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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. -
After Seminal Anthology, Busby Celebrates New Daughters of Africa
Home Nigeria World Politics Sport Opinion Business Technology Arts Guardian TV Literature After seminal anthology, Busby celebrates New Daughters of Africa By Olatoun Gabi-Williams 21 April 2019 | 4:19 am New Daughters of Africa at the WOW Festival, International Women’s Day 2019 Reports online are increasing about projects in the creative industries aimed not only at countering fear of the ‘other’ and resentment about the growing number of ‘others’ in our midst but at highlighting ways ‘others’ enrich and strengthen us. As nationalism and nativism rise across the globe, my cyber world is under siege. I am not complaining. Powerful images posted online from art biennials have stayed with me: Venice, Berlin, Dak’Art (Dakar, Senegal) and Art X in Lagos, Nigeria. Memorable, startling art, love- infused, aiming to transform the way I, we, see all kinds of difference: gender, race, culture and ability. Rarely can art claim immediate transformative power; what it can do is capture the imagination and plant seeds for a conversation and perhaps – ultimately – a conversion. Latest In this essay, I turn my thoughts away from arresting visual art to focus on a landmark Trump says Congress 'can't union: Margaret Busby OBE with Candida Lacey of Myriad Editions (UK) and 200+ 2 mins ago women from Africa and its diasporas. It is a great literary assembly put together for the purpose of reconstructing perceptions about Africa and her women, celebrating African Why Buhari administratio women in literature and showcasing the dazzling range of their work. Importantly, the delayed - Dogara women have assembled for the purpose of making a difference in black women’s lives 23 mins ago through the inauguration of the Margaret Busby New Daughters of Africa (NDOA) Award. -
TOWARDS an AUTHENITC AFRICAN TIIEA TRE K. E. Agovi This Paper
67 TOWARDS AN AUTHENITC AFRICAN TIIEATRE K. E. Agovi This paper deals with the emergence of the literary theater in Africa and its aspiration towards a sense of an ultimate African identity. Since the literature on this subject is extensive,1 we will attempt no more than a historical survey of significant developments. Although this issue has often inspired passionate disagreement, and various viewpoints have been expressed, there seems to be an emerging consensus. There are those who have predicted its achievement "when the conceptual and creative approaches [in the literary theater can] cast off the mental constraints imposed by acquired Euro-American plays."2 There are others who wish to see it realized as a "synthesis" of African and European ideas and experience. This idea has often implied an awareness of the fact that "the creative personality in any place and period of human history has always been enriched by experiences external to his native creative-cultural heritage. "3 And as Keita Fodeba has also pointed out, "a spectacle is authentic (in the theater) when it recreates faithfully the most characteristic aspects of life which it wants to show on stage. "4 For the purpose of this article, the concept of an "authentic" African theater may be defined as that form of creativity in the theater which is rooted in the composite tenor of African experience, embodying a relationship of relevance between the past and present, and which in effect reflects principles of African performance aesthetics. It employs a communication strategy which focuses on an integrated perception of visual, kinetic, aural, and auditory elements addressed simultaneously to the faculties of man.s In this way, it is seen to embrace no "arbitrary separation of the dramatic, lyric and choreographic forms. -
The Educators'network 2Nd Literacy Forum
…inspiring Ghanaian teachers PRESENTS THE EDUCATORS’ NETWORK 2ND LITERACY FORUM An intensive, wide-ranging series of workshops designed for educators who are seeking to improve students’ reading and writing skills. under the theme, THE READING-WRITING CONNECTION: BOOSTING CHILDREN’S LITERACY SKILLS Saturday 24th November 2012 8:00 am – 5:30 pm at Lincoln Community School, Abelenkpe P.O. Box OS 1952, Accra Email: [email protected] …inspiring Ghanaian teachers THE PURPOSE OF THE EDUCATORS NETWORK LITERACY FORUMS Effective educators are life-long learners. Of all the factors that contribute to student learning, recent research shows that classroom instruction is the most crucial. This places teachers as the most important influence on student performance. For this reason, teachers must be given frequent opportunities to develop new instructional skills and methodologies, and share their knowledge of best practice with other teachers. It is imperative that such opportunities are provided to encourage the refining of skills, inquiry into practice and incorporation of new methods in classroom settings. To create these opportunities, The Educators’ Network (TEN) was established as a teacher initiative to provide professional development opportunities for teachers in Ghana. Through this initiative, TEN hopes to grow a professional learning community among educators in Ghana. BACKGROUND INFORMATION ON THE EDUCATORS’ NETWORK TEN was founded by a group of Ghanaian international educators led by Letitia Naami Oddoye, who are passionate about teaching and have had the benefit of exposure to diverse educational curricula and standards. Each of these educators has over ten years of experience in teaching and exposure to international seminars and conferences. -
A Journal of African Studies
UCLA Ufahamu: A Journal of African Studies Title Towards an Authentic African Theatre Permalink https://escholarship.org/uc/item/72j9n7n2 Journal Ufahamu: A Journal of African Studies, 19(2-3) ISSN 0041-5715 Author Agovi, K.E. Publication Date 1991 DOI 10.5070/F7192-3016790 Peer reviewed eScholarship.org Powered by the California Digital Library University of California 67 TOWARDS AN AUTHENITC AFRICAN TIIEATRE K. E. Agovi This paper deals with the emergence of the literary theater in Africa and its aspiration towards a sense of an ultimate African identity. Since the literature on this subject is extensive,1 we will attempt no more than a historical survey of significant developments. Although this issue has often inspired passionate disagreement, and various viewpoints have been expressed, there seems to be an emerging consensus. There are those who have predicted its achievement "when the conceptual and creative approaches [in the literary theater can] cast off the mental constraints imposed by acquired Euro-American plays."2 There are others who wish to see it realized as a "synthesis" of African and European ideas and experience. This idea has often implied an awareness of the fact that "the creative personality in any place and period of human history has always been enriched by experiences external to his native creative-cultural heritage. "3 And as Keita Fodeba has also pointed out, "a spectacle is authentic (in the theater) when it recreates faithfully the most characteristic aspects of life which it wants to show on stage. "4 For the purpose of this article, the concept of an "authentic" African theater may be defined as that form of creativity in the theater which is rooted in the composite tenor of African experience, embodying a relationship of relevance between the past and present, and which in effect reflects principles of African performance aesthetics. -
Physical Education in the Colonial Gold Coast: from a Civilizing Mission to “Useful Citizens”
social sciences $€ £ ¥ Article Physical Education in the Colonial Gold Coast: From a Civilizing Mission to “Useful Citizens” Claire Nicolas 1,2 1 Swiss National Science Foundation Wildhainweg 3, 3001 Bern, Switzerland; [email protected] 2 King’s College London Strand, London WC2R 2LS, UK Abstract: This paper addresses the transfer of Physical Education to the Gold Coast, focusing on its shifting role in producing ideal subjects and its relationship to the imperial politics of the mid-20th century. It explores the contradictory ways in which, in the Gold Coast (now Ghana), the training of young teachers in higher education institutions allowed for the transfer of British citizenship training codes into a colonial setting during the first half of the 20th century. It is focused on the conversation engaged between the Education Department of the Gold Coast and specialists in higher education institutions. The paper is based on archive material collected in the United Kingdom and Ghana. Keywords: Gold Coast; Ghana; citizenship; Physical Education; sports; higher education; colo- nial; masculinities Citation: Nicolas, Claire. 2021. 1. Introduction Physical Education in the Colonial In 1954, on the verge of Ghana’s independence, a British educationalist held a confer- Gold Coast: From a Civilizing ence at Achimota School and stated as follows: Mission to “Useful Citizens”. Social Sciences 10: 77. https://doi.org/ “In a rapidly developing country like the Gold Coast, it is not only teacher, 10.3390/socsci10020077 administrators and clerks who will be in demand in the future. There will be a need for the physically skilful too—for boxers, dancers, footballers, youth-leaders, Academic Editor: Nicolas Bancel etc. -
Afex #Bestsatpreponthecontinent Afex Sat Scores 2019
AFEX TEST PREP Preparing students for success in the changing world SAT SCORES 2019 THE HIGHEST POSSIBLE SAT SCORE IS 1600, 800 IN MATH 800 IN VERBAL OUT OF ALL TEST TAKERS IN THE WORLD VER NO NAME SCHOOL MATH BAL TOTAL PERCENTILE 1 SCHUYLER SEYRAM MFANTSIPIM SCHOOL 780 760 1540 TOP 1% 2 CHRISTOPHER OHRT LINCOLN COMMNUNITY SCHOOL 800 730 1530 TOP 1% 3 ADAMS ANAGLO ACHIMOTA SCHOOL 800 730 1530 TOP 1 % 4 JAMES BOATENG PRESEC, LEGON 800 730 1530 TOP 1% 5 GABRIEL ASARE WEST AFRICAN SENIOR HIGH 760 760 1520 TOP 1% 6 BLESSING OPOKU T. I. AHMADIYYA SNR. HIGH SCH 760 760 1520 TOP 1% 7 VICTORIA KIPNGETICH BROOKHOUSE INT’L SCH. - KENYA 760 750 1510 TOP 1% 8 EMMANUEL OPPONG PREMPEH COLLEGE 740 770 1510 TOP 1% 9 KWABENA YEBOAH ASARE S.O.S COLLEGE 780 730 1510 TOP 1% 10 SANDRA MWANGI ALLIANCE GIRLS' HIGH SCH.- KENYA 770 740 1510 TOP 1% 11 GEORGINA OMABOE CATE SCHOOL,USA 750 760 1510 TOP 1% 12 KUEI YAI BROOKHOUSE INT’L SCH. - KENYA 800 700 1500 TOP 1% 13 MICHAEL AHENKORA AKOSOMBO INTERNATIONAL SCH. 770 730 1500 TOP 1 % 14 KELVIN SARPONG S.O.S. COLLEGE 800 700 1500 TOP 1 % 15 AMY MIGUNDA ST ANDREW'S TURI - KENYA 790 710 1500 TOP 2 % 16 DESMOND ABABIO ST THOMAS AQUINAS 800 700 1500 TOP 1% 17 ALVIN OMONDI BROOKHOUSE INT’L SCH. - KENYA 790 700 1490 TOP 2 % 18 NANA K. OWUSU-MENSAH PRESEC LEGON 790 700 1490 TOP 2 % 19 CHARITY APREKU TEMA INTERNATIONAL SCHOOL 710 780 1490 TOP 2 % 20 LAURA LARBI-TIEKU GHANA CHRISTIAN INTERNATIONAL 770 720 1490 TOP 2 % 21 REUBEN AGOGOE ST THOMAS AQUINAS 790 700 1490 TOP 2 % 22 WILMA TAY GHANA NATIONAL COLLEGE 740 750 1490 TOP 2 % 23 BRANDON AMBETSA BROOKHOUSE INT’L SCH. -
Internet Use in Second Cycle Institutions in Ghana: a Study of Achimota School
University of Ghana http://ugspace.ug.edu.gh INTERNET USE IN SECOND CYCLE INSTITUTIONS IN GHANA: A STUDY OF ACHIMOTA SCHOOL BY CHARLES ARTHUR A DISSERTATION PRESENTED TO THE DEPARTMENT OF INFORMATION STUDIES, UNIVERSITY OF GHANA, LEGON, IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF MASTER OF ARTS DEGREE IN LIBRARY STUDIES DECEMBER 2001 University of Ghana http://ugspace.ug.edu.gh TKSLQS-'glS 157 V 7 University of Ghana http://ugspace.ug.edu.gh DECLARATION I hereby declare that this work is the results my own study, except for other people’s work which have been duly acknowledged and that it has neither in part nor wholly been presented elsewhere for another degree. I take absolute responsibility for any shortcomings that may be detected. Supervisor Student University of Ghana http://ugspace.ug.edu.gh DEDICATION This work is dedicated to my parents, brothers, sister and my good friends Eric Apaw (USA), Nat Aryee (UK), Peter Crabbe (UK), Pautlina Jalola (Sweden) and Isaac Antwi of Mobil Ghana Limited with love and gratitude. University of Ghana http://ugspace.ug.edu.gh ACKNOWLEDGEMENTS First of ail I am grateful to God Almighty for taking care of me and seeing me through this project. Secondly, I wish to express my appreciation to my supervisor, Professor (Mrs.) C.O. Kisiedu for her patience, efforts and guidance. Further thanks go to Mr. E.K. Adu, his wife Mrs. Theresa Adu and the children Nhyira and Mimi for all good things they did for me during the period I stayed with them. N Finally, I wish to thank Mrs. -
Collaborative Research on Communal Spaces in Nima: Reflections on Accra’S Urban History, with Learnings for Professional Planners
Collaborative Research on Communal Spaces in Nima: Reflections on Accra’s Urban History, with Learnings for Professional Planners Report for the American Planning Association’s International Division Victoria Okoye PhD Candidate in Architecture, School of Architecture, University of Sheffield Arts Tower, 9th Floor Western Bank, Sheffield, UK S10 2TN [email protected] Executive Summary Accra is a rapidly urbanizing West African city where urban growth and demands for space far outpace local authorities’ ability to accommodate present urban development needs. Accra’s dominant urban imaginary1 aspires toward a world-class, “modern” city – a dominant vision for urban development that is deeply informed by the histories of colonial and post-independent planning. Today, many urban dwellers live in densely situated urban environments, and available community spaces such as streets, alleyways, sidewalk pavements, and open spaces are utilized in everyday life as an essential, yet limited resource. Residents claim and inhabit these sites for private life, public life, and livelihood, yet government authorities’ maps, designs, and plans do not capture the magnitude and spectrum of these activities, which are part of residents’ valuable landscape of community spaces. This report to the American Planning Association’s International Division contextualizes historic and contemporary planning challenges in Accra, Ghana and describes my PhD research project that attempts to critically and ethically situate itself through a collaborative approach with a local organization and participatory methods. From mid-January through August 2019, I was in Accra working with the youth-focused NGO Spread-Out Initiative (SOI) based in Nima, and we conducted research on youth’s experiences in specific community spaces. -
Petrie, Jennifer Accepted Dissertation 08-20-15 Fa15.Pdf
Music and Dance Education in Senior High Schools in Ghana: A Multiple Case Study A dissertation presented to the faculty of The Patton College of Education of Ohio University In partial fulfillment of the requirements for the degree Doctor of Education Jennifer L. Petrie December 2015 © 2015 Jennifer L. Petrie. All Rights Reserved. 2 This dissertation titled Music and Dance Education in Senior High Schools in Ghana: A Multiple Case Study by JENNIFER L. PETRIE has been approved for the Department of Educational Studies and The Patton College of Education by William K. Larson. Associate Professor of Educational Studies Renée A. Middleton Dean, The Patton College of Education 3 Abstract PETRIE, JENNIFER L., Ed.D., December 2015, Educational Administration Music and Dance Education in Senior High Schools in Ghana: A Multiple Case Study Director of Dissertation: William K. Larson This dissertation examined the state of senior high school (SHS) music and dance education in the context of a growing economy and current socio-cultural transitions in Ghana. The research analyzed the experience of educational administrators, teachers, and students. Educational administrators included professionals at educational organizations and institutions, government officials, and professors at universities in Ghana. Teachers and students were primarily from five SHSs, across varying socioeconomic strata in the Ashanti Region, the Central Region, and the Greater Accra Region. The study employed ethnographic and multiple case study approaches. The research incorporated the data collection techniques of archival document review, focus group, interview, observation, and participant observation. Four interrelated theoretical perspectives informed the research: interdisciplinary African arts theory, leadership and organizational theory, post- colonial theory, and qualitative educational methods’ perspectives. -
Gender Portrayal in Edufa and in the Chest of a Woman
University of Ghana http://ugspace.ug.edu.gh GENDER PORTRAYAL IN EDUFA AND IN THE CHEST OF A WOMAN BY EMMANUEL BRIGHTMOORE NUGAH 10086955 THIS THESIS IS SUBMITTED TO THE UNIVERSITY OF GHANA, LEGON IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE AWARD OF MPHIL THEATRE ARTS DEGREE. DECEMBER, 2013. University of Ghana http://ugspace.ug.edu.gh DECLARATION I declare that except for the references that are well acknowledged, the entire work is carried out by me and has not been submitted to any other institution for award. .......................................... Brightmoore E. Nugah (10086955) Student Date: ............................. ................................. ..................................... Dr. Awo M. Asiedu Dr. Regina Kwakye-Opong Supervisor Supervisor Date: ....................... Date: ............................ i University of Ghana http://ugspace.ug.edu.gh DEDICATION To God Almighty, for making things possible for me. Pastor Isaac T. Moly, for the fatherly counsel and prayer support. My wife: Susana Nugah (Mrs.), Children: Prince Brightmoore Nugah, Princess Faith Nugah and King James Kekeli Nugah, for the patience, understanding and encouragement. My parents: Mr. Michael Agbetsi Nugah and Theresa Addoh, for the endless support. All who have suffered Oppression, Suppression and Marginalisation of any sort, and all fighters for Freedom and Gender Equality, this work is humbly dedicated. ii University of Ghana http://ugspace.ug.edu.gh ACKNOWLEDGEMENTS Dr. Awo Mana Asiedu- You have been my guiding angel. Dr. Regina Kwakye-Opong- You have been my light. Professor Martin Owusu, Dr. Agyemang Ossei, Rev. Dr. Asiamah, Mr. Africanus Aveh, Mr. Francis Gbormita, Mr. Sandy Arkurst, Ms. Roberta Gardiner and Miss Cecilia Adjei- You taught me well. Dr. Samuel Benagr- Your support and encouragement is very much appreciated, so will never be forgotten. -
The Intellectual Legacy of Gold Coast Hand and Eye Curriculum and Art Education in Ghana
International Journal of Education & the Arts Editors Tawnya Smith Kristine Sunday Boston University Old Dominion University Eeva Anttila Christina Gray University of the Arts Helsinki Edith Cowan University http://www.ijea.org/ ISSN: 1529-8094 Volume 22 Number 6 July 9, 2021 The Intellectual Legacy of Gold Coast Hand and Eye Curriculum and Art Education in Ghana Samuel Nortey Kwame Nkrumah University of Science and Technology, Ghana Edwin Kwesi Bodjawah Kwame Nkrumah University of Science and Technology, Kumasi Kwabena Afriyie Poku Kwame Nkrumah University of Science and Technology, Ghana Citation: Nortey, S., Bodjawah, E. K., & Poku, K. A. (2021). The intellectual legacy of Gold Coast Hand and Eye curriculum and art education in Ghana. International Journal of Education & the Arts, 22(6). Retrieved from http://doi.org/10.26209/ijea22n6 Abstract In 1887, the British colonial masters in the Gold Coast implemented an Arts education reform that prioritized the faithful representation of everyday objects in still-life artistic works. This was known as the Hand and Eye curriculum, an Arts education which was geared towards industrialization and functionality rather than innovation and creativity. This study assesses the educational code of 1887, the art during that period, what the legacy offers for creativity in art-making, and how IJEA Vol. 22 No. 6 - http://www.ijea.org/v22n6/ 2 colonialism impacted the Ghanaian art scene. Using a mixed-method approach and drawing on diverse data sources such as audio-visual materials, school visits, archival studies and exhibition histories, the study finds that the intellectual legacy of copying what one sees is still a significant component of the Ghanaian curriculum and educational practice today.