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Côte D'ivoire
CÔTE D’IVOIRE COI Compilation August 2017 United Nations High Commissioner for Refugees Regional Representation for West Africa - RSD Unit UNHCR Côte d’Ivoire UNHCR Regional Representation for West Africa - RSD Unit UNHCR Côte d’Ivoire Côte d’Ivoire COI Compilation August 2017 This report collates country of origin information (COI) on Côte d’Ivoire up to 15 August 2017 on issues of relevance in refugee status determination for Ivorian nationals. The report is based on publicly available information, studies and commentaries. It is illustrative, but is neither exhaustive of information available in the public domain nor intended to be a general report on human-rights conditions. The report is not conclusive as to the merits of any individual refugee claim. All sources are cited and fully referenced. Users should refer to the full text of documents cited and assess the credibility, relevance and timeliness of source material with reference to the specific research concerns arising from individual applications. UNHCR Regional Representation for West Africa Immeuble FAALO Almadies, Route du King Fahd Palace Dakar, Senegal - BP 3125 Phone: +221 33 867 62 07 Kora.unhcr.org - www.unhcr.org Table of Contents List of Abbreviations .............................................................................................................. 4 1 General Information ....................................................................................................... 5 1.1 Historical background ............................................................................................ -
Music of Ghana and Tanzania
MUSIC OF GHANA AND TANZANIA: A BRIEF COMPARISON AND DESCRIPTION OF VARIOUS AFRICAN MUSIC SCHOOLS Heather Bergseth A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTERDecember OF 2011MUSIC Committee: David Harnish, Advisor Kara Attrep © 2011 Heather Bergseth All Rights Reserved iii ABSTRACT David Harnish, Advisor This thesis is based on my engagement and observations of various music schools in Ghana, West Africa, and Tanzania, East Africa. I spent the last three summers learning traditional dance- drumming in Ghana, West Africa. I focus primarily on two schools that I have significant recent experience with: the Dagbe Arts Centre in Kopeyia and the Dagara Music and Arts Center in Medie. While at Dagbe, I studied the music and dance of the Anlo-Ewe ethnic group, a people who live primarily in the Volta region of South-eastern Ghana, but who also inhabit neighboring countries as far as Togo and Benin. I took classes and lessons with the staff as well as with the director of Dagbe, Emmanuel Agbeli, a teacher and performer of Ewe dance-drumming. His father, Godwin Agbeli, founded the Dagbe Arts Centre in order to teach others, including foreigners, the musical styles, dances, and diverse artistic cultures of the Ewe people. The Dagara Music and Arts Center was founded by Bernard Woma, a master drummer and gyil (xylophone) player. The DMC or Dagara Music Center is situated in the town of Medie just outside of Accra. Mr. Woma hosts primarily international students at his compound, focusing on various musical styles, including his own culture, the Dagara, in addition music and dance of the Dagbamba, Ewe, and Ga ethnic groups. -
The Use of Art in Preservation of History: A
DESIGN AND FABRICATION OF A METAL MURAL DEPICTING THE CHRONOLOGICAL DEVELOPMENT OF THE ASANTE KINGDOM A Project Report submitted to the Department of Industrial Art, Kwame Nkrumah University of Science and Technology Kumasi, in partial fulfilment of the requirements for the award of a Master of Fine Art Degree in Jewellery and Metalsmithing. BY BARNABAS KWESI OKYERE (B.A Industrial Art) KWAME NKRUMAH UNIVERSITY OF SCIENCE AND TECHNOLOGY, KUMASI - GHANA. MARCH, 2016. i DECLARATION I hereby declare that this submission is my own work towards the MFA and that to the best of my knowledge, it contains no material previously published by another person nor material which has been accepted for the award of any other degree of a university, except where due acknowledgement has been made in the text. BARNABAS KWESI OKYERE (PG5507711) ………………… ……………. Student’s Name and Index Number Signature Date Certified by: MR. H. OFORI DOMPREH ……………….. ……………. Supervisor’s Name Signature Date Certified by: DR. EBENEZER HOWARD ………………. ………..… Head of Department’s Name Signature Date ii ACKNOWLEDGEMENTS I wish to thank the Almighty God for helping me right from the beginning to the end of this project. Secondly, I wish to express my deepest gratitude to my supervisor, Mr. Hughes Ofori Dompreh of the Industrial Art Department, Kwame Nkrumah University of Science and Technology for his advice, inputs and corrections in making this project a success. I am again grateful to him for his tolerance throughout this project. I also want to thank all those who willingly provided information during the data collection for the research project especially Mr. Justice Brobbey (Senior Curator of Manhyia Palace), Mr. -
Ghana Poverty Mapping Report
ii Copyright © 2015 Ghana Statistical Service iii PREFACE AND ACKNOWLEDGEMENT The Ghana Statistical Service wishes to acknowledge the contribution of the Government of Ghana, the UK Department for International Development (UK-DFID) and the World Bank through the provision of both technical and financial support towards the successful implementation of the Poverty Mapping Project using the Small Area Estimation Method. The Service also acknowledges the invaluable contributions of Dhiraj Sharma, Vasco Molini and Nobuo Yoshida (all consultants from the World Bank), Baah Wadieh, Anthony Amuzu, Sylvester Gyamfi, Abena Osei-Akoto, Jacqueline Anum, Samilia Mintah, Yaw Misefa, Appiah Kusi-Boateng, Anthony Krakah, Rosalind Quartey, Francis Bright Mensah, Omar Seidu, Ernest Enyan, Augusta Okantey and Hanna Frempong Konadu, all of the Statistical Service who worked tirelessly with the consultants to produce this report under the overall guidance and supervision of Dr. Philomena Nyarko, the Government Statistician. Dr. Philomena Nyarko Government Statistician iv TABLE OF CONTENTS PREFACE AND ACKNOWLEDGEMENT ............................................................................. iv LIST OF TABLES ....................................................................................................................... vi LIST OF FIGURES .................................................................................................................... vii EXECUTIVE SUMMARY ........................................................................................................ -
Symbols of Communication: the Case of Àdìǹkrá and Other Symbols of Akan
The International Journal - Language Society and Culture URL: www.educ.utas.edu.au/users/tle/JOURNAL/ ISSN 1327-774X Symbols of Communication: The Case of Àdìǹkrá and Other Symbols of Akan Charles Marfo, Kwame Opoku-Agyeman and Joseph Nsiah Kwame Nkrumah University of Science and Technology, Ghana Abstract The Akan people of Ghana have a number of coined symbols that express various forms of infor- mation based on socio-cultural knowledge. These symbols of expression are collectively called àdìǹkrá. There are related symbols of oral orientation that seem to play the same role as àdìǹkrá. In this paper, we explore the àdìǹkrá symbols and the related ones, the individual messages they en- code and their significance in the Akan society. It is explained that most of these symbols are inspired on creation and man-made objects. Some others are also proverb-based. The àdìǹkrá symbols in par- ticular constitute a medium of objective and deep-seated socio-cultural knowledge of the Akan people. We contend that, like words and actions, the symbols represent and send various distinctive messag- es that are indisputably accepted by people who know them. The use of àdìǹkrá and the related sym- bols in modern textiles, language and literature are also discussed. Keywords: Adinkra, Akan, Communication, Culture, Symbols of expression. Introduction A symbol could be defined as a creation that represents a message, a thought, proverb etc. When a set of symbols is attributed to a particular group of people belonging to a particular culture, these symbols become a window to the understanding of aspects of their culture. -
Small and Medium Forest Enterprises in Ghana
Small and Medium Forest Enterprises in Ghana Small and medium forest enterprises (SMFEs) serve as the main or additional source of income for more than three million Ghanaians and can be broadly categorised into wood forest products, non-wood forest products and forest services. Many of these SMFEs are informal, untaxed and largely invisible within state forest planning and management. Pressure on the forest resource within Ghana is growing, due to both domestic and international demand for forest products and services. The need to improve the sustainability and livelihood contribution of SMFEs has become a policy priority, both in the search for a legal timber export trade within the Voluntary Small and Medium Partnership Agreement (VPA) linked to the European Union Forest Law Enforcement, Governance and Trade (EU FLEGT) Action Plan, and in the quest to develop a national Forest Enterprises strategy for Reducing Emissions from Deforestation and Forest Degradation (REDD). This sourcebook aims to shed new light on the multiple SMFE sub-sectors that in Ghana operate within Ghana and the challenges they face. Chapter one presents some characteristics of SMFEs in Ghana. Chapter two presents information on what goes into establishing a small business and the obligations for small businesses and Ghana Government’s initiatives on small enterprises. Chapter three presents profiles of the key SMFE subsectors in Ghana including: akpeteshie (local gin), bamboo and rattan household goods, black pepper, bushmeat, chainsaw lumber, charcoal, chewsticks, cola, community-based ecotourism, essential oils, ginger, honey, medicinal products, mortar and pestles, mushrooms, shea butter, snails, tertiary wood processing and wood carving. -
Emmanuel Nicholas Abakah. Hypotheses on the Diachronic
1 Hypotheses on the Diachronic Development of the Akan Language Group Emmanuel Nicholas Abakah, Department of Akan-Nzema, University of Education, Winneba [email protected] Cell: +233 244 732 172 Abstract Historical linguists have already established the constituent varieties of the Akan language group as well as their relationships with other languages. What remains to be done is to reconstruct the Proto- Akan forms and this is what this paper sets out to accomplish. One remarkable observation about language is that languages change through time. This is not to obscure the fact that it is at least conceivable that language could remain unchanged over time, as is the case with some other human institutions e.g. various taboos in some cultures or the value of smile as a nonverbal signal. Be that as it may, the mutually comprehensible varieties of the codes that constitute the Akan language group have evidently undergone some changes over the course of time. However, they lack adequate written material that can take us far back into the history of the Akan language to enable any diachronic or historical linguist to determine hypotheses on their development. Besides, if empirical data from the sister Kwa languages or from the other daughters of the Niger-Congo parent language were readily available, then the reconstruction of the Proto-Akan forms would be quite straightforward. But, unfortunately, these are also hard to come by, at least, for the moment. Nevertheless, to reconstruct a *proto-language, historical linguists have set up a number of methods, which include the comparative method, internal reconstruction, language universals and linguistic typology among others. -
1 Africa Center Stage in Peace Corps Celebrations
alliancesFall 2010 University of Michigan No. 3 Member of the University of Michigan International Institute AFRICA CENTER STAGE IN PEACE CORPS CELEBRATIONS n the early hours of Thursday, October of the Peace Corps and of newly independent 14, 2010, some 1,500 U-M students and African states—was surely not coincidental. I faculty gathered on the steps of the The hope, enthusiasm and ideals for a peaceful Michigan Union to recreate a semblance of world held by youth and a youthful president the 5,000 that had gathered there that same mirrored the widespread hope, enthusiasm day, at that same 2 a.m. hour, 50 years earlier and sense of triumph in nations recently to be inspired by presidential candidate liberated from colonial rule. Since 1961, over Senator John F. Kennedy. In an impromptu 200,000 Peace Corps volunteers have served speech, Kennedy in 139 host countries assisting in the realms threw down a gauntlet of education, health, business, technology, before the U-M campus environment, agriculture and youth/ to test whether idealism community development. Over one-third still flourished and have served in countries in Africa whether youth would be willing to sacrifice A yearlong series of celebrations honoring a small portion of their the 50-year history of the Peace Corps begins lives to improve the and ends in Ann Arbor, its acknowledged lives of others in birthplace. Later on October 14th, a symposium distant lands. He entitled “Spending Your Days in Ghana” took asked: “How many of place (see pg. 15) highlighting current work you who are going in Ghana being pursued by U-M faculty. -
ETD Template
CREATIVE PROCESSES IN AKAN MUSICAL CULTURES: INNOVATIONS WITHIN TRADITION by Eric Odame Beeko Dip. Mus., National Academy of Music, Winneba, Ghana, 1984 Post-Dip. Mus. Edu., University College of Education, Winneba, Ghana, 1988 B.Ed. Mus., University of Cape Coast, Ghana, 1996 M.Phil. Mus., University of Ghana, Legon, 2000 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree University of Pittsburgh 2005 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Eric Odame Beeko It was defended on April 19, 2005 and approved by Dr. Mary Lewis Dr. Nathan Davis Dr. V. Kofi Agawu Dr. Joseph Adjaye Dr. Akin O. Euba Dissertation Director ii This work is copyright, and no part of it may be reproduced by any process, manually or electronically, without the written permission of the author. Copyright 2005 by Eric Odame Beeko iii CREATIVE PROCESSES IN AKAN MUSIC: INNOVATIONS WITHIN TRADITION Eric Odame Beeko, PhD University of Pittsburgh, 2005 The aim of this dissertation is to explain the creative processes in composition and performance of traditional music, and the subsequent innovations that emerge out of these processes in the musical traditions of the Akan people of Ghana. The study is premised on the fact that, traditional musicians in the Akan culture, like most people on the surface of the earth, also have the natural capacity to consciously or unconsciously effect changes in their environments, play significant roles in most human-initiated change processes, and make contributions to both the material and institutional aspects of their culture, as their creative sensibilities or tendencies continue to bring about various forms of innovations from time to time. -
KWAHU CULTURAL VALUES-CONTENTS.Pdf
Kwahu Cultural Values: Their Impact On The People’s Art BY Emmanuel Yaw Adonteng (BE.D. IN ART) A thesis submitted to the School of Graduate Studies, Kwame Nkrumah University of Science and Technology in partial fulfillment of the requirements for the Degree of Master of Arts in African Art And Culture on July, 2009. July, 2009 © 2009 Department of General Art Studies DECLARATION I hereby declare that this submission is my own work towards the MA (African Art and Culture) and that, to the best of my knowledge, it contains no materials previously published by another person nor material which has been accepted for the i award of any other degree of the University except where due acknowledgement has been made in the text EMMANUEL YAW ADONTENG ( 20045462) ………………………………………….…….. ……………… ………… Student Name & ID Signature Date Certified by: DR. O. OSEI AGYEMANG ………………………………………….. ……………… ………… Supervisor‟s Name Signature Date Certified by: DR. JOE ADU-AGYEM ………………………………………….. ……………… ………… Head of Dept Name Signature Date ACKNOWLEDGEMENTS First and foremost, I express my gratitude to God Almighty for the love, kindness and protection accorded me and also enabling me to write this thesis. I also want to extend my heartfelt gratitude and appreciation to those who extended the love ii and support needed most in making this thesis a reality. I also register my sincere thanks to the authors whose books and articles I cited as sources of references. My utmost thanks go to Dr Opamshen Osei Agyeman, my supervisor and a lecturer of the college of Art, KNUST, KUMASI for his assistance, guidance and encouragement. I am grateful to Dr Ben K. -
Some Aspects of Morphological and Phonological Differences Between Gomoa and Iguae Subdialects of the Fante Dialect of the Akan Language
University of Education, Winneba http://ir.uew.edu.gh UNIVERSITY OF EDUCATION, WINNEBA SOME ASPECTS OF MORPHOLOGICAL AND PHONOLOGICAL DIFFERENCES BETWEEN GOMOA AND IGUAE SUBDIALECTS OF FANTE A Thesis in the Department of APPLIED LINGUISTICS Faculty of LANGUAGES EDUCATION submitted to the School of Graduate Studies, University of Education, Winneba in partial fulfillment of the requirements for award of the Master of Philosophy (Applied Linguistics) Degree OWUSU-BAAH, KATE A. (406008023) 2013 1 University of Education, Winneba http://ir.uew.edu.gh DECLARATION I, OWUSU-BAAH KATE AKOSUA declare that except for references quotations to works which have been cited and acknowledged, this thesis is the result of my original research, and that it has neither in whole or in part been presented for another degree elsewhere. ………………………..….... …………………………… OWUSU-BAAH KATE AKOSUA DATE (CANDIDATE) SUPERVISOR’S DECLARATION I hereby declare that the preparation and presentation of this work was supervised in accordance with the guidelines for supervision of Thesis as laid down by the University of Education, Winneba. ……………………………… …………………………… DR. CHARLES OWU-EWIE DATE (SUPERVISOR) 2 University of Education, Winneba http://ir.uew.edu.gh ACKNOWLEDGEMENTS I wish to express my sincere gratitude to the people who have been helpful in diverse ways to the success of this work. My sincerest gratitude goes to my supervisor, Dr. Charles Owu-Ewie of Akan-Nzema Department of the University of Education, Winneba – Ajumako Campus. He read through every page of this work, offered pieces of advice, suggestions, words of encouragement and books. His immense assistance is very well appreciated. I thank Mr. Kwasi Adomako of the same Department for his help in many ways. -
The Slow Death of Slavery in Nineteenth Century Senegal and the Gold Coast
That Most Perfidious Institution: The slow death of slavery in nineteenth century Senegal and the Gold Coast Trevor Russell Getz Submitted for the degree of PhD University of London, School or Oriental and African Studies ProQuest Number: 10673252 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10673252 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract That Most Perfidious Institution is a study of Africans - slaves and slave owners - and their central roles in both the expansion of slavery in the early nineteenth century and attempts to reform servile relationships in the late nineteenth century. The pivotal place of Africans can be seen in the interaction between indigenous slave-owning elites (aristocrats and urban Euro-African merchants), local European administrators, and slaves themselves. My approach to this problematic is both chronologically and geographically comparative. The central comparison between Senegal and the Gold Coast contrasts the varying impact of colonial policies, integration into the trans-Atlantic economy; and, more importantly, the continuity of indigenous institutions and the transformative agency of indigenous actors.