Significance of the works of selected contemporary Ghanaian female sculptors

Abstract

This study assessed the works of female sculptors in Ghana with particular emphasis on the philosophical significance and implications of their works. The first objective of the study sought to identify the works of contemporary sculptresses in Ghana. The second objective examined the philosophical implications of the works of contemporary sculptresses in Ghana while the third objective explored the forms of documentation of the works of contemporary sculptresses in Ghana. The study is based on the qualitative methodology of research using the case study approach. the study used purposive sampling technique in selecting all the female sculptors who participated in the study. The Data was collected from the participants through semi-structured interviews. The study identified: the effigy of the late Oyeeman Wereku Ampem; the portrait of Ghanaian woman; bragoro; the challenge of mechanical reproduction; dreaming is a map; how far how near; kalegbo; viviti kekeli; the fruit; monument of the May 9 stadium disaster; and the flight as some of the works of the selected female sculptors in Ghana. It also emerged that the significance and philosophical implications of the works of the sculptresses include traditional authority, rites of passage, duality, gender/feminism, modernity and culture, struggle/perseverance, risk, disasters, divinity, diversity, reproduction, and identity. It was also found that the works of female sculptresses are documented in photos, albums, libraries, video clips, personal galleries, journals and on the internet while others have their works displayed in public places. The study concludes that the works of contemporary female sculptors in Ghana have great value in maintaining our heritage as a nation. It recommends among others the use of technology in the documentation and marketing of the works of the female sculptresses.