DOCSLIB.ORG

Oguaa Fetu Afahye Festival

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Oguaa Fetu Afahye Festival THE TULIP TOUR GUIDE TO GHANA Festivals The Chale Wote Street Art Festival It is an alternative platform that brings art, music, dance and performance out of the galleries and onto the streets of James Town, Accra. The first festival took place in July 2011, following a series of discussions about creating DIY [do-¬it yourself] community projects by participants at our Talk Party Series. Our partners for the festival include Dr. Monk, AfroGallonism, and the Millennium Cities Initiative – AMA Project Management Unit. Our vision is to cultivate a wider audience for the arts in West Africa by breaking creative boundaries and using art as a viable form to rejuvenate public spaces. The CHALE WOTE Street Art Festival challenges both artists and community-¬based audiences to connect through art. The festival includes street painting, graffiti murals, photo exhibitions, interactive installations, a food and fashion marketplace, live street performances, extreme sports, African film shows, street boxing, a fashion parade, a music block party, recyclable design workshops and much more. More than 200 Ghana-based and international artists take part in the event every year. In 2016, over 30,000 people attended Chale Wote Homowo Festival (May) It is celebrated by the Ga people of the Greater Accra region of Ghana. The moral of the festival is to commemorate the period in their history when there was a serious famine in the land. The festival is very glamorous and showcases a great deal of traditional values of the Ga people. Legend has it that there was a period in the history of the Ga Kingdom, when there was a severe famine. There was no rain and the people were in great starvation. The people instead of sitting down and wallowing in self-pity, rather embarked on a vicious cycle of food cultivation and as they were rewarded with a bountiful harvest. They therefore celebrate the Homowo, to hoot at hunger and rejoice in their harvest. A Month before the celebration, there is a ban on drumming and noise making in the Greater Accra region. The calendar of the feast which is usually in August is made by the Dantu Priest. The festival starts when the Dantu priest celebrates his grand custom of feasting and making of concoctions for royal family to sprinkle on them to ward away evil spirits and protect them against diseases. One interesting aspect of the celebration is the twin’s day. On this day all twins in the town are dressed in white calico, and paraded around town. This is a show of pride and is very glamorous. There is a boat race between the Asafo groups (Traditional warriors); this is just to add to the excitement of the celebration. There is a special meal for the celebration. This meal known as (kpokpoi) is made from maize and eating with palm nut soup. The paramount chief of the Ga traditional area, the Ga Mantse, goes round the town sprinkling the food on the ground. This food he sprinkles are said to be for the gods, as a show of appreciation to them for keeping the people safe and making see another year. Natives who have travelled return home and family issues are discussed in every household. Disputes are settled and there is a merry making. There is also a grand durbar of the chiefs and people of the region. The King delivers his annual speech and advises the people to do what is right and live in harmony with one another. The chief priest pours libation and prays for the people. The king sits in state and receives dignitaries amidst drumming and dancing. The grand durbar marks the end of the celebrations. The moral of the Homowo festival is to show to the people that with hard work and determination, they can succeed in everything they do. Just as their ancestors did, in the face of hunger and starvation, they didnt just sit down, but worked hard to overcome the famine and starvation and that is the spirit of feast. Hogbetsotso Festival (First Saturday in November) Hogbetsotso Festival is a festival of the people of Anlo in the Volta Region of Ghans. The theme behind this festival is to mark their journey from their former home in Togo, to their present settlement in Ghana. History has it that before coming to their present settlement. The Anlo lived under a cruel and wicked ruler, King Agorkoli of Notsie, somewhere south of present day Sudan. The Anlo people devised a way to escape from the town. They were led by a brave warrior known as the Red Hunter. Notsie was fenced with a mud wall, so the Anlo women were told to pour water on one side of the wall anytime they had to dispose off any water. This made the spot soft, and the people were able to break the wall and escape. To avoid being caught, they "walked backwards" so as to confuse their pursuers and even legend has it that “The Red Hunter” turned himself into a rat and walk over all their footprints to make them look old. When they got to their present home, they created the festival Hogbetstso (Festival of Exodus) to mark this event. The festival has a host of other celebrations associated with it. There is a period of peace making. During this period, all outstanding disputes must be resolved. The aim is to bring the people together to live in harmony with each other. There is also a general cleaning in the town. The whole town is swept, gutters cleaned, bushes are cleared and everywhere is kept clean. The cleaning which starts at the estuary of the Volta River, goes on until it reaches the Mono River in Benin. This cleaning exercise is all inclusive and everyone in the town is supposed to take part. The people of Anlo believe that if they keep their surroundings clean, and they live in harmony with each other, no evil can befall. They believe that their ancestors lived in harmony with each other all throughout their journey and that is what helped them to arrive at their destination. Therefore if they also want to be able to live in harmony, they must love one another. The cleaning continues for days until everywhere is well kept. The highlight of the Hogbetsotso Festival celebration is a grand durbar of the chiefs and people of the town. There is drumming and dancing and merry making. The dancing is the most intriguing part, with the very popular Borborbor dance which is very intense and fun filled. Aboakyer Festival (First Saturday in May) It is a bushbuck hunting festival celebrated by the people of Winneba in the Central Region of Ghana. The name ‘'Aboakyer'’ translates as ‘hunting for game or animal’ in Fanti dialect as spoken by the people of the Central region. The institution of the festival was to commemorate the migration of Simpafo (tradition name given to the people of Winneba). The people migrated from the North-eastern African town of Timbuktu in the ancient Western Sudan Empire to their present land in the central coast of Ghana. The journey from the North-east to the Western part of Africa was led by two brothers. The people believed that a god, who they called Otu, had protected them from all dangers during their migration and to show their appreciation, the people consulted the custodian of the god, a traditional priest who acted as an intermediary between the people and the god, to ask the god for its preferred sacrifice. To their astonishment, the god asked for a human sacrifice, someone from the royal family. This sacrifice went on for some years but was later stopped as the people were no longer interested in human sacrifices. A request was made to the god to change the sacrifice type, as they believed that sacrificing royalty could eventually wipe out the royal family.The god in return asked for type of wild cat to be caught alive and presented to it at its shrine. After the presentation, it was to be beheaded as a sacrifice. This was to be done annually in a festival. Before the festival began the people settled the god at a town called Penkye. After the resettlement, the god became known as Penkyi Otu, to signify the final home for the god. To mark the festival, the people sought out the wild cat, as had been prescribed. Many lives were lost in the process as the animal was to be captured live and transported to Penkye. The people made a second appeal to Penkyi Otu to provide an alternative to the wild cat. That appeal resulted in the decision to accept a mature bushbuck. This festival is celebrated in May and it is a major event in Ghana. The people of Simpa passed on this history to their descendants in the form of songs, and sang it in their war chants as well as told it during moonlit nights in story form. This oral tradition went on until the colonial Europeans arrived on the coast of the Gold Coast and with them the English language. Scholars then translated the oral story from the language 'Fante' to English. The festival is celebrated on the first Saturday in May. On the first day of the festival, the two Asafo Companies (warrior groups) in Winneba take part in a hunting expedition. The first troop to catch a live bushbuck from a game reserves used for this purpose and present it to the chiefs and people at a colorful durbar is declared winner and is highly regarded for bravery.The bushbuck is sacrificed and this signifies the start of the Aboakyer festival.
Load more

Recommended publications
  • ETD Template
    CREATIVE PROCESSES IN AKAN MUSICAL CULTURES: INNOVATIONS WITHIN TRADITION by Eric Odame Beeko Dip. Mus., National Academy of Music, Winneba, Ghana, 1984 Post-Dip. Mus. Edu., University College of Education, Winneba, Ghana, 1988 B.Ed. Mus., University of Cape Coast, Ghana, 1996 M.Phil. Mus., University of Ghana, Legon, 2000 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree University of Pittsburgh 2005 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Eric Odame Beeko It was defended on April 19, 2005 and approved by Dr. Mary Lewis Dr. Nathan Davis Dr. V. Kofi Agawu Dr. Joseph Adjaye Dr. Akin O. Euba Dissertation Director ii This work is copyright, and no part of it may be reproduced by any process, manually or electronically, without the written permission of the author. Copyright 2005 by Eric Odame Beeko iii CREATIVE PROCESSES IN AKAN MUSIC: INNOVATIONS WITHIN TRADITION Eric Odame Beeko, PhD University of Pittsburgh, 2005 The aim of this dissertation is to explain the creative processes in composition and performance of traditional music, and the subsequent innovations that emerge out of these processes in the musical traditions of the Akan people of Ghana. The study is premised on the fact that, traditional musicians in the Akan culture, like most people on the surface of the earth, also have the natural capacity to consciously or unconsciously effect changes in their environments, play significant roles in most human-initiated change processes, and make contributions to both the material and institutional aspects of their culture, as their creative sensibilities or tendencies continue to bring about various forms of innovations from time to time.
    [Show full text]
  • Estado, Paramount Chiefs Ashanti E a Construção De Uma Face De Janus Política-No Gana Pós-Colonial:Vinho Velho Em Garrafas Novas Ou Vinho Novo Em Garrafas Velhas?
    Estado, Paramount Chiefs Ashanti e a Construção de uma face de Janus Política-no Gana Pós-Colonial:Vinho Velho em Garrafas Novas ou Vinho Novo em Garrafas Velhas? Vitor Alexandre Lourenço ESTADO, PAI\AMOUNT CHIEPS ASHANTI E A CONSTI\UÇAO DE UMA FACE DE JANUS POLITICA NO GANA PÓS-COLONIAL: VINHO VELHO EM GAI\1\AFAS NOVAS OU VINHO NOVO EM ~ARI\AFAS VELHASl Introdução A problemática do papel das Autoridades Tradicionais no domínio da política, e, so­ bretudo, do político em África, e das suas relações com os Estados, não é um assunto recente no domínio das diversas Ciências Sociais. Em termos de visibilidade académica, só a partir dos anos 80 esta problemática volta a ter a importância que teve no período que mediou entre o fim da 2. • Guerra Mundial e o início das independências africanas (Dias, 2001). De facto, nos anos 60 e 70, a problemática das relações Estado-Autoridades Tradicionais perdeu muita da sua antiga importância científica e o Estado passou a ser o centro de todas as atenções analíticas, como único e exclusivo factor politico dos países africanos recém-independentes: vide, no quadro ideológico da época, o agente social e político promotor do "desenvolvimento': da "modernização" e dos processos de "nation­ building" (Bayart, 1989; Chabal, 1994; Wunsch & Olowu, 1995). A partir dos anos 80, em simultâneo com a radicação da ideia do falhanço dos Estados africanos em promover um desenvolvimento equitativo e sustentável, surgiram, contudo, uma série de correntes teórico-conceptuais que buscavam contributos explicativos cen­ trados na diversificação das lógicas sociais em jogo no conjunto nacional, e nomeada­ mente nas dinâmicas da recém-gizada "sociedade civil~ Essas correntes teóricas estavam mais vocacionadas para estudarem dinâmicas sociais locais, conceptualizadas em torno das noções de "modos populares de acção política" e de "politique par le bas" (Bayart et al., 1992; Florêncio, 2006).
    [Show full text]
  • 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.
    [Show full text]
  • University of Ghana, Legon Department for the Study of Religions
    University of Ghana http://ugspace.ug.edu.gh UNIVERSITY OF GHANA, LEGON DEPARTMENT FOR THE STUDY OF RELIGIONS THE RELIGIOUS AND PHILOSOPHICAL PERCEPTION OF COMMUNAL MEAL ‘OTOR’ AS A STRATEGY FOR CONFLICT RESOLUTION: A CASE STUDY OF WORAWORA IN GHANA REV. EMMANUEL KWAME OTU (10359589) THIS THESIS IS SUBMITTED TO THE UNIVERSITY OF GHANA, LEGON, IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE AWARD OF MASTER OF PHILOSOPHY RELIGIONS DEGREE JULY, 2013 University of Ghana http://ugspace.ug.edu.gh DECLARATION I hereby declare that this thesis is not a reproduction, in part or in whole, of any work ever presented for the award of a degree. It is my own original researcher undertaken under supervision. ………………………………………. ………………………. Rev. Emmanuel Kwame Otu Date …………………………………….. …………………...... Prof. Elizabeth Amoah Date ……………………………………. ………………………. Prof. Christ Thomas Date i University of Ghana http://ugspace.ug.edu.gh ABSTRACT The content of this study is the communal ritual meal Otor of the Worawora‟s of Ghana as a strategy for alternative conflict resolution and reconciliation. This communal meal is celebrated during the main festivals of the people of Worawora namely the Akwntutenten, yam and rice festivals. The Akwntutenten, festival has however, become the major festival of the people of Worawora. The symbolic ritual meal is very significant since it is perceived as a means by which conflict resolution and reconciliation is achieved. This perception explains the importance attached to the eating of the Otor meal during their festivals which attract a large number of their citizens. The study investigated the religious and philosophical perception of mashed yams Otor in order to present to policy makers an alternative strategy for conflict resolution and reconciliation in African communities.
    [Show full text]
  • Stamping History: Stories of Social Change in Ghana's Adinkra Cloth
    Stamping History: Stories of Social Change in Ghana’s Adinkra Cloth by Allison Joan Martino A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in The University of Michigan 2018 Doctoral Committee: Professor Raymond A. Silverman, Chair Professor Kelly M. Askew Assistant Professor Nachiket Chanchani Professor Emeritus Elisha P. Renne Allison Joan Martino [email protected] ORCID iD: 0000-0002-1252-1378 © Allison Joan Martino 2018 DEDICATION To my parents. ii ACKNOWLEDGEMENTS In the summer of 2013, I was studying photography and contemporary art in Accra, Ghana’s capital. A conversation during that trip with Professor Kwesi Yankah changed the course of my research. He suggested a potential research project on adinkra. With adinkra everywhere in Ghana today, research possibilities seemed endless. Adinkra appealed to me from my interest in studying Akan visual and verbal arts, a research area nurtured during an ethnopoetics course that Professor Yankah taught as a visiting scholar at Michigan in 2011. That conversation led to this project. Soon after that meeting with Professor Yankah, I took an exploratory research trip to Kumasi. Professor Gilbert Amegatcher, who has a wealth of knowledge about Akan arts and culture, traveled with me. He paved the way for this dissertation, making key introductions to adinkra cloth makers who I continued to work with during subsequent visits, especially the Boadum and Boakye families. My sincerest thanks are due to Professors Yankah and Amegatcher for generating that initial spark and continuing to support my work. Words cannot express my gratitude to the extended members of the Boakye and Boadum families – especially Kusi Boadum, Gabriel Boakye, David Boamah, and Paul Nyaamah – in addition to all of the other cloth makers I met.
    [Show full text]
  • Middlesex University Research Repository an Open Access Repository Of
    Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Smith, Trevor (2018) Christian theology emerging from the Akan single-tiered unitive perspective on reality. PhD thesis, Middlesex University / Oxford Centre for Mission Studies. [Thesis] Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/24205/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated.
    [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]
  • Akan Witchcraft and the Concept of Exorcism in the Church of Pentecost
    AKAN WITCHCRAFT AND THE CONCEPT OF EXORCISM IN THE CHURCH OF PENTECOST by OPOKU ONYINAH A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Theology School of Historical Studies The University of Birmingham February 2002 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. Full Name (surname first) Opoku Onyinah School of Historical Studies/ Theology Akan Witchcraft and the Concept of Exorcism in the Church of Pentecost Doctor of Philosophy Witchcraft and “exorcisms” have dominated African cultures and posed problems for African people. This thesis is a study of the current exorcistic ministry within a Pentecostal church in Ghana with reference to the Akan culture. The general opinion gathered from current anthropological studies on witchcraft is that the ultimate goal of exorcism is to become modernised. However, using interdisciplinary studies with a theological focus, the thesis departs from this, and contends that it is divinatory- consultation or an inquiry into the sacred and the search for meaning that underlies the current “deliverance” ministry, where the focus is to identify and break down the so- called demonic forces by the power of God in order to “deliver” people from their torment.
    [Show full text]
  • Purity and Impurity: Menstruation and Its Impact on the Role of Akan Women in the Church
    VU Research Portal Purity and Impurity Frimpong, A.D. 2011 document version Publisher's PDF, also known as Version of record Link to publication in VU Research Portal citation for published version (APA) Frimpong, A. D. (2011). Purity and Impurity: Menstruation and its Impact on the Role of Akan Women in the Church. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. E-mail address: [email protected] Download date: 26. Sep. 2021 CHAPTER TWO: THE AKAN RELIGIOUS-CULTURAL SETTING 2.1 Introduction The focus of this chapter is to provide the background information needed to situate this study within a context. To begin with, a brief description is presented of the main features of Akan traditional religion. This is to enable the reader to fully appreciate the influence of religion on the lives of the Akan in order to understand them as a people.
    [Show full text]
  • The Place of Taboos in Contemporary
    University of Ghana http://ugspace.ug.edu.gh UNIVERSITY OF GHANA, LEGON DEPARTMENT FOR THE STUDY OF RELIGIONS THE PLACE OF TABOOS IN CONTEMPORARY AKWAMUTRADITIONAL SOCIETY BISMARK KWASI OSEI JULY, 2017 University of Ghana http://ugspace.ug.edu.gh UNIVERSITY OF GHANA, LEGON DEPARTMENT FOR THE STUDY OF RELIGIONS THE PLACE OF TABOOS IN CONTEMPORARY AKWAMU TRADITIONAL SOCIETY BY BISMARK KWASI OSEI (10508453) THIS THESIS IS SUBMITTED TO THE UNIVERSITY OF GHANA, LEGON IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE AWARD OF MPHIL STUDY OF RELIGIONS DEGREE JULY, 2017 University of Ghana http://ugspace.ug.edu.gh DECLARATION I hereby declare that this thesis is not a reproduction, in part or in whole, of any work ever presented for the award of a degree. It is my own original research undertaken under supervision. BISMARK KWASI OSEI …………………………… …………………………….. (STUDENT) DATE DR GODSON AHORTOR ………………………… …………………………… (SUPERVISOR) DATE DR. BEN-WILLIE KWAKU GOLO………………… …………………………… (SUPERVISOR) DATE i University of Ghana http://ugspace.ug.edu.gh ABSTRACT This study investigated the place of taboos in contemporary Akwamu traditional society. Its primary aim is to identify taboos which are observed in Akwamu traditional society and the philosophical explanations underpinning the practice of these taboos. It is also to examine how taboos affect ethical values in the daily lives of the people and their relevance in the maintenance of social order in contemporary Akwamu traditional society. A qualitative design and phenomenological approach were used in this study. The main instruments used in gathering relevant data for the study were interview, observation and relevant information from documentary sources. In all, forty respondents comprising family heads, chiefs, queen mothers, Christians and Muslims were purposively selected for the study based on their knowledge in Akwamu traditional philosophy and cultural practices.
    [Show full text]
  • [Ghanabib 1819 – 1979 Prepared 23/11/2011] [Ghanabib 1980 – 1999 Prepared 30/12/2011] [Ghanabib 2000 – 2005 Prepared 03/03
    [Ghanabib 1819 – 1979 prepared 23/11/2011] [Ghanabib 1980 – 1999 prepared 30/12/2011] [Ghanabib 2000 – 2005 prepared 03/03/2012] [Ghanabib 2006 – 2009 prepared 09/03/2012] GHANAIAN THEATRE A BIBLIOGRAPHY OF PRIMARY AND SECONDARY SOURCES A WORK IN PROGRESS BY JAMES GIBBS File Ghana. Composite on ‘Ghana’ 08/01/08 Nolisment Publications 2006 edition The Barn, Aberhowy, Llangynidr Powys NP8 1LR, UK 9 ISBN 1-899990-01-1 The study of their own ancient as well as modern history has been shamefully neglected by educated inhabitants of the Gold Coast. John Mensah Sarbah, Fanti National Constitution. London, 1906, 71. This document is a response to a need perceived while teaching in the School of Performing Arts, University of Ghana, during 1994. In addition to primary material and articles on the theatre in Ghana, it lists reviews of Ghanaian play-texts and itemizes documents relating to the Ghanaian theatre held in my own collection. I have also included references to material on the evolution of the literary culture in Ghana, and to anthropological studies. The whole reflects an awareness of some of the different ways in which ‘theatre’ has been defined over the decades, and of the energies that have been expended in creating archives and check-lists dedicated to the sister of arts of music and dance. It works, with an ‘inclusive’ bent, on an area that focuses on theatre, drama and performance studies. When I began the task I found existing bibliographical work, for example that of Margaret D. Patten in relation to Ghanaian Imaginative Writing in English, immensely useful, but it only covered part of the area of interest.
    [Show full text]
  • International Development Summer Institute (IDSI) Summer 2012, KNUST Ghana
    International Development Summer Institute (IDSI) Summer 2012, KNUST Ghana Kwame Nkrumah (Penn Alum 1941), the first President of Ghana. Statue is dedicated to him for his outstanding campaign to liberate Ghana from colonial rule. April 2012 Dear Participants, 1 Welcome to IDSI 2012! Congratulations for being selected for this program. We know you have worked hard to be able to participate in this program, and we have put together a challenging and rewarding experience. This program is designed to introduce you to many of Ghana’s cultures, languages, issues, and sectors of society that can teach us more about international development today. Through cultural immersion, site visits, lectures, and hands-on internships we will stimulate valuable knowledge expansion. While in Ghana, you will practice passionate listening and sensitive scholarship. The mouth that is silent, no fly enters it. A child who asks questions does not become a fool. Knowledge is like a baobab tree; no one can encompass it with their hands. We have one mouth and two ears. IDSI ultimately promotes mutual understanding and respect between Penn & KNUST and the United States and Ghana. In this sense, you are “cultural ambassadors” and should become active and involved upon returning to campus. Please read this handbook and keep with you at all times. We look forward to an exciting, educational summer! IDSI Staff 2 CODE OF CONDUCT While in Ghana, you will be representing not only yourself, but also the University of Pennsylvania, the United States, and your country of origin. It is critical that you remember this at all times.
    [Show full text]