http://41.74.91.244:8080/handle/123456789/781 Sat, 13 Jun 2026 06:05:39 GMT 2026-06-13T06:05:39Z http://41.74.91.244:8080/handle/123456789/5275 The development of fancy dress costume designs in Ghana from 1950 to 2022 Dwumah, E.B. Fancy Dress is a Ghanaian dress fashion art, performed by young men, women, and children, incorporating music, dance, costuming, and masking elements. Despite its existence in Ghana's early colonial and post-colonial eras, little attention has been given to the design history and trends of fancy dress costumes. Also, the design history and trends of fancy dress costumes have been overlooked over the years, making it complex to understand their evolution. The study explores the development of Fancy Dress costume design in Ghana from 1950 to 2022, analyzing trends, materials, techniques, and the impact on the Ghanaian fashion industry. The study utilized qualitative research methods, including descriptive, historical, and narrative, with 15 respondents selected through expert purposive sampling, supported by material culture and symbolic interactionism theories. The study reveals that Indigenous Asafo performances predate colonial Ghana, with a hybrid of European and Ghanaian styles that revive the Ghanaian fancy dress seen today. Fancy dress art in Ghana, originating in the mid-1900s, evolved into a local carnival after World War II, influenced by European dress politics and Hollywood movie characters. The study revealed that Fancy dressers in the early 19th century restricted their selection of textile materials to the availability of goods at coastal trading shores. Also, Fancy dress art showcases national identity and cultural heritage through designs, textiles, and costumes worn during performances. The study found that 21st-century Ghanaian Fancy Dress costumes address socio-political issues while maintaining the primary responsibilities of Asafo practices before the European Fancy Dress fusion. The study recommends that stakeholders in Ghana's fashion and creative industries, including Fancy Dress designers, makers, and performers, actively recognize and support the Fancy Dress tradition as a key contributor to economic growth, cultural preservation, and social cohesion. A thesis submitted to the school of graduate studies in partial fulfilment of the requirement for the award of the degree of Master of Philosophy (Art Education) Department of Art Education, School of Creative Arts UNIVERSITY OF EDUCATION, WINNEBA JANUARY, 2023 Sun, 01 Jan 2023 00:00:00 GMT http://41.74.91.244:8080/handle/123456789/5275 2023-01-01T00:00:00Z http://41.74.91.244:8080/handle/123456789/5223 Computer-assisted instruction (CAI) usage in teaching graphic design in Senior High Schools in the Eastern Region Fofo, J.K. In Ghana, integrating Computer-Assisted Instruction (CAI) is essential for aligning Graphic Design education with contemporary digital practice. However, a significant gap persists between national ICT policy aspirations and classroom reality in Ghana. This study explored the integration of CAI in the teaching of Graphic Design within selected Senior High Schools in the Abuakwa North Municipality. Guided by an integrated theoretical framework of Constructivism and Behaviorism, the study pursued three objectives: to investigate available instructional technologies, explore current CAI practices, and assess systemic barriers to adoption. A qualitative research design was employed, using semi-structured interviews with six Graphic Design teachers and non-participant observations. Data were analysed through thematic analysis. The findings revealed a fragile technological foundation characterised by scarce and outdated hardware, unreliable utilities, and negotiated access. CAI practices were predominantly teacher-centred, relying on demonstrations and constrained group work due to resource limitations, though student engagement was notably high. The most profound barriers were systemic, with the high-stakes examination (WASSCE) favouring manual skills acting as the primary disincentive. This was compounded by a critical lack of subject-specific teacher training, attitudinal resistance to digital art, and inflexible school timetables. The study concludes that meaningful CAI integration is hindered not merely by a lack of resources, but by a complex ecosystem of conflicting assessment priorities, inadequate professional support, and institutional culture. It recommends strategic reforms, including revising national assessment to include digital portfolios, mandating specialised digital pedagogy training for teachers, and ensuring stable foundational infrastructure in schools to bridge the gap between policy and practice in Graphic Design education. A thesis in the Department of Art Education, School of Creative Arts, submitted to the school of Graduate Studies in Partial Fulfilment of the requirements for the award of the degree of Master of Philosophy (Art Education) in the University of Education, Winneba JULY, 2025 Tue, 01 Jul 2025 00:00:00 GMT http://41.74.91.244:8080/handle/123456789/5223 2025-07-01T00:00:00Z http://41.74.91.244:8080/handle/123456789/5196 Investigating factors that influence students’ choice of colour for picture-making Asare, J.A The main objective of the study was to examine the factors influencing students’ choice of colour in Picture Making. The study was guided by three specific objectives; to explore the students’ knowledge of colour symbolism in relation to their choice of colours in Picture Making at Tema Secondary School, Ghana; to examine students’ perception of colour combinations for Picture Making and; to explore the rationale for choosing colours for Picture Making by students at Tema Secondary School. The study adopted a descriptive research design and a qualitative research approach. Nine students were selected for the study. The findings show that colour symbolism is very essential to students when selecting the choice of colour in their picture making. The study’s findings also showed that students have a certain degree of understanding of colour combinations as other respondents were of the view that it sometimes poses a challenge for them during picture making. The study recommends that teachers can assign research projects on specific colours and their symbolic meanings. Teachers should have students present their findings to the class, and discuss historical, cultural, and psychological associations. This can promote independent learning and deeper exploration. A dissertation in the Department of Art Education, School of Creative Arts, Submitted to the School of Graduate, in partial fulfilment Of the requirements for award of the degree of Master of Philosophy (Art Education) In the University of Education Winneba. DECEMBER, 2024 Sun, 01 Dec 2024 00:00:00 GMT http://41.74.91.244:8080/handle/123456789/5196 2024-12-01T00:00:00Z http://41.74.91.244:8080/handle/123456789/5182 A visual analysis of works of some selected Ghanaian art educators Ezuame, M.M. Although art is widely studied as a discipline, limited scholarly attention has been given to art educators, particularly within Ghanaian higher education institutions. This gap is important in the context of ongoing curriculum reforms that emphasize creativity, critical thinking, and engagement with Ghanaian society and culture. Art educators play a crucial role in training future artists, teachers, and cultural practitioners by promoting critical inquiry, cultural awareness, and professional competence beyond technical instruction. This study examines the pedagogical practices, artistic work, and professional experiences of Ghanaian art educators to understand how curricular goals are interpreted and implemented despite persistent challenges in art education. Using a qualitative approach based on narrative research design and content analysis, the study draws on interviews and observations involving seven art educators from three tertiary institutions in Ghana. Findings reveal that art educators adopt personal and instructional strategies that stimulate creativity, encourage cultural self-expression, and develop students’ technical and critical abilities. Despite heavy academic responsibilities, they remain active in research, professional development, and creative practice, contributing to curriculum reform and pedagogical advancement. Their artistic works engage with social, cultural, political, and environmental issues while promoting African identity. The study concludes that recognizing art educators as both artists and teachers is essential for strengthening art education and shaping contemporary Ghanaian art within global contexts. A thesis submitted to the School of Graduate Studies in partial fulfillment of the requirements for the award of the degree of Master of Philosophy (Art Education) Department of Art Education School of Creative Arts DECEMBER, 2024 Sun, 01 Dec 2024 00:00:00 GMT http://41.74.91.244:8080/handle/123456789/5182 2024-12-01T00:00:00Z