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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. -
Ghana), 1922-1974
LOCAL GOVERNMENT IN EWEDOME, BRITISH TRUST TERRITORY OF TOGOLAND (GHANA), 1922-1974 BY WILSON KWAME YAYOH THESIS SUBMITTED TO THE SCHOOL OF ORIENTAL AND AFRICAN STUDIES, UNIVERSITY OF LONDON IN PARTIAL FUFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF HISTORY APRIL 2010 ProQuest Number: 11010523 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 com plete 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 11010523 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 DECLARATION I have read and understood regulation 17.9 of the Regulations for Students of the School of Oriental and African Studies concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or part by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. SIGNATURE OF CANDIDATE S O A S lTb r a r y ABSTRACT This thesis investigates the development of local government in the Ewedome region of present-day Ghana and explores the transition from the Native Authority system to a ‘modem’ system of local government within the context of colonization and decolonization. -
Review and Reflections:Music and Dance Traditions of Ghana
Review and Reflections: Music and Dance Traditions of Ghana by Doris Green, M.A. Retired Fulbright Scholar/US Department Cultural Specialist President of Pan African Performing Arts Preservation Association Doris Green is an ethnomusicologist, musician, dancer, certified teacher of Labanotation, and creator of Greenotation, a system for notating the percussion instruments of African ensembles that enables one to notate the music, and align it with the dance movements, creating an integrated score with a conterminous relationship just as it is in Africa. Born in Brooklyn, did her undergraduate and graduate studies at Brooklyn College and New York University respectively. She was a faculty member at Brooklyn College, Teachers College, New York University, New School for Social Research, and Adelphi University. She has received three CUNY Faculty Research Awards, enabling her to teach and conduct research in more than 25 nations in Africa. As the recipient of the Fulbright Award she spent a year teaching her system of notation in Ivory Coast and the Gambia. She is a former US State Department cultural specialist to Ghana where she taught members of the Ghana National Dance Ensemble and students/members of the Noyam Dance Group from the Ghana State Theater how to write dance on the computer (she and her students appeared on national Ghana television demonstrating dance performance). Samples of her work can be found at: http://www.dorisgreen.org/, http://web.me.com/dorisgreen/African_traditions/Welcome.html Introduction The music of Africa is an oral tradition that has existed since the beginning of time. Any society that is totally dependent upon oral communication for the transmission of its culture between generations is doomed to failure because of outside interpretation and the breakdown of the human memory over the course of time. -
Possessive Constructions in Tongugbe, an Ewe Dialect Promise Dodzi Kpoglu
Possessive constructions in Tongugbe, an Ewe dialect Promise Dodzi Kpoglu To cite this version: Promise Dodzi Kpoglu. Possessive constructions in Tongugbe, an Ewe dialect. Linguistics. Université de Lille; Universiteit Leiden (Leyde, Pays-Bas), 2019. English. NNT : 2019LILUH003. tel-02453932 HAL Id: tel-02453932 https://tel.archives-ouvertes.fr/tel-02453932 Submitted on 24 Jan 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITÉ DE LILLE CONSTRUCTIONS POSSESSIVES EN TONGUGBE, UN DIALECTE DE L'ÉWÉ POSSESSIVE CONSTRUCTIONS IN TONGUGBE, AN EWE DIALECT Promise DODZI KPOGLU Soutenue le 28 Février 2019 Directeurs de thèse: Prof.dr. A. Carlier (Université de Lille, Lille) Prof.dr. M.P.G.M. Mous (Université de Leyde, Leyde) Co-encadrant: Dr. F.K. Ameka (Université de Leyde, Leyde) Membres du jury: Prof.emer. D. Creissels (Université Lumière, Lyon) Prof.dr. M. Vanhove (Inalco & LLACAN CNRS, Paris) Prof.dr. J.E.C.V. Rooryck (Université de Leyde, Leyde), Président Dr. P.K. Agbedor (Central University, Accra) Dr. C. Patin (Université de Lille, Lille) POSSESSIVE CONSTRUCTIONS IN TONGUGBE, AN EWE DIALECT Possessive constructions in Tongugbe, an Ewe dialect Proefschrift ter verkrijging van de graad van Doctor aan de Universiteit Leiden, op gezag van Rector Magnificus prof.mr. -
A Study of the Ewe Unification Movement in the United States
HOME AWAY FROM HOME: A STUDY OF THE EWE UNIFICATION MOVEMENT IN THE UNITED STATES BY DJIFA KOTHOR THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in African Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Master’s Committee: Professor Faranak Miraftab, Chair Professor Kathryn Oberdeck Professor Alfred Kagan ABSTRACT This master’s thesis attempts to identity the reasons and causes for strong Ewe identity among those in the contemporary African Diaspora in the United States. An important debate among African nationalists and academics argues that ethnic belonging is a response to colonialism instigated by Western-educated African elites for their own political gain. Based on my observation of Ewe political discourses of discontent with the Ghana and Togolese governments, and through my exploratory interviews with Ewe immigrants in the United States; I argue that the formation of ethnic belonging and consciousness cannot be reduced to its explanation as a colonial project. Ewe politics whether in the diaspora, Ghana or Togo is due to two factors: the Ewe ethnonational consciousness in the period before independence; and the political marginalization of Ewes in the post-independence period of Ghana and Togo. Moreover, within the United States discrimination and racial prejudice against African Americans contribute to Ewe ethnic consciousness beyond their Togo or Ghana formal national belongings towards the formation of the Ewe associations in the United States. To understand the strong sense of Ewe identity among those living in the United States, I focus on the historical questions of ethnicity, regionalism and politics in Ghana and Togo. -
They're Ghana Love It!: Experiences with Ghanaian Music for Middle
They’re Ghana Love It!: Experiences with Ghanaian Music for Middle School General Music Students A Smithsonian Folkways Lesson Designed by: James B. Morford Puyallup School District - Puyallup, WA Summary: This lesson is intended to develop knowledge regarding Ghanaian music. Students will experience the musical cultures of Ghana through listening, movement, game play, and percussion performance. Lesson segments are designed to stand alone, but sequential presentation may yield greater success as the experiences progress toward more rigorous performance requirements for both the students and instructor. Suggested Grade Levels: 6-8 Country: Ghana Region: West Africa Culture Group: Akan, Dagomba, Ewe, Ga Genre: World Instruments: Voice, Body Percussion, Gankogui, Axatse, Kidi, Kagan (or substitutes as suggested) Language: N/A Co-Curricular Areas: Geography, Social Studies National Standards: 1, 2, 5, 6, 7, 9 Prerequisites: Experience playing and reading music in 6/8 time Objectives: Listening to and viewing musical expressions Identifying cultural and musical traits of Ghanaian music Understanding the role of a common fundamental bell pattern Identifying aurally presented rhythms using written notation Playing a Ghanaian children’s game Performing traditional/folkloric polyrhythmic structures Materials: Fontomfrom, SFW40463_106 http://www.folkways.si.edu/rhythms-of-life-songs-of-wisdom-akan- music-from-ghana/world/album/smithsonian Gondze Praise Music (2), FW04324_103 http://www.folkways.si.edu/music-of-the-dagomba-from- ghana/world/album/smithsonian Music of the Dagomba from Ghana, FW04324 (liner notes) http://media.smithsonianfolkways.org/liner_notes/folkways/FW04324.p df Brass Band: Yesu ye medze/Nyame ye osahen, SFW40463_109 http://www.folkways.si.edu/rhythms-of-life-songs-of-wisdom-akan- music-from-ghana/world/album/smithsonian Rhythms of Life, Songs of Wisdom, SFW40463 (liner notes) http://media.smithsonianfolkways.org/liner_notes/smithsonian_folkway s/SFW40463.pdf M. -
Cultural Assimilation of Peki by Akwamu, a Historical Study (1730-1835) Atakro Michael
University of Ghana http://ugspace.ug.edu.gh CULTURAL ASSIMILATION OF PEKI BY AKWAMU, A HISTORICAL STUDY (1730-1835) BY ATAKRO MICHAEL THIS THESIS IS SUBMITTED TO THE UNIVERSITY OF GHANA, LEGON IN PARTIAL FULFILMENT OF THE REQUIREMENT OF THE AWARD OF MASTER OF PHILOSOPHY DEGREE IN AFRICAN STUDIES DECEMBER 2014 University of Ghana http://ugspace.ug.edu.gh DEDICATION I dedicate this work to the Almighty God who has kept me going through thick and thin and to my parents who have always been supportive of my course. i University of Ghana http://ugspace.ug.edu.gh ACKNOWLEDGEMENT I wish to acknowledge the debt this work owes to the original research of others. In the Bibliography and footnotes, I have indicated the sources of my materials. I am, however, indebted greatly to the works of Ivor Wilks and R.A Kea for the history of Akwamu and of course, to C.W. Welman for the histories of Krepi and Peki. With warm gratitude, I wish to acknowledge the valuable information on traditional histories I have received from chiefs and elders of Akwamu as well as Peki. I am also grateful to the staff of the following libraries in which most of my readings were done, for the considerable co-operation and assistance: Africana section of the Balme Library, Legon; the Library of the Institute of African Studies, Legon. I am also grateful to the assistance given me by the staff of the Public Record and Archives Administration Department’s Head office, Accra. Finally my gratitude goes to Prof. Albert Awedoba and Dr. -
Ghana: Changing Values/ Changing Technologies
CULTURAL HERITAGE AND CONTEMPORARY CHANGE SERIES II, AFRICA, VOLUME 5 GHANA: CHANGING VALUES/ CHANGING TECHNOLOGIES Ghanian Philosophical Studies, II Edited by Helen Lauer The Council for Research in Values and Philosophy Copyright © 2000 by The Council for Research in Values and Philosophy Gibbons Hall B-20 620 Michigan Avenue, NE Washington, D.C. 20064 All rights reserved Printed in the United States of America Library of Congress Cataloging-in-Publication Ghana: changing values/changing technology: Ghanaian philosophical studies / edited by Helen Lauer. p.cm. – (Cultural heritage and contemporary change. Series II, Africa; vol. 5) Includes bibliographical references and index. 1. Technology—Ghana. 2. Technology—Philosophy. I. Lauer, Helen. II. Title: Ghanaian Philosophical Studies, II. III. Title: Ghanaian Philosophical Studies, two. IV. Title: Ghanaian Philosophical Studies, 2. V. Series. T28.G4C37 1999 99-37506 338.966706—dc21 CIP ISBN 1-56518-144-1 (pbk.) TABLE OF CONTENTS Acknowledgements iii Preface George F. McLean xiii Introduction Helen Lauer 1 PART I. CULTURE AND CHANGE Chapter I. Culture: the Human Factor in African Development Kofi Anyidoho 19 Chapter II. Modern Technology, Traditional Mysticism and Ethics in Akan Culture George P. Hagan 31 Chapter III. Traditional Ga and Dangme Attitudes towards Change and Modernization Joshua N. Kudadjie 53 PART II. SOCIETY AND CHANGES OF VALUES Chapter IV. Counterproductive Socioeconomic Management in Ghana A.O. Abudu 79 Chapter V. Informalization and Ghanaian Politics Kwame A. Ninsin 113 Chapter VI. Manipulation of the Mass Media in Ghana’s Recent Political Experience Joseph Osei 139 PART III. TECHNOLOGY AND HUMAN CHANGE Chapter VII. Plant Biodiversity, Herbal Medicine, Intellectual Property Rights and Industrially Developing Countries: Socio-economic, Ethical and Legal Implications Ivan Addae-Mensah 165 Chapter VIII. -
SYLLABUS MUH 3530: POPULAR and TRADITIONAL MUSIC of AFRICA (Taught in Fall 2011 at the 2000 Level; MWF 4Rd Period; Music Building 144)
SYLLABUS MUH 3530: POPULAR AND TRADITIONAL MUSIC OF AFRICA (Taught in Fall 2011 at the 2000 level; MWF 4rd Period; Music Building 144) Instructor: Larry Crook Phone and email: 273-3171/[email protected] Office and Hours: University Auditorium 301; MW—5th period and by appointment GENERAL DESCRIPTION This course examines selected topics in African music history. Class periods include lectures, discussions, music listening, video viewing, live presentations, and interactive participatory sessions involving music making. The course begins by introducing broad issues involving the representation of African music, the role of music in African social life, and the ways in which African musical traditions have impacted and been impacted by colonialism and globalization. The course then focuses on selected musical traditions linked (geographically and historically) to Africa. Several themes run through the course: interconnections of traditional and popular forms of music, the effects of colonial and post- colonial enterprises, internationalization, mass media, and music’s role in shaping identity. We will spend time listening to the sounds created by a wide variety of African musicians and in discussing contemporary topics. Pre-requirements: MUH 2501 or permission by the instructor. OBJECTIVES Increase students’ knowledge and enjoyment of African music Introduce students to diverse of African musical traditions Improve students’ ability to discuss and describe musical styles, structures, and concepts Enhance students’ knowledge of African musical history REQUIREMENTS Each student must attend class, complete required reading, listening, and viewing assignments, participate in class discussions, take three in-class exams, participate in discussion groups, participate in and present a group project be respectful of yourself, other students, and the instructor. -
Decomposing Gender and Ethnic Earnings Gaps in Seven West African Cities
Decomposing Gender and Ethnic Earnings Gaps in Seven West African Cities Christophe J. Nordman Anne-Sophie Robilliard François Roubaud DIAL, IRD, Paris DIAL, IRD, Dakar DIAL, IRD, Hanoi IZA/World Bank Conference “Employment & Development” 4-5 May 2009, Bonn 1 1. Motivation • Manifest shortcomings of studies on African countries, particularly due to the shortage of available data (Bennell, 1996). • Gender and ethnic inequality likely to be greater when markets do not function efficiently and the states lack resources for introducing corrective policies. • Understanding the roots of inequalities between the sexes and ethnic groups and reducing the gender and ethnic gap => poverty reduction policies in these countries (+MDG3 on gender). • In the case of Africa, not much known about inequalities in labour market outcomes: Weichselbaumer and Winter-Ebmer (2005) : only 3 percent of the studies on gender wage gap stem from African data out of all the empirical literature since the 1960s. 2 • Gender gaps : existing literature indicates that there is a wide consensus on the presence of important inequalities between men and women, both for salaried and self-employed workers. • Lots of attention on the question of the impact of ethnolinguistic fractionalization on development Easterly and Levine (1997) conclude that “Africa’s growth tragedy” is in part related to its high level of ethnic diversity, resulting in poor institutional functioning. • Ethnic wage gap : much scarcer literature In Ghana, Barr and Oduro (2000) find that a significant proportion of earnings differentials between ethnic groups can be explained by standard observed workers’ characteristics. 3 2. Data, Concepts and Methodology Data • Original series of urban household surveys in West Africa, the 1-2-3 Surveys conducted in seven major WAEMU cities (Abidjan, Bamako, Cotonou, Dakar, Lome, Niamey and Ouagadougou) from 2001 to 2002. -
Art and Symbolism in Ewe Religion: Ritual Objects of the Yewe and Tro Mami Worship in Klikor, Ghana Coleen Wright
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by World Learning SIT Graduate Institute/SIT Study Abroad DigitalCollections@SIT African Diaspora ISPs African Diaspora Collection 10-1-1999 Art and Symbolism in Ewe Religion: Ritual Objects of the Yewe and Tro Mami Worship In Klikor, Ghana Coleen Wright Follow this and additional works at: http://digitalcollections.sit.edu/african_diaspora_isp Part of the African Languages and Societies Commons Recommended Citation Wright, Coleen, "Art and Symbolism in Ewe Religion: Ritual Objects of the Yewe and Tro Mami Worship In Klikor, Ghana" (1999). African Diaspora ISPs. Paper 13. http://digitalcollections.sit.edu/african_diaspora_isp/13 This Article is brought to you for free and open access by the African Diaspora Collection at DigitalCollections@SIT. It has been accepted for inclusion in African Diaspora ISPs by an authorized administrator of DigitalCollections@SIT. For more information, please contact [email protected]. School for International Training College Semester Abroad- Ghana (Arts and Culture) Fall 1999 Art and Symbolism in Ewe Religion: Ritual Objects of the Yewe and Tro Mami Worship In Klikor, Ghana Coleen Wright (Saint Michaels’ College Project Advisor: Prof. Kwadwo Adusei Art Department of Kwame Nkrumah University of Science and Technology Academic Directors: Dr. Olayomi Tinuoye Dr. Meredith Kennedy - Table of Contents Abstract…………………………………………………………………….. i Acknowledgments…………………………………………………………..ii Misnomers and Misconceptions…………………………………………… I What is Art?………………………………………………………………... 3 Introduction………………………………………………………………… 4 Methodology……………………………………………………………….. 10 Findings……………………………………………………………………. 13 Chapter I :The Artists……………………………………………… 13 Chapter 2:Yewe (So) Worship of the Tohono Sof’atsi Shrine……. 15 Chapter 3:The Relics of Yewe……………………………………... 18 Chapter 4: Tro Mami (Mami Water) Worship…………………….. -
Hitechnology, Individual Copyright and Ghanaian Music
HITECHNOLOGY, INDIVIDUAL COPYRIGHT AND GHANAIAN MUSIC by John Collins Chapter Eight from the book Ghana: Changing Values Changing Technologies,(ed.) Helen Lauer, published by The Council For Research in Values and Philosophy, Washington DC. published 2000 The impact of technology on Ghanaian music, its associated values and aesthetics has two different aspects. Firstly, there are the direct positive and negative effects of hi- technology (videos, computer studios, synthesizers, drum machines) upon Ghanaian popular music.i Secondly, there is the indirect effect of technology on music production in Ghana through the introduction of copyright regulations. Copyright itself is a product of western printing and electronic inventions, combined with the Western individualistic ethos applied to the arts. Although the idea of individually owned artistic or intellectual property is fruitful when applied to contemporary commercial Ghanaian music (i.e. it gives the authors royalties), problems arise when this European-derived notion is applied to the collectively created and orally transmitted folkloric music of Ghana. Unlike that of the West, folkloric music in Ghana is very much alive and evolving. Part I The Musical Ghost in the Machine The dualistic schism between mind and matter assumed by the 17th century French philosopher Descartes has been poetically described in this century as the problem of the `ghost in the machine'. For the modern urbanised world this also characterises the existential state of alienation and anomie often found among those living in an overwhelmingly technological environment. This environment also includes the contemporary soundscape and musical practices that have been transformed by modern recording and mass communication techniques.