in the creative economy of Ghana. Using a mixed method, nine (9) participants were selected for the qualitative data through purposive sampling and four hundred and thirty-two (432) respondents were used in a questionnaire to collect the quantitative data. The stakeholder, cultural industry, diffusion innovation, and creative economy theories underpinned the study. Using the exploratory sequential design, the study gathered both qualitative and quantitative data through interview, observation, and questionnaire to collect the data for the study. The study recorded a significant contribution of folklore impact in the creative economy of Ghana, including branding, commercialisation and tourism potentials on a national scale. These were found to be avenues to reduce unemployment, increase tax revenue net and increase the Gross Domestic Product of Ghana. However, factors such as copyright, branding, and perception remain a major challenge on the commercialisation drive of the subject matter. Therefore, it is recommended that obtaining authorisation and fee paying for folklore commercialisation, should exclude the domestic folklore industry stakeholders in Ghana. Thus, the state should as soon as possible amend its copyright act to reflect the new dynamics of the populace views. Again, a national perception and branding drive of folklore tourism should be instituted through the National Commission on Culture and the National Folklore Board to create awareness and grant incentives to folklore commercialisation groups in Ghana. A dissertation in the Department of Music Education, School of Creative Arts, submitted to the School of Graduate Studies in partial fulfillment of the requirements for the award of the degree of Doctor of Philosophy (Arts and Culture) in the University of Education, Winneba OCTOBER, 2023 Sun, 01 Oct 2023 00:00:00 GMT http://41.74.91.244:8080/handle/123456789/5144 2023-10-01T00:00:00Z http://41.74.91.244:8080/handle/123456789/5074 Socio-cultural significance of the visual art forms in the enstoolment of a Bolɔfo chief Aibie, A. This study examined the socio-cultural significance of visual art forms in the enstoolment of a Bolɔfo Chief, a traditional authority figure within the Nzema-speaking community of Ghana. It sought to address the limited scholarly attention given to the aesthetic, symbolic, and philosophical dimensions of visual art within chieftaincy rituals, especially in lesser-studied cultural groups like the Bolɔfo. Guided by four key objectives, the research aimed to examine and analyse the visual art forms used during the enstoolment process, investigate their cultural and philosophical meanings, explore their functional roles in reinforcing leadership and social cohesion, and conduct an appreciation of their artistic designs within both traditional and modern contexts. The study employed a qualitative research methodology anchored in emic ethnography which draws on in-depth interviews, field observation, content analysis, and visual analysis to explore these dimensions. Ten kingmakers were purposively selected using homogeneous sampling based on their direct involvement in and knowledge of the enstoolment practices. Data collected were analysed thematically and visually to extract patterns of meaning and cultural significance. Findings revealed that the enstoolment of a Bolɔfo Chief is richly embedded with in visual art forms such as stools, linguist staffs, bracelets, rings, amulets, and drums, each of which holds symbolic meanings associated with authority, ancestry, wisdom, and spiritual power. These artifacts are intricately designed using materials such as wood, gold, ivory, beads, and metal, with symbolic motifs drawn from Nzema cosmology and oral traditions. The art forms serve not only as decorative or ceremonial objects but also as communicative tools, conveying messages of history, leadership values, and communal identity. Furthermore, they foster social cohesion by uniting the community through shared symbolism and ritual practice, and they act as cultural vessels preserving Nzema heritage across generations. The study concludes that visual art forms in Bolɔfo chieftaincy enstoolment ceremonies are essential for maintaining cultural identity, transmitting indigenous knowledge, and asserting traditional leadership. These findings underscore the importance of targeted interventions to sustain these practices. It is therefore recommended that the Ghana National Commission on Culture and local government authorities support cultural preservation initiatives that recognize and incorporate these visual art forms. Traditional councils and artisan groups should collaborate to establish training programs that ensure the continuity of indigenous craftsmanship. Additionally, academic institutions and cultural researchers should invest in documenting and archiving these visual art forms to safeguard them for future generations and promote interdisciplinary studies that deepen understanding of their socio-cultural value. This study contributes new knowledge to Nzema cultural studies and offers a significant ethnographic account of how visual art functions not only as an aesthetic expression but also as a powerful medium for cultural continuity and identity formation within the Bolɔfo community. 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 the degree of Doctor of Philosophy (Arts and Culture) in the University of Education, Winneba SEPTEMBER, 2024 Sun, 01 Sep 2024 00:00:00 GMT http://41.74.91.244:8080/handle/123456789/5074 2024-09-01T00:00:00Z