Abstract:
This research explored how characters in African plays could be costumed by using our
locally manufactured gray baft, with regards to Kwasi Amponsah’s “King Musu” as a
case study. It outlined the need for a costume designer to interweave herself in the total
objectives of the playwright and director before creating a suitable costume within the
African circle. The role of the costume designer is very crucial in any theatrical
production. The absence of proper costuming in any production denies the audience the
actual interpretation, message and understanding of the play production. However, it
appears that most directors in the theatre give prominence to actors and the dialogue
and not the costumes used by the characters. The study explored and created appropriate
costumes which is culturally contextualized and integrated in the scenery, lighting,
make-up and sound to be used in performance on any stage. Since costume is symbolic
in nature, it carries messages meant to be decoded by its audience. The study is a
qualitative research based which used historical and textual analysis, as well as creative
designs as its methodological approach Thus, the research adopted Jakobson’s model
of communication as the theoretical framework. Purposive sampling technique was
used in determining and selecting “King Musu” as the play text for the study. This
research revealed that the use of gray baft and African textiles fabrics are appropriate
in designing the costume for the African stage. It also revealed that the fabrics are less
expensive and are readily available to be used. It recommends that costume designers
consider using these Ghanaian made fabrics in theatrical productions.
Description:
A dissertation project 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 a
Degree of Master of Philosophy
(Arts and Culture)
in the University of Education, Winneba
NOVEMBER, 2021