World Conference on Higher Education
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Smallholder Agriculture in Sub-Saharan Africa George Benneh
HD 9000.6 • J:)2 no.4 noNAL FOOD POLICY RESEARCH INSTITlJTE The International Food Policy Research Institute was established in 1975 to identify and analyze alternative national and interna L tional strateg;es and poHc;es fo' meet;ng food needs of the devel· ~ oping world on a sustainable basis, with particular emphasis on I low-income countries and on the poorer groups in those coun- 1fPRJ tries. While the research effort is geared to the precise objective of contributing to the reduction of hunger and malnutrition, the factors involved are many and wide-ranging, requiring analysis of underlying processes and extending beyond a narrowly defined food sector. The lnstitute's research program reflects worldwide collaboration with governments and private and public institutions interested in increasing food production and improving the equity of its distribuiion. Research results are disseminated to policy makers, opinion formers, administrators, policy analysts, researchers, and others concerned with national and international food and agricultural policy. 161 IFPRI is a research center of the Consultative Group on lnterna- ~~ tional Agricultural Research and receives support from the Arab ~~ Fund for Economic and Social Development, Argentina, the Asia:i Development Bar.k, Australia, Belgium, Canada, China, Denmark, the European Commission, the Ford Foundation, France, the German Agency for Technical Cooperation (GTZ), the German Federal Min istr; for Economic Cooperation and Development (BMZ), India, the Inter American Deveiopment Bank, the lntern~tional Development Research Centre (Canada), ihe International Fund for Agricultural Development, Ire land, Jap.an, the Land and Agriculture Policy Centre (South Africa), Mozam bique, the Netherlands, Norway, the Philippines, the Rockefeller Founda tion, the Rural Industries Research and Development Corporation (Australia). -
02 Hauptdokument / PDF, 9355 KB
III-755-BR/2021 der Beilagen - Bericht - 02 Hauptdokument 1 von 245 Kunst Kultur Bericht www.parlament.gv.at 2 von 245 III-755-BR/2021 der Beilagen - Bericht - 02 Hauptdokument www.parlament.gv.at Kunst- und Kulturbericht 2020 III-755-BR/2021 der Beilagen - Bericht 02 Hauptdokument www.parlament.gv.at 3 von 245 4 von 245 Kunst- und Kulturbericht 2020 III-755-BR/2021 der Beilagen - Bericht 02 Hauptdokument www.parlament.gv.at Wien 2021 Liebe Leserinnen und Leser, III-755-BR/2021 der Beilagen - Bericht 02 Hauptdokument als wir im Juli des vergangenen Jahres den Kunst- und Kulturbericht 2019 veröffent- lichten, hatten wir gehofft, dass die optimistischen Prognosen über den Verlauf und die www.parlament.gv.at Eindämmung der Pandemie eintreten werden und wir Anfang des Jahres 2021 unser gesellschaftliches und kulturelles Leben langsam wieder aufnehmen können. Es kam anders. Das Virus und seine Mutanten haben es nicht erlaubt, dass wir uns ohne er- hebliche Gefahr für unsere Gesundheit in größeren Gruppen treffen oder als Publikum versammeln. Diese unsichtbaren Gegner haben es unmöglich gemacht, in Theatern, Kinos, Konzerthäusern, Galerien und Museen zusammenzukommen, um das zu tun, was wir alle lieben: gemeinsam Kunst zu erleben und zu genießen. Unser wichtigstes Ziel war es daher, alles zu unternehmen, damit wir am Ende der Pan- demie dort fortsetzen können, wo wir plötzlich und unerwartet aus unserem kulturellen Leben gerissen wurden: All jene, die in unserem Land Kunst machen, die sich dazu entschlossen haben, ihr Leben und ihre ganze Kraft dem künstlerischen Schaffen zu widmen, sollten bestmöglich durch diese schwierigen Zeiten kommen. -
AAU @ 50 Brochure ENG INSIDE.Cdr
Association of African Universities GOLDEN J U B I L E E B R O C H U R E GOLDEN JUBILEE B R O C H U R E 2 AAU @ 50 Celebration H.E. Nana Addo Dankwa Akufo-Addo President of the Republic of Ghana AAU @ 50 Celebration 3 Prof. Olusola OYEWOLE AAU President Prof. Etienne EHOUAN EHILE Secretary General 4 AAU @ 50 Celebration Welcome to Ghana AAU @ 50 Celebration 5 The AAU WHO WE ARE • The apex higher education organisation on the continent • Three working languages (English; Arabic and French) • Membership comprises about 400 higher education institutions drawn from 46 African countries • Membership comprises public; private (faith-based; for-profit; not-for-profit) higher education institutions and other regulatory bodies in Africa • Avenue opened for non-African institutions as Associate Members • The Representative Voice of the African Higher Education Community • The Lead Implementing Body of the Plan of Action for the Higher Education component of the African Union's Second Decade of Education for Africa (2006 – 2015); Currently spearheading the AU's higher education component under Agenda 2063 The Constituent Elements of the AAU Logo The AAU Logo • A traditional lamp • A flame with a continuous and steady contour • Africa graphically represented • A circle symbolizing continuity • Two interlocking rings symbolizing inter-university co-operation and the strengthening of African Unity • Stylized horns signifying the durability of co- operation and unity • Association of African Universities written in English, French and Arabic within the circle The Signicance of the AAU Logo Universities, by the “light of knowledge”, guide man on the road to progress and human dignity. -
Rethinking Higher Education Governance in Ghana This Is a Research Report of the CODESRIA
Rethinking Higher Education Governance in Ghana This is a research report of the CODESRIA: Higher Education Leadership Programme (HELP) Launched in 2011, with funding support from the Carnegie Corporation of New York (CCNY), the HELP program sought to support research networks, policy forums and publications to document and provide an understanding of transformations underway with regard to the governance and leadership of higher education institutions in Africa. In initiating the program, CODESRIA was motivated by the desire to contribute to the knowledge base and initiate policy debates that would deepen the reforms, as leadership and governance are central to ensuring the quality and relevance of higher education in the continent. CODESRIA Working Paper Series The CODESRIA Working Paper Series disseminates outputs from CODESRIA’s research activities. Working papers constitute work in progress. They provide insights into the breadth and depth of work undertaken by the Council’s various programmes and research networks. These are published to stimulate discussion and contribute to the advancement of knowledge. Rethinking Higher Education Governance in Ghana Reflections of a Professional Administrator Paul Effah Council for the Development of Social Science Research in Africa DAKAR © CODESRIA 2018 Council for the Development of Social Science Research in Africa Avenue Cheikh Anta Diop, Angle Canal IV BP 3304 Dakar, 18524, Senegal Website: www.codesria.org ISBN: 978-2-86978-786-5 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system without prior permission from CODESRIA. -
Kunst- Und Kulturbericht 2019
Kunst Kultur Bericht Kunst- und Kulturbericht 2019 Kunst- und Kulturbericht 2019 Wien 2020 Liebe Leserinnen und Leser, im März 2020 wurde alles anders. Denn die österreichische Bundesregierung und das österreichische Parlament waren angesichts der weltweiten Covid-19-Pandemie zu gesundheitspolitischen Maßnahmen gezwungen. Diese führten zu drastischen Änderun- gen in unserem privaten Alltag, aber auch in unserem beruflichen, wirtschaftlichen und kulturellen Leben. Wer in diesen Tagen unterwegs war, in der Stadt oder am Land, war die meiste Zeit allein und traf kaum auf andere Menschen. Nicht nur Schulen, Universitäten, Geschäfte, Restaurants und Cafés konnten nicht öffnen, auch Konzerthäuser, Theater, Kabaretts, Kinos, Museen, Galerien und Literaturhäuser mussten geschlossen bleiben. Das öffentliche und gesellschaftliche Leben – und damit die Grundvoraussetzung für Kunst und Kultur – stand still. Da konnten auch all die wunderbaren Projekte und Auftritte im Internet nicht darüber hinwegtäuschen, dass Kunst und Kultur Gemeinschaft und persön- liche Begegnung benötigen. Das Theater, aber auch Bücher, Filme, Musikstücke, Bilder und digitale Kunstformen sind auf ein Publikum angewiesen, das zusammenkommt, das sieht und hört, staunt und begreift, begeistert zustimmt, kritisch kommentiert oder sich glänzend zu unterhalten weiß. Wäre es anders, könnten wir uns Buchmessen, Lesungen, Kinos, Galerien, Museen, Konzerte, Filmfestivals und Festivals für digitale Kunst sparen und zu Hause vor unseren Bildschirmen sitzen bleiben. Und auch wenn zahlreiche Musikerinnen und Musiker in diesen Wochen des März und April 2020 ihren Balkon zur Bühne gemacht und für Passantinnen und Passanten auf der Straße gespielt haben, so dürfen wir niemals vergessen, dass Künstlerinnen und Künstler nicht nur Applaus verdienen, sondern vielmehr ein Recht darauf haben, für ihre Leistungen bezahlt zu werden. -
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. -
Vice-Chancellor's Ceremony in Honour of Academic
VICE-CHANCELLOR’S CEREMONY IN HONOUR OF ACADEMIC AWARD WINNERS FOR THE 2018/2019 ACADEMIC YEAR HUMANITIES THURSDAY FEBRUARY 27, 2020 GREAT HALL @ 5:00 PM PROGRAMME 4:30 - Arrival of Guest 5:00 p.m. - Chairman’s Opening Remarks: Professor Ebenezer Oduro Owusu, Vice-Chancellor - Performance: Spoken Word Poetry By Mr. Dodzi Aveh - Presentation of Academic Awards: Mrs. Mavis Otoo-Ayeh College Secretary, College of Humanities - Performance: Choreopoem - Presentation of Academic Awards Cont.: Mrs. Emelia Agyei-Mensah College Secretary, College of Education Mrs. Yvonne Lartey Admission Officer, Academic Affairs Directorate - Acknowledgement of Sponsors: Mrs. Christy Badu Ag. Director, Academic Affairs Directorate - Remarks on Behalf of Sponsors: Mr. Felix Nyarko-Pong Sponsor of Mr. Felix Nyarko-Pong and Professor Cephas Narh Omenyo Awards - Vote of Thanks: Dennis Siayor A Representative of award Winners - Announcements - University Anthem - Group Photographs AWARDS 1. Sadhu T.L Vaswani/Indian Association of Ghana Endowment Fund Award for: Administration - Enock Ankomah Boamah Economics - Eric Baah - Mary Agyeiwaa Otaah 2. Professor Florence Dolphyne Prize for the Best Graduating Student in Phonetics and Phonology - Nadia Ibrahim 3. Paa Kwesi Yankey Prize for the Best Graduating Bachelor of Arts (BA) Student - Emmanuel Gyasi 4. Alumni Prize for the Best Level 200 Student in the Humanities - Nelda Naa Anyema Okine 5. Alumni Prize for the Best Level 200 Student in BSc. Administration - Mirabel Etornam Afeke 6. Stanbic (Bank) Awards for the Best Graduating Student in Modern Languages - Keith Oko Cleland 7. Stanbic (Bank) Awards for the Best Graduating Female Student in English - Priscilla Ama Forson 8. Stanbic (Bank) Awards for the Best Graduating Student in Music - Kingsley Kwadwo Okyere 9. -
ABE Journal, 14-15 | 2019 Refugee Artists, Architects and Intellectuals Beyond Europe in the 1930S and
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Open Access LMU ABE Journal Architecture beyond Europe 14-15 | 2019 Building the Scottish Diaspora Refugee Artists, Architects and Intellectuals Beyond Europe in the 1930s and 1940s: Experiences of Exile in Istanbul and Bombay Artistes, architectes et intellectuels ayant fui l’Europe dans les années 1930 et 1940 : expériences de l’exil à Istanbul et Bombay Burcu Dogramaci and Rachel Lee Electronic version URL: http://journals.openedition.org/abe/5949 DOI: 10.4000/abe.5949 ISSN: 2275-6639 Publisher InVisu Electronic reference Burcu Dogramaci and Rachel Lee, « Refugee Artists, Architects and Intellectuals Beyond Europe in the 1930s and 1940s: Experiences of Exile in Istanbul and Bombay », ABE Journal [Online], 14-15 | 2019, Online since 28 July 2019, connection on 23 September 2019. URL : http://journals.openedition.org/ abe/5949 ; DOI : 10.4000/abe.5949 This text was automatically generated on 23 September 2019. La revue ABE Journal est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Refugee Artists, Architects and Intellectuals Beyond Europe in the 1930s and ... 1 Refugee Artists, Architects and Intellectuals Beyond Europe in the 1930s and 1940s: Experiences of Exile in Istanbul and Bombay Artistes, architectes et intellectuels ayant fui l’Europe dans les années 1930 et 1940 : expériences de l’exil à Istanbul et Bombay Burcu Dogramaci and Rachel Lee Introduction 1 During the first half of the twentieth century visual artists, architects and intellectuals from Europe sought refuge in global metropolises. -
Migration and Memory: the Dances of Gertrud Bodenwieser
Migration and Memory: The Dances of Gertrud Bodenwieser by Carol brown I’m speaking to you. Ready the space, make it possible, make it real. Mark/sign/imprint/trace/seal. Step together, stop, wind, unwind, step turn schlinger, breathe. And speak to me in this silence.1 In the reaches of my memory a figure is held in language and gesture. She is re-membered in certain movements and habits of style. She is distant and close, inside and outside, part omnipotent presence and part invisible trace; a “dancemother” whose image was interiorized through the process of learning how to dance. Composed of fragments of memory, mythology, and history, her story is less biography than biomythography, for I never knew her, yet I know her still. My earliest knowledge of dance as an art form was inscribed through a series of “quotes” from the past, for it was the Viennese Ausdruckstanz choreographer Gertrud Bodenwieser (1890-1959) whose words and ideas animated my dancing. I came to know Bodenwieser through the teachings of her former dancer Shona Dunlop-MacTavish, with whom I trained in New Zealand from 1972-85. When I moved to the UK in the late 1980s, curiosity and a hunger for the familiar led me to meet with other former Bodenwieser dancers now residing there: Hilde Holger, the late Bettina Vernon, Evelyn Ippen, and Hilary Napier. All of these women, including Dunlop-MacTavish, received their primary dance training with Bodenwieser, danced in the Tanzgruppe Bodenwieser in Vienna (1923-38), and, with the exception of Hilde Holger, danced in Australia with the Bodenwieser Viennese Ballet (1939-58).2 Significantly, they also all developed independent careers as dancer-choreographers and teachers in various parts of the world, including Australia, New Zealand, South Africa, China, India, and England.3 I have listened to their stories, studied their personal archival collections of photographs, programmes, and writings, and learned some of their dances. -
Induction of New Vice Chancellor
UNIVERSITY OF GHANA SPECIAL REPORTER PUBLISHED BY AUTHORITY NO. 788 FRIDAY, AUGUST 27, 2010 VOL. 48 NO. 10 PROCEEDINGS OF INDUCTION CEREMONY FOR PROFESSOR ERNEST ARYEETEY, VICE-CHANCELLOR MONDAY, AUGUST 2, 2010 CONTENTS Page Order of Proceedings 1 Chairman of Council’s Opening Address 3 Out-Going Vice-Chancellor’s Address 5 Vice-Chancellor’s Address 11 ORDER OF PROCEEDINGS 4.00 – 4.30 p.m. – Guests Seated 4.45 p.m. – Procession 5.00 p.m. – Dawuro – Welcome Address: Justice Dr. S.K. Date- Bah, Chairman of Council – Remarks by Professor C.N.B. Tagoe, Immediate past Vice-Chancellor – Chairman of Council introduces Vice- Chancellor – Ceremonial Handing over of notes – Chancellor administers Oath of Office – Address by Professor Ernest Aryeetey, Vice- Chancellor – University Anthem – Recession – In attendance : Ghana Dance Ensemble University of Ghana Jubilee Choir 1 WELCOME ADDRESS BY JUSTICE SAMUEL K. DATE-BAH, CHAIRMAN OF COUNCIL The Chancellor, Your Ladyship the Chief Justice, Honourable Minister of Education, Members of University Council, Members of Convocation, Honourable Members of Parliament, Distinguished Ladies and Gentlemen, We have gathered here this evening to formally induct the eleventh Vice-Chancellor of the University of Ghana into office. It is a very important occasion for all of us who are interested in the development and growth of this great institution. Before I do the formal introduction of the new Vice-Chancellor, let me on behalf of the Chancellor, His Excellency Mr Kofi Annan, welcome all present to the University of Ghana and to this ceremony in particular, with a few observations. There are two key players in today's function, namely; the new Vice- Chancellor and the just retired Vice-Chancellor and I would like to say a few words to each of them. -
Dance and Exile Research and Showcasing in Austria – an Attempt at a Chronology
גרט ויזנטל רוקדת את יצירתה אנדנטה, וינה, 08/1906, גרטרוד קראוס רוקדת את יצירתה וודקה, וינה 1924, באדיבות מורה ציפרוביץ, וינה 1920, צילום: לא ידוע, באדיבות מוזיאון התיאטרון צילום: מוריץ נהר, באדיבות מוזיאון התיאטרון מוזיאון התיאטרון בוינה Mura Ziperowitsch, Wien, 1920, Photo: Unknown, Courtesy of Theatermuseum -KHM – Museumsverband Gertrud Kraus in Wodka, Wien 1924, Photo: Martind Grete Wiesenthal in Ändante con moto, Wien, Imboden, Courtesy of Theatermusem – KHM 08/1906, Photo: Moritz Naher, Courtesy of Theatermusuem, KHM-Museumsverband Dance and Exile Research and Showcasing in Austria – An Attempt at a Chronology Andrea Amort The broadly defined topic of exile, to a varying extent still relevant Nazi dictatorship. Presciently, Gertrud Kraus left Austria in 1935 to dance )modern dance and ballet( today, mainly covers those and emigrated to Palestine/Israel. Rudolf von Laban )Bratislava dance practitioners in Austria who, in the wake of Austro-Fascism 1879 – Weybridge, Surrey 1958(, the influential founder of Aus- and the racist and political measures of Nazi dictatorship, were druckstanz )expressionist dance(, is nowadays considered a na- restricted in their activities and went into inner emigration or else tional figure especially in Germany and England and, in recent were active in resistance, persecuted, expelled, or murdered. In years, also in Slovakia despite having been born in the Austro- dance scholarship also artists who had emigrated much earlier Hungarian Monarchy. He left Berlin in 1937 and escaped via Paris on and were committed to Zionism )among others, the Ornstein to England. sisters and Jan Veen, alias Hans Wiener ]sic[( are included in this topic. No precise statistics of the persecuted and murdered are avail- able; we estimate, however, that at least 200 dance practitioners All dance practitioners mentioned in the following – with the ex- were affected. -
World Conference on Higher Education in the Twenty-First Century: Vision and Action; Higher Education in the Twenty-First Centur
WORLD CONFERENCE ON HIGHER EDUCATION Higher Education in the Twenty-first Century Vision and Action UNESCO, Paris, 5 – 9 October 1998 VOLUME III – COMMISSIONS Part II Commission Reports and Papers ED-99/HEP/WCHE/Vol.III-2 Note of the UNESCO Secretariat The present volume is part of the Proceedings of the World Conference on Higher Education (Paris 5-9 October 1998) and comprise : Volume I: Final Report Volume II: Speeches and Lectures Volume III: Reports of the Commissions Volume IV: Reports of the Thematic Debates Volume V: Plenary Speeches Volume VI: Listing of Titles of Individual Documents. Documents are archived in the original language of delivery or in one of the language versions provided by the author. Copies can be obtained on request from the Division of Higher Education, UNESCO. Some documents are available in printed form only. Note du Secrétariat de l’UNESCO Le présent volume fait partie des Actes de la Conférence mondiale sur l’enseignement supérieur (Paris, 5-9 octobre 1998) et comprend : Volume I : Rapport final Volume II : Discours et exposés spéciaux Volume III : Rapports des commissions Volume IV : Rapports des débats thématiques Volume V : Discours en séances plénières Volume VI : Liste des titres des documents individuels. Les documents sont archivés dans la langue originale du discours ou de l’une des versions transmises par l’auteur. Les copies peuvent être obtenues sur demande adressée à la Division de l’enseignement supérieur, UNESCO. Certains documents ne sont disponibles que sur papier. Nota de la Secretaría