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The Representation of the Kasena Culture Through Kasem Language Films

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The Representation of the Kasena Culture Through Kasem Language Films THE REPRESENTATION OF THE KASENA CULTURE THROUGH KASEM LANGUAGE FILMS By JOSEPH AKETEMA 10550818 THIS THESIS IS SUBMITTED TO THE UNIVERSITY OF GHANA, LEGON IN PARTIAL FULFILMENT OF THE REQUIREMENT FOR THE AWARD OF MASTER OF PHILOSOPHY DEGREE IN THEATRE ARTS, MEDIA ARTS OPTION JULY, 2017 DECLARATION This is to certify that this thesis is the result of research undertaken by me towards the award of the Master of Philosophy Degree in Theatre Arts, Media Arts Option in the Department of Theatre Arts, University of Ghana, Legon and that no part of it has been represented elsewhere, with all references appropriately acknowledged. I take sole responsibility for any shortcomings that the work may have. Joseph Aketema Student Signature: ………………………… Date: ……………………………… Dr. Samuel Benagr Supervisor Signature: ……………………….. Date: ……………………………. i ABSTRACT The film camera is one of the greatest technological inventions the world has ever had. Many countries have used filmmaking as a tool for promoting their culture. Thus, as a result of enculturation, some Ghanaians unfortunately propagate the images they see in these foreign films in theirs. This research, therefore, is an exploration of the content of some Kasem language films such as Kwara Jei (2010), Anɛmana (2014), and Chira Kambia (2015). The study assessed how the images in these films relate to the Kasena culture in their description and depiction of some traditional Kasena institutions using a qualitative approach with in-depth interviews and focus group discussions as instruments; and Kasem language and cultural experts, film tutors, Kasem language film directors, and Kasena Vora (Soothsayers) as participants. It emerged that there are indeed some forms of misrepresentation in some of the films with respect to issues bothering on the portrayal of Kasena chieftaincy and the Vogo practise among others. The Kasem language film directors also admitted to copying some of their cultural representation from films from Nigeria and other foreign films. This work recommends that Kasem language film directors endeavour to research by contacting heads of traditional institutions, Kasem language and cultural experts to guide them on how best to represent the Kasena culture in Kasem language and cultural films. ii DEDICATION This work is dedicated to my wife Mrs. Sylvia Aketema, for her sacrifices as a mother and mentor of our children while I was away at school. Special dedication and recognition is given to Prof. Thomas Akabzaa and Dr. Samuel Benagr whose support and words of encouragement have spurred me on. iii ACKNOWLEDGEMENTS Special thanks go to God through His son Jesus Christ my source of knowledge and strength. My profound thanks go to my parents Peter Sadongo Aketema and Juliana Akanchaa Aketema and the entire Aketema family for their words of encouragement and support. It is with a sincere heart that I thank Dr. Samuel Benagr (Principal supervisor) who despite his busy schedule made time and went through my work. He offered guidelines, constructive criticism, words of encouragement and moral support to enable me complete this work. For his valuable, priceless and dedicated service, I thank him. I will not forget of Dr. Joyce Osei Owusu for her words of encouragement. I am highly indebted to Joseph Weguri a Kasem language and culture expert who personally communicated to other Kasem language and cultural experts to partake in the focus group discussion I organized for the study. Again, special thanks also go the Kasena Vora (soothsayers) namely, Akurugu Apaabem, Awiah Saboro, Apana Chichuru, Awolana Tangwanse Avongo and Womoni Kozambana for taking time to explain the Kasena Vogo practices to me. The good Lord will bless you. I cannot forget you my uncle Atabisa Akantuwe (Super O.D.) for taking me to all the soothsayers interviewed. Words cannot express how indebted I am to Victor Awo, Ridwan Ibn Gariba, Hansel Elliot Kwara, Karim Abdul Farouk and Desmond Kanpoe for allowing me interview them and using their films for the study. Special thanks also go to Isaac Kpelle Guba and Iddrisu Seidu Kananzoe my colleague students and brothers who made my time on campus comfortable and less stressful. Further thanks go to all my colleagues and friends whose prayers, support and guidance has brought me this far. iv TABLE OF CONTENTS DECLARATION ..............................................................................................................................i ABSTRACT..................................................................................................................................... ii DEDICATION ................................................................................................................................ iii ACKNOWLEDGEMENTS ............................................................................................................ iv TABLE OF CONTENTS.................................................................................................................v LIST OF PHOTOGRAPHS...…………………………………………………………………..viii CHAPTER ONE ............................................................................................................................. 1 INTRODUCTION .......................................................................................................................... 1 1.1 Overview ............................................................................................................................... 1 1.2 Background to the Study ....................................................................................................... 3 1.3 The Kasenas as a People ....................................................................................................... 9 1.4 Problem Statement .............................................................................................................. 13 1.5 Objectives of the Study ....................................................................................................... 14 1.6 Research Questions ............................................................................................................. 14 1.7 Significance of the Study .................................................................................................... 15 1.8 Delimitation......................................................................................................................... 15 1.9 Organisation of the Study.................................................................................................... 15 CHAPTER TWO .......................................................................................................................... 18 LITERATURE REVIEW ............................................................................................................. 18 2.1 Introduction ......................................................................................................................... 18 2.2 Film from ‘the silent’ Era through to Current Times .......................................................... 18 2.3 The Concept of Culture ....................................................................................................... 21 2.4 Representation ..................................................................................................................... 26 2.5 Language and the Concept of Culture ................................................................................. 27 2.6 Film and Culture.................................................................................................................. 31 2.7 Theoretical Framework ....................................................................................................... 36 2.7.1 Cultural Norm Theory .................................................................................................. 36 2.7.2 Theories of Representation ........................................................................................... 39 v 2.7.3 Cultivation Theory ........................................................................................................ 40 CHAPTER THREE ...................................................................................................................... 42 METHODOLOGY........................................................................................................................ 42 3.1 Introduction ......................................................................................................................... 42 3.2 Research Design .................................................................................................................. 43 3.2.1 Qualitative Research ..................................................................................................... 43 3.3 Sampling Process ................................................................................................................ 43 3.4 Population............................................................................................................................ 45 3.5 Target population ................................................................................................................ 46 3.6 Data Gathering tools............................................................................................................ 47 3.6.1 Focus Group Discussion (FGD) ................................................................................... 47 3.6.2 In-depth Interviews ......................................................................................................
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