DOCSLIB.ORG

1 Africa Center Stage in Peace Corps Celebrations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. Then to be doctors, are on October 15th, a second gathering took willing to spend your place on the steps of the Michigan Union days in Ghana?” The featuring speeches by President Mary Sue U-M community met Coleman; Marnee Devine, Kennedy’s cousin JFK’s challenge and who was in attendance that historic night Fontomfrom drummers with Michigan students on exceeded it. Students of October 14, 1960; Jack Hood Vaughn, the steps of the Union organized a petition drive that produced a second director of the Peace Corps (1966-69); thousand names of those willing to commit former U.S. Senator Harris Wofford, a Kennedy to 1-2 years of international service following aide and one of the founders of the Peace college. Seeing the impassioned U-M Corps, and an advisor to Martin Luther King response, Kennedy directed his aides to Jr. and Robert F. Kennedy; and Aaron Williams, formulate a policy and a program. Thus was the current Peace Corps Director. born the Peace Corps, announced two weeks after the U-M visit in one of Kennedy’s final The event was emceed by Dean and former 1 campaign speeches, and signed into existence Provost Paul Courant, whose words were by executive order on March 1, 1961. simultaneously translated both in sign language and in Akan drum language. In Not only did Ghana feature in the seminal Ghana, fontomfrom drum ensembles mark speech that gave rise to the Peace Corps, special events such as the opening of but it was also to Ghana that the very first parliament, and are used to communicate Peace Corps volunteers went in August 1961. important issues through “talking drums”. That initial cohort, which included three U-M To honor the Peace Corps events, Senior Vice- graduates, also included volunteers bound Provost for Academic Affairs Lester Monts for Tanganyika (now Tanzania), which would commissioned a full set of fontomfrom drums acquire its independence from Britain later from the master drum carver of the royal that year. The entwining of these histories— Asantehene compound in Kumasi, Ghana. Continued, p. 3 FROM THE DIRECTOR reetings to all in the University operatic technique, and Prof. Naomi Andre “Cancer in Africa and the Middle East,” G of Michigan community and beyond pursued research on the history of South organized by ASC faculty associates Sofia with interests in Africa! African opera. Merajver and Amr Soliman (see p. 12); and In this third co-sponsored a conference at MSU and U-M issue of Alliances, We have a lot to look forward to this year. on “New Critical Approaches to African we celebrate First off, we welcome to campus five new Literary Production,” organized by ASC the start of the professors who work in or on Africa: faculty associate Frieda Ekotto and MSU third year of the Omolade Adunbi (CAAS), who studies the faculty member Kenneth Harrow. African Studies extraction of natural resources in the Niger Center’s existence Delta and the various local, corporate and Over the coming months, we look forward and highlight governmental agents competing for political to the Mellon Foundation-funded Sawyer some of the ways and economic authority; Brian Arbic Seminar workshops on “Ethnicity in Africa,” we are building (Geological Sciences), who taught science and to be held in December and April in CAAS; on the progress math as a Peace Corps volunteer in Liberia and the “Pedagogy of Action” 10th anniversary made in our first Ghana and who works on modeling tidal and celebration also in CAAS in December; the two years. I am wind-driven movement in the ocean; Adam January 2011 “Islam and the Performing Photograph by Elshafei Dafalla Elshafei Mohamed by Photograph happy to report Ashforth (CAAS), who has long worked in Arts” symposium organized in conjunction that the ASC continues to establish itself South Africa on spiritual insecurity and now with the Residential College, Center for as a national and international leader in focuses on narratives about HIV/AIDS in Middle Eastern and African Studies (CMENAS) African Studies through the strength of its Malawi and Botswana; Zoë McLaren (Public and Center for Southeast Asian Studies faculty associates and the proven success of Health), who examines the impact of HIV/ (CSEAS); and the May 2011 “International longstanding Africa—University of Michigan AIDS on unemployment in sub-Saharan Conference on Mathematics” in Buea, collaborations. Our ties to Africa are growing Africa; and Robert Wyrod (Women’s Studies), Cameroon, organized by ASC faculty ever stronger as has the visibility of African who works on shifting gender relations associates Nkem Khumbah and Daniel Burns. Studies on our campus. Through initiatives within the context of the AIDS epidemic in Finally, the Africa Workshop lecture series such as the African Presidential Scholars sub-Saharan Africa, especially in Uganda. In organized by CAAS and co-sponsored by the Program (UMAPS) and others that bring to August, we welcomed 14 new African visiting ASC is bringing to campus top-notch scholars our campus a regular presence of African faculty to campus via the UMAPS program throughout the year to speak on topics scholars, faculty, students and administrators, spanning disciplines as wide-ranging as film/ ranging from violence against refugees to the African Studies Center is actively promoting media studies and biochemistry. Please read China’s expanding role and interests in Africa. the university’s mission to internationalize about them, their U-M faculty mentors, and U-M while simultaneously positioning U-M their research topics on pages 11 and 12. This level of activity would not be possible internationally. Through collaborations with were it not for the talents and labors of universities and other educational institutions We also, in September, welcomed three the ASC staff (Devon Adjei, ASC Program in Africa—especially in Ghana, South Africa, postdoctoral fellows researching varying Manager; Sandie Schulze, ASC Programming Kenya, Uganda and Cameroon—the University aspects of ethnicity in Africa: two Sawyer- Coordinator; and Thaya Rowe, ASC Secretary), of Michigan is becoming ever more known Seminar Mellon Foundation fellows, Robert ASC Associate Director Derek Peterson, all for its engagement with African partners, Blunt (PhD 2010, U. Chicago, focusing on the members—past and present—of the resulting in mutual benefit to all involved. Kenya) and Aly Drame (PhD 2006, U. Illinois ASC Steering Committee, and the African at Chicago, focusing on Senegal), and Lorena Students Association. Where I work among Last year, the ASC engaged in a high level Rizzo (PhD 2009, University of Basel), who Swahili-speakers of East Africa, a favorite of activity on the local, national, and is financed by the Swiss National Fund. We saying is Figa moja haliweki chungu (“A single 2 international arenas. We organized three showcased the work of an ethnomusicologist stone will not support a pot”). Just as it takes international conferences (one in South and radio broadcaster Leo Sarkisian whose multiple stones to support a pot, so too Africa, one in Ghana, and one here at U-M), extensive recordings of music from the does it take the labors of many minds and each of which celebrated the launch of African continent are being digitized and many hands to generate the incredible one of our African Presidential Research catalogued by staff from the U-M Digital accomplishments of our center. Initiatives (see the ASC Initiative updates on Media Commons and Hatcher Library. pages 9-12). We also supported a second Additionally, Sarkisian’s collection of rare We invite you to participate in as many of delegation of U-M faculty from Music, instruments were donated to the Stearns these events as you can and thank you for Women’s Studies and the Residential College Music Instrument Collection. In October, the your continued support of the African to Cape Town, South Africa where Profs. ASC participated in the national celebrations Studies Center. George Shirley and Daniel Washington of the launch of the Peace Corps (see p.1); taught master classes in voice, specifically co-sponsored a conference in Cairo on Kelly Askew, Director Continued from p.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Main Thesis.Pdf
    CHAPTER ONE INTRODUCTION 1.1 Background to the study. Art, especially the visual art can be said to be the only way of bringing out the philosophies and concepts of given society into physical form. Usually, it is these philosophies and concepts that become the norms and ethics which keep the society together. It can also help to educate people about the mindset of those who made it and the use it was intended for. Similarly, it can be used to teach others in the society to make art forms not just for its aesthetics but also as a way of preserving the culture of the people. Thus it could be realised that knowing the socio-cultural, educational as well as the philosophical importance of a particular work of art helps to tell others about the work, how it was made and what it is intended for. This helps in preserving the culture of a particular society for subsequent generations. It also helps the individuals in the society to have a common cultural identity. The quest by individual societies for a cultural identity is not just to prove to the world that, they are the most important but rather to have a stage of development that would make them fit into the dynamism of the ever growing world. Perhaps it is in line with the ever popular saying that “one needs to know where he is coming from to enable him know his ultimate destination”. This saying can also be linked to the Igbo proverb that “Onye na eweghi ihe arimama di ka onye nwuru anwu”, literally meaning “a person or people with no identity are as well as dead”.
    [Show full text]
  • Asante Traditional Leadership and the Process
    ASANTE TRADITIONAL LEADERSHIP AND THE PROCESS OF EDUCATIONAL CHANGE A dissertation presented to the faculty of the College of Education of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy NANA KWAKU WIAFE BROBBEY OWUSU-KWARTENG August 2005 © 2005 NANA KWAKU WIAFE BROBBEY OWUSU-KWARTENG All Rights Reserved This dissertation entitled ASANTE TRADITIONAL LEADERSHIP AND THE PROCESS OF EDUCATIONAL CHANGE By NANA KWAKU WIAFE BROBBEY OWUSU-KWARTENG has been approved for the Department of Educational Studies and the College of Education by William Stephen Howard Professor of Telecommunication James Heap Dean, the College of Education OWUSU-KWARTENG, NANA KWAKU WIAFE BROBBEY. Ph.D. August 2005 Educational Studies ASANTE TRADITIONAL LEADERSHIP AND THE PROCESS OF EDUCATIONAL CHANGE (222 pp) Director of Dissertation: William Stephen Howard, Ph.D. Abstract This study lies at the intersection of contemporary research on leadership and concerns for the performance of recent African leaders and theme of participation. It utilizes qualitative approaches to examine the issue of leadership and stakeholder participation in the role of Asante traditional leadership and the process of educational change in Ghana during the last quarter of the twentieth and the beginning of the twenty- first centuries and the representations that such participation holds for the rest of the country and Africa in the quest for relevant education systems, leadership functions and expectations of stakeholders. The call of the Asantehene (King of Asante), Otumfuo Osei Tutu II at his installation that improved and quality formal education should be a criterion of assessment for his reign; the subsequent establishment of the Otumfuo Education Fund and Offinsoman Education Trust Fund provided the background to formulate the study.
    [Show full text]
  • VICTORIA BEMAH.Pdf
    KOKOFU TRADITIONAL MUSIC IN KOKOFU CULTURE By Victoria Bemah B.Ed (Music) A Thesis submitted to the School of Graduate Studies, Kwame Nkrumah University of Science and Technology, Kumasi, in partial fulfilment of the requirements for the degree of MASTER OF ARTS IN AFRICAN ART AND CULTURE Faculty of Art College of Art and Social Sciences May 2009 © 2011, Department of General Art Studies DECLARATION I hereby declare that this submission is my own work towards the M.A 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 the University, except where due acknowledgement has been made in the text. VICTORIA BEMAH (PG9141506) ……………………. …………………….. Student’s Name & ID No: Signature Date Certified by DR. O. OSEI AGYEMAN …………………….. ……………………. Supervisor’s Name Signature Date Certified by DR JOE ADU-AGYEM ……………………. ………………………… Head of Department’s Name Signature Date ii ABSTRACT Traditional music is the modern name for what used to be called “Folk music”. However the term "Folk music" was expanded to include a lot of non-traditional matter. The music is passed down orally; this is not universal, but there must be a strong tradition of oral transmission. The music derives from, or is related to, a particular people, region or culture and lacks copyright. The problem of this thesis was that, traditional music used to be very active in Kokofu community, and the younger generation has little knowledge about the traditional music in the Kokofu culture. The aim of this study is to identify the various traditional music types found in Kokofu community and discuss the functions of the traditional music in the religious, political, economic and social activities and its importance in the Kokofu culture.
    [Show full text]
  • Teacher's Resource Guide
    Teacher’s Resource Guide Dear Educators, Obo Addy Legacy Project (OALP) provides student audiences with presentations and performances that explodes with the sounds of authentic West African rhythm and song, vibrates with traditional dance and offers insight into African culture and its influences in America. Each presentation and performances showcases the life of Obo Addy and his homeland of Ghana, West Africa—a country that has over fifty different ethnic groups and languages. Students can expect to see traditionally clad musicians performing on unique hand crafted percussion instruments along with spinning and kicking dancers depicting stories and ideas through humor and powerful physicality. Our presentations, shows and workshops culminates with audience participation that is certain to make students jump in joyful celebration of cultural diversity. Our updated 2017 Teachers’s Resource Guide is put together by experts in the field of Africana studies associated with our Education Committee. The guide is designed to assist teachers as they prepare students for the performance and integrate the performance with existing academic curriculum. The guide will assist educators by pointing out elements applicable to Oregon Arts Content Standards and includes: biographical information about the performers, cultural and historical information about Ghana including African music and instruments. At the end we’ve included relevant vocabulary, classroom activists and various media resources such as links, readings and audio recordings for further academic inquiry. The suggested activities are also applicable to Common Core TABLE OF CONTENTS Standards as well as National Arts Standards. We look forward to bringing the music and dance of Ghana to you.
    [Show full text]
  • The Textuality of Contemporary Hiplife Lyrics
    THE TEXTUALITY OF CONTEMPORARY HIPLIFE LYRICS by PETER ARTHUR A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Centre of West African Studies School of History and Cultures University of Birmingham Edgbaston Birmingham, B15 2TT University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This research looks at the textuality of hiplife - the Ghanaian version of hip hop - by investigating the hiplife discursive and non discursive practices. The thesis of this research is that hiplife provides the platform for self expression or a new culture for the Ghanaian youth. This ethnography of hiplife covers two main areas of investigation: hiplife as a syncretic and a protest culture. Chapter one presents the background and research design of the study while chapter two provides a broad scholarly exploration of hiplife, taking into account the history and culture of hiplife against the background of African hip hop literature. Chapter three explores the cultural production of hiplife while chapter four investigates the very core of hiplife rap, its oral rhythmic production. In chapter five, the hiplife culture, like all hip hop cultures, seeks to redefine the Ghanaian normative moral grounds.
    [Show full text]
  • An Analysis of Adinkra Symbology on Traditional Clothing in Ghana
    Cynthia Adjovi Mawuli Transmission and Embodiment of Heritage: An Analysis of Adinkra Symbology on Traditional Clothing in Ghana MA Thesis in Cultural Heritage Studies; Academic Research, Policy, Management Central European University CEU eTD Collection Budapest June 2019 Transmission and Embodiment of Heritage: An Analysis of Adinkra Symbology on Traditional Clothing in Ghana by Cynthia Adjovi Mawuli (Ghana) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Cultural Heritage Studies Accepted in conformance with the standards of the CEU ____________________________________________ Chair, Examination Committee ____________________________________________ Thesis Supervisor ____________________________________________ Examiner ____________________________________________ Examiner CEU eTD Collection Budapest June 2019 Transmission and Embodiment of Heritage: An Analysis of Adinkra Symbology on Traditional Clothing in Ghana by Cynthia Adjovi Mawuli (Ghana) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Cultural Heritage Studies Accepted in conformance with the standards of the CEU ____________________________________________ External Reader CEU eTD Collection Budapest Month YYYY Transmission and Embodiment of Heritage: An Analysis of Adinkra Symbology on Traditional Clothing in Ghana by Cynthia Adjovi
    [Show full text]
  • MSG FDB/Ad 02-002 Yadak Spice
    RegistrationNumber ProductName FDB/Ad 00-012 Benny Powder Chicken Stock FDB/Ad 02-001 Ajinomoto - MSG FDB/Ad 02-002 Yadak Spice (Black Pepper) FDB/Ad 02-003 All Gold Tomato Sauce FDB/Ad 02-005 Pearl River Bridge Superior Dark Soy Sauce Benny Instant Stock Powder (Beef, Crevette & FDB/Ad 03-001 Mchuzu) FDB/Ad 03-002 Gino MSG FDB/Ad 03-003 Yaaji Exotic Mixed Spices FDB/Ad 03-004 Ajinomoto - MSG FDB/Ad 03-005 So Bi Hwe Iodated Salt FDB/Ad 03-006 Fun-MSG Amoy Sauces (Light Soy, Dark Soy, Gold Label Dark FDB/Ad 03-007 Soy, Chili, Chili & Garlic, Premium Oyster) FDB/Ad 03-008 Triton Curry Powder FDB/Ad 03-009 Super Seasonoing A-One FDB/Ad 03-010 KSL Group - White Sugar FDB/Ad 03-011 Knorr Aromat Seasoning FDB/Ad 03-013 Joecarl Pepper Sauce FDB/Ad 03-014 Maggi Shito FDB/Ad 03-015 Rymaccob Shito (Pepper Sauce) FDB/Ad 03-016 Foster Clark's Baking Powder Foster Clark's Culinary Essence (Banana, Vanilla, FDB/Ad 03-017 Pineapple, Strawberry) FDB/Ad 03-018 Weikfield Baking Powder FDB/Ad 03-037 Midams Shito Robertson's Spices (Cayene Pepper, Barbecue, Mixed FDB/Ad 04-001 Herbs) FDB/Ad 04-002 Maggi Rich Beef Soup (Halaal) FDB/Ad 04-003 Marmite Yeast Extract FDB/Ad 04-004 Robertson's Spices (White Pepper, Black Pepper) FDB/Ad 04-005 Rajah Curry Powder (Hot, Hot-Fort) FDB/Ad 04-006 Mrs. H. S. Ball's Chutney (Hot, Original Recipe) FDB/Ad 04-007 A-One Monosodium Glutamate Super Seasoning FDB/Ad 04-008 African Cayenne Pepper FDB/Ad 04-009 Concord Iodated Salt FDB/Ad 04-010 Fungamyl 2500 SG (Enzyme) FDB/Ad 04-011 Fungamyl Super MA (Enzyme) FDB/Ad 04-012 Novamyl
    [Show full text]
  • The Golden Stool and the Oaths to the King of Ashanti
    The African e-Journals Project has digitized full text of articles of eleven social science and humanities journals. This item is from the digital archive maintained by Michigan State University Library. Find more at: http://digital.lib.msu.edu/projects/africanjournals/ Available through a partnership with Scroll down to read the article. ARTICLES y THE GOLDEN STOOL AND THE OATHS TO THE \*r -, KING OF ASHANTI by' George P. Hagan* My aim in this paper is to present an interpretation of Ashanti kingship in the light of two other political institutions in Ashanti; and it is in two parts. The first part is an attempt to interpret the functions of the King of Ashanti in the light of the symbolic significance of the Golden Stool. And the second part is an attempt at a structural analysis of Hie institution of oaths. The two parts of the paper, or the two themes, are related: while it is the Golden Stool which gives ritual and, therefore, ultimate validation to the authority of the King of Ashanti, it is through oaths that the prerogative of the king to command the obedience of his subjects - which is the substance of real authority - is given the force of personal commitment by his subjects, from below. It is the Golden Stool, and the Oaths which make the king 'the bub of Ashanti political system.1 The significance of the Golden Stool - the Attribute of Divinity The symbol of political authority in Ashanti is the Stool. Every political unit in Ashanti - division, vicinage, village or lineage - has a stool which is the symbol of the authority of its leadership.
    [Show full text]
  • Sankcfa and DRAMA: a STUDY of ADINKRA and AKAN CLAN SYMBOLS in MODERN GHANAIAN PLAYS
    University of Ghana http://ugspace.ug.edu.gh SANKcFA AND DRAMA: A STUDY OF ADINKRA AND AKAN CLAN SYMBOLS IN MODERN GHANAIAN PLAYS BY DANIEL APPIAH-ADJEI 10031425 THIS THESIS IS SUBMITTED TO THE UNIVERSITY OF GHANA, LEGON IN PARTIAL FULFILMENT OF THE REQUIREMENT FOR THE AWARD OF PHD THEATRE ARTS DEGREE DECEMBER, 2014 University of Ghana http://ugspace.ug.edu.gh DECLARATION I, Daniel Appiah-Adjei solemnly declare that, this Thesis, with the exception of quotations and references contained in the published works, identified and duly acknowledged, is my personal original work, and it has not been submitted, either in part or whole, for another degree elsewhere. Candidate: …………………………… Daniel Appiah-Adjei Supervisors (Principal) ………………………… Professor Martin Okyere Owusu University of Ghana, Legon ………………………..…… Dr. Agyemang Ossei Senior Lecturer University of Ghana, Legon …………………………… Dr. Regina Kwakye Opong Lecturer University of Ghana, Legon i University of Ghana http://ugspace.ug.edu.gh DEDICATION To My Family and those who are fighting for African cultural survival. And To “The towering Wawa Aba of Ghanaian Theatre” Professor Martin Okyere Owusu. I am extremely honored to be counted among your league of students ii University of Ghana http://ugspace.ug.edu.gh ACKNOWLEDGEMENT All thanks should go to the Almighty God for His immense guidance and support. Indeed, God has been merciful to me as one of the First batch of the Masters Students at the School of Performing Arts (MFA Playwriting), and one of the first to be graduated in PhD at the Department of Theatre Arts. My Supervisors Prof. Martin Owusu, Dr. Agyemang Ossei, Dr.
    [Show full text]
  • The Contexts and Meaning in Asante Dance Performance: The
    University of Ghana http://ugspace.ug.edu.gh THE CONTEXTS AND MEANING IN ASANTE DANCE PERFORMANCE: THE CASE OF KETE BY EMMANUEL CUDJOE 10306990 THIS DISSERTATION IS SUBMITTED TO THE UNIVERSITY OF GHANA, LEGON IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE AWARD OF M.A. IN AFRICAN STUDIES DEGREE. DECEMBER, 2015 University of Ghana http://ugspace.ug.edu.gh DECLARATION I certify that this dissertation is my original work produced from research undertaken under supervision. ……………………….. EMMANUEL CUDJOE Candidate …………………………... Main Supervisor (PROF. DANIEL AVORGBEDOR) ………………………….. Assistant Supervisor (DR.MOSES NII- DORTEY) i University of Ghana http://ugspace.ug.edu.gh DEDICATION This work is dedicated to my Lord and Master Jesus Christ for His vision and love. ii University of Ghana http://ugspace.ug.edu.gh ACKNOWLEDGEMENTS I am grateful to God for his mercies and to my supervisors, Professor Daniel Avorgbedor and Dr.Nii Dortey for their guidance and supervision. This work would not have been possible without their insights and direction. My heartfelt appreciation goes to my mother Georgina Antwi, my seniors Sandra Owusu, Twumasi-Ntiamoah, Senyo Okyere, the Cudjoe family, God is Able Family (Nԑkԑ fellows), friends, and colleagues who contributed in diverse ways and assisted in proof reading this work. I thank you all. Finally, I would like to thank my mentors Dr.Osei Agyeman for believing in me, and for his tutorship, and Eric Baffour Awuah for his grooming and mentorship. My appreciation goes to Ahenemma Ketegroup in Fanti New-Town, Kumasi, headed by Boboo and Mr Baffour Kyeremanteng (a.k.a Yeiwura ), and Mr.Zakari Zabulong Abdallah for their contribution.
    [Show full text]