http://41.74.91.244:8080/handle/123456789/662 Mon, 13 Jul 2026 19:48:22 GMT 2026-07-13T19:48:22Z http://41.74.91.244:8080/handle/123456789/5390 Science Sculpting selected significant phases of Dipo rite amongst the Krobo people of Ghana Kyei-Nimako, H The Dipo rite, a cornerstone of Krobo cultural identity in Ghana, profoundly encapsulates the transition of girls to womanhood through its significant phases; however, existing scholarship remains predominantly textual, critically lacking three-dimensional visual representation capable of conveying its embodied and spatial essence. Addressing this gap, this artistic research employed a studio-based design methodology to sculpturally interpret the rite’s key phases; Spiritual Bathing and Purification, Public Parading and Community Integration, Tɛkpɛtɛ Stone Ritual and Virginity Testing of Dipo-yo, Adornment and Body Art of Dipo-yo, and the Reintegration of the Dipo-yo into the Community, as practised in Somanya. The study adopted a qualitative research approach, with primary data comprising oral narratives, experiential accounts, and visual-cultural observations relating to ritual practices, symbols, materials, and performative gestures. Data were collected through semi-structured interviews and visual analysis involving a homogeneous sample of twenty-four (24) stakeholders; elders, ritual practitioners, initiates, and artists, selected through convenience sampling within the community. The interview data were audio-recorded, transcribed, and systematically analysed using thematic analysis to identify recurring meanings, symbols, and ritual structures that inform the cultural logic of the Dipo rite. Through the thematic interrogation of ritual gestures, material culture, and symbolic acts, the study translated ephemeral moments, such as ritual bathing and bead adornment, into tangible sculptural forms. Indigenous and locally sourced materials, including clay, resin, and recycled glass beads, among others, were employed to embed cultural semantics and ensure material authenticity, thereby enabling a three-dimensional visual articulation of the Dipo rite’s intangible heritage. The resultant sculptures depicting the phases function as three-dimensional ethnographies, materialising transient rituals and offering a multisensory archive previously absent from Dipo documentation. In conclusion, this research demonstrates that sculptural mediation, grounded in indigenous materials and community engagement, provides an unparalleled pathway for preserving and reanimating the Dipo rite's complex embodied knowledge. The study recommend that The Chiefs and elders of Somanya should protect the Sculpted phases of Dipo rite to serve as educational and tangible cultural heritage and take steps to sculpt the remaining significant phases of dipo to have a complete representation of the rite. A thesis submitted to the school of graduate studies in partial fulfilment of the requirement for the award of the degree of Doctor of Philosophy (Arts and Culture) Department of Music Education School of Creative Arts UNIVERSITY OF EDUCATION, EINNEBA JUNE, 2025 Sun, 01 Jun 2025 00:00:00 GMT http://41.74.91.244:8080/handle/123456789/5390 2025-06-01T00:00:00Z http://41.74.91.244:8080/handle/123456789/5385 Repertoire of 3d animated Ewe lullabies Adzi, S.E. The influx of foreign animations on the Ghanaian market has become an increasingly valuable tool for communicating educational and developmental messages to children. In Ghana, producing locally relevant animated content specifically tailored to Ghanaian children's cultural and cognitive needs remains underexplored and relatively scarce. This study therefore, sought to examine the current state of the animation industry in Ghana, adapt and develop persuasive animations from five selected Ewe lullabies intended for Ewe children. The Ewe language was selected for emphasis in order to foreground it, as other ethnic languages in Ghana have received comparatively greater exposure. The research was underpinned by an integrated conceptual framework that combined Cultural Preservation Theory and Cognitive Load Theory. Anchored in the interpretivism paradigm, the study adopted a qualitative approach and utilized a studiobased research design structured across three key phases: pre-production, production, and post-production. The research engaged seven (7) participants, including a member of the National Folklore Board, three (3) animators, and three (3) mothers, who were recruited through purposive sampling from the National Folklore Board, selected studios in Accra, and mothers who hail from Kpeve in the Volta Region of Ghana. Data collection techniques included observation, semi-structured interviews, with thematic and textual analysis applied during interpretation. Findings from the pre-production phase revealed a significant gap in locally produced animated content and the influx of foreign animations that do not reflect Ghanaian culture, language, and everyday experiences. The findings also highlighted substantial growth in the animation industry, though the industry is faced with challenges such as infrastructure, funding, and deficiencies in skills and training. The post-production evaluation indicated that the produced animations were perceived as both engaging and educationally effective. The persuasive elements embedded in the animation enhanced the moral and cognitive learning of the Ewe tradition. The study also revealed that the rich potential of traditional Ghanaian lullabies could serve as a foundational source for 3D animated content, focusing on their thematic depth and aesthetic qualities. The study concludes that although the animation industry in Ghana is in its budding stage, it demonstrates remarkable potential for further development. Additionally, the increasing integration of traditional Ghanaian narratives into digital animation is successfully bridging cultural heritage with modern technology by producing content that appeals to local and international audiences. It recommends increased investment in Indigenous animation initiatives and the incorporation of such media into formal educational settings to enhance learning and cultural identity formation among Ghanaian children. A thesis in the Centre for Research in Culture and Creative Arts, School of Creative Arts, submitted to the School of Graduate Studies, in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy (Arts and Culture) In the University of Education, Winneba May, 2025 Thu, 01 May 2025 00:00:00 GMT http://41.74.91.244:8080/handle/123456789/5385 2025-05-01T00:00:00Z http://41.74.91.244:8080/handle/123456789/5324 Ghana’s visual culture in the era of smartphone photography Danso, G. This study investigates the influence of smartphone photography on Ghana’s visual culture. The research specifically examines the prevalence and patterns of smartphone photography; the role of social media in shaping visual practices; the ways smartphone photography contributes to the representation of Ghanaian identity and heritage; and the challenges and opportunities it presents for professional photographers. A qualitative research design was adopted, employing interviews, observation, and photographic documentation. The study, using qualitative approach purposively sampled twenty-five participants drawn from Takoradi and Accra, including smartphone users, professional photographers, cultural custodians, photography lecturers and trainers, experts from the Centre for National Culture, and photography students. Data were analysed thematically to identify key patterns, meanings, and interpretations across participants’ narratives and visual evidence. Findings indicate that smartphone photography has become pervasive and deeply integrated into everyday life across both urban and rural spaces. Its widespread use, accelerated since the mid-2000s and supported by social media platforms, has democratized visual storytelling and expanded public participation in image-making. Smartphone photography enables individuals to document personal experiences, assert cultural identity, and contribute to evolving representations of Ghanaian life. At the same time, professional photographers acknowledge that smartphones offer new creative possibilities and avenues for collaboration; however, concerns remain regarding declining professional standards, oversimplification of photographic processes, and challenges to cultural authenticity. The study concludes that smartphone photography has become central to Ghana’s contemporary visual culture. It promotes inclusivity, creativity, and instant sharing of narratives, yet also requires balanced engagement to sustain professional practices and preserve cultural values. It is recommended that photography educators collaborate with cultural institutions to promote culturally sensitive and ethical visual storytelling. Smartphone users are encouraged to adopt basic photographic techniques and responsible sharing practices. Professional photographers are urged to embrace smartphones as complementary tools, leveraging mobile technologies for innovation while maintaining professional integrity. Future research may compare professional and amateur photographic narratives or explore the impact of smartphone photography on archival and cultural memory systems A thesis in the Department of Music Education, School of Creative Arts, submitted to the School of Graduate Studies, in partial fulfillment of the requirements for the award of the degree of Doctor of Philosophy (Arts and Culture) in the University of Education, Winneba JULY, 2024 Mon, 01 Jul 2024 00:00:00 GMT http://41.74.91.244:8080/handle/123456789/5324 2024-07-01T00:00:00Z http://41.74.91.244:8080/handle/123456789/5291 Designing Ga traditional dress-fashion-inspired contemporary occasional feminine wear Temamei Ashin Yei in focus Damalie, S.A. This thesis was motivated by the appreciation and application of ancestral knowledge, competencies and values of dress. It engendered inclusivity by the use of findings from an understudied ethnic women‘s dress cultural practices of the Ga speaking people of Tema Manhean in the Greater Accra region of Ghana as an inspiration to influence a collection of contemporary feminine occasional wear. The project adopted a qualitative approach, using descriptive and studio-based research designs respectively. The population for the study was made up of human and non-human subjects, which sample size consisted of sixteen (16) Ashin Yoo artefacts, twenty (20) designs in the collection produced, and fifty-four (54) non-indigenes and fifty (23) indigenes interviewees respectively. Thematic, visual content, and trend analysis were used in analysing the data. The studio-work was premised on the synthesis model developed as a result of the project. Haute couture approach was adopted for production using distinct, conventional and non-conventional materials. The twenty (20) softly-tailored dressy, made-to-measure wardrobe made befit elegant yet relaxed semi-formal and formal occasions which call for a blend of exquisite tradition with style for the culturally-inclined fashion innovator as the customer profiled. Expert purposive technique was used in sampling the accessible population due to the nature of the multi-phased study. Observation, and interview were among instruments used for data collection. The major dress cultural practices of Temamei Ashin Yoo remained four consistent with literature. Symbolically, the nobility rite maidens used the themed artefacts to express their feminine identity, communicate the various stages and levels of purification, status and allegiance to their society. In addition, the staples adopted as dress cultural practices were of symbolic spiritual and physical protection. However, there was evidence of value addition to their repertoire of fabrics adoption during Kpojiemↄ and Kpojei (post purification outing stages) respectively. There were indications of the use of Kusum as curriculum which impacted the grooming of the Ashin (nobility rite) maidens from socio-cultural relevance point of view. The twenty suits and separates F↋OOYↃↃ (‗gorgeous-you-are‘) collection created and exhibited was highly rated; seventy-six of the seventy-seven interviewees representing 98.7% acknowledged that the sensational collection created had helped in achieving the main goal of the project. Even in the face of many constants, there was ample empirical evidence of new findings in fabrics adopted by the maidens updating existing literature. The F↋OOYↃↃ (‗gorgeous-you-are‘) collection was catalogued and recommended to be used for teaching and learning of conceptual dress fashion trends in fashion institutions of higher learning. A thesis in the Centre for Research, Culture and Creative Arts (CeRCCA), School of Creative Arts, submitted to the School of Graduate Studies in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy (Arts and Culture, Dress Fashion Design Education) in the University of Education, Winneba DECEMBER, 2024 Sun, 01 Dec 2024 00:00:00 GMT http://41.74.91.244:8080/handle/123456789/5291 2024-12-01T00:00:00Z