http://41.74.91.244:8080/handle/123456789/781 2026-07-11T16:03:14Z 2026-07-11T16:03:14Z Kpogo, R.R. http://41.74.91.244:8080/handle/123456789/5414 2026-07-08T11:46:33Z 2024-11-01T00:00:00Z

Textile arts of the Anlo Hetsofui clan a historical acuity Kpogo, R.R. Anlo is one of the sub-groups of the Ewe people who speak the Anlo dialect (Anlogbe). The Hetsofui clan is one of the 15 clans of the Anlo and has been involved in various traditional artistic practices as part of their culture and heritage. In times past, the Anlo Hetsofui clan was known for producing various art forms including textiles arts on commercial scale which has socioeconomic impact on the people but the textile arts keep fading in recent times. The study seeks to identify and describe the characteristics, symbolic functions and documentation of the textile arts of the Hetsofui clan. The study employed qualitative research, using descriptive research to identify and examine the textile arts. Qualitative research was used for the study because it allowed for a detailed description of the textile arts and facilitated close interactions between the researcher and the participants in their natural settings. Twenty-four (24) participants were purposively chosen, and data were collected using a semi-structured interview and participant observation. The findings, among others, indicated that the textile arts of the Hetsofui clan include the characteristics, symbolism, and functions of Ketiba, Aflagba, Gbadze, Papa, Kevi, Bayaxa, Tsatsa, and Kete, all of which have been documented in this study. The arts of the Hetsofui clan are mostly associated with their daily livelihood including social, cultural, religious and chieftaincy purposes. It is recommended that these artefacts be produced by artists with the active support of chiefs, queens, opinion leaders, and indigenes, in order to enhance aesthetic value, promote appreciation, and ensure the preservation and sustainability of their cultural heritage A thesis submitted to the school of Graduate Studies in partial fulfilment of the requirements for the award of the degree Master of Philosophy (Arts and Culture) Department of Music Education School of Creative UNIVERSITY OF EDUCATION, WINNEBA NOVEMBER, 2024

2024-11-01T00:00:00Z Nyarko, E.E. http://41.74.91.244:8080/handle/123456789/5343 2026-07-01T12:38:36Z 2024-06-01T00:00:00Z

Innovation in sound production practices in theatre education a case study of the Department of Theatre Arts, University of Education, Winneba. Nyarko, E.E. The theatre's visual and non-visual design elements, including scenery, lighting, sound, costumes, and make-up, have benefited greatly from the advancement of technology. The role sound plays in theatrical productions is essential. The study investigates the relevance of sound reinforcement to sound production during stage productions, also looks into the basic processes involved in theatrical sound production and reinforcement, and lastly develops an innovative sound reinforcement approach for performances. Using the semiotic theory, the design was anchored on participant observations, interviews, and group discussions. The study showed that sound plays a vital role in theatrical production to aid comprehension. The study further revealed the relevance of sound amplification to stage productions and aimed at the basic process involved in theatrical sound production. The study examined and looked into how to improve sound production during staged performances. The study concludes that facilities built for theatrical productions should be well-designed to meet standards and well-equipped with the requisite systems and technology to aid sound production, and users should be taken through the requisite training in how to operate the facilities provided. A dissertation in the Department of Music Education, School of Creative Arts, submitted to the School of Graduate Studies, in partial fulfilment of the requirements for the award of Master of Philosophy Degree (Arts and Culture - Technical Theatre) in the University of Education, Winneba

2024-06-01T00:00:00Z Billhall, B.T. http://41.74.91.244:8080/handle/123456789/5342 2026-07-01T12:34:50Z 2025-12-01T00:00:00Z

Information and communication technology integration in senior high schools in Ghana visual art teachers in Mfantseman Municipality in perspective Billhall, B.T. This study investigated the integration of Information and Communication Technology in Senior High Schools in Ghana, focusing on the lived experiences of Visual Art teachers in the Mfantseman Municipality of the Central Region. Guided by the Technological Pedagogical Content Knowledge (TPACK) framework, the study adopted a qualitative case study design involving 20 Visual Art teachers selected through purposive and convenient sampling. Data were collected using interviews and classroom observations and analysed thematically. The study found that teachers’ TPACK, particularly in blending content and pedagogy with technology, was generally low, resulting in limited ICT integration in teaching and learning. The barriers to effective ICT integration encompassed the centralisation of ICT laboratories, inadequate infrastructure, restrictive policies limiting students from bringing personal digital devices to school. Additional constraints included limited access to specialised software such as CorelDraw and Photoshop, lack of in-service training for Visual Art teachers, unreliable internet connectivity, and inadequate technical support. These challenges hinder both teacher effectiveness and students’ development of digital creativity and 21stcentury competencies. Consequently, they raise critical concerns about the implementation and efficacy of national ICT policies in Visual Art education within SHSs in Gahan, specifically in Mfantseman Municipality. The study recommends targeted professional development programmes, decentralisation of the ICT laboratory within the Visual Art department. It also advocates for supportive policy interventions by the Mfantseman Municipal Education Directorate, school heads, School Management Committees to enhance ICT integration. Overall, the findings provide critical insights for stakeholders seeking to improve technology-supported pedagogy and student outcomes in Visual Art education. A thesis submitted to the school of Graduate Studies in partial fulfilment of the requirements for the award of Master of Philosophy (Arts and Culture) Department of Music Education School of Creative Arts UNIVERSITY OF EDUCATION, WINNEBA DECEMBER, 2025

2025-12-01T00:00:00Z Dwumah, E.B. http://41.74.91.244:8080/handle/123456789/5275 2026-06-10T13:36:40Z 2023-01-01T00:00:00Z

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

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