Asenso, K., Issah, S. & Som, E. K. (2020). The use of visual arts in environmental conservation in Ghana: The case of Adams Saeed

 The use of Visual Arts to promote environmental conservation is an important vehicle but its strategy for effective conservation outreach is hidden. In Ghana, the use of Visual Arts to promote environmental conservation and preservation is accelerating on a very low-pace, and those who try to initialize this culture have often remained largely undocumented, or stigmatized and stereotyped as mere objects of decoration in public space and homes. The aim of this is to recommend a return to a primary lifestyle which reminds us of basic realities easily forgotten in modern way of life which can be much more than just a necessity. The study sought to identify and document some visual arts works of Ken Kojo Adams Saeed which promote environmental conservation in Ghana. Descriptive research methodology was utilised in this study. The study concluded that, Ken Kojo Adams Saeed, a Ghanaian young artist, identified waste that create nuisance and sanitation problems in communities and used them as a resource material to create phenomenal sculptural works. His works educate and conscientize the public on waste management and environmental conservation. The study, therefore, recommends the promotion of environmental artists to harness development.

The Use of Visual Arts in Environmental Conservation in Ghana: The Case of Adams Saeed
Published: August 31, 2020

Quarshie, B. & Kpogo, R. R. Y. (2020). Art facilities and learning outcomes in selected Ghanaian public Senior High Schools in the Central Region

 This article examined available facilities (tangible and intangible) in selected Ghanaian public Senior High Schools to find out if they possess what it takes to impact the needed skills in students to meet the demands of the 21st Century job market. Four schools were purposefully selected to fairly represent the various grades of senior high schools in the Central Region of Ghana. Data was collected through interviews and observations whereas analysis was done using the thematic approach. Findings indicate that facilities in schools were highly inadequate. Visual arts teachers were not motivated to teach while students lack basic learning resources thereby impacting negatively on performance outcomes of both teachers and students. The future of Visual Arts education in Ghanaian Senior High Schools is feared to remain sustainable as a practical programme as authorities continually fail to provide needed basic art facilities.

Art Facilities and Learning Outcomes in Selected Ghanaian Public Senior High Schools in the Central Region

Essel, O. Q. & Asare, G. D. (2020). Breaking the academic silence on anonymity of indigenous textiles: Textile art of Nana Kwaku Duah II in focus

The study sought to explore the biographical account of Nana Kwaku Duah II and examine his major innovative and creative contributions in textile designing, weaving and Adinkra printing cottage industry. In this study, narrative analysis and oral history methods constituted the form of biographical method used in addition to descriptive research design. Unstructured interview and unobtrusive observation were the forms of instrumentations used for the data collection. Data was analysed using descriptive and narrative analysis tools. It was revealed in the study that Nana Kwaku Duah II is a presidential fabric designer who fuses indigenous adinkra printing technology, kente weaving techniques and embroidery art in creating a unique composite breed of fabrics. His unique fabric designs have received commendation from users and admirers, yet he has remained anonymous in academic circles as the textile designer. For instance, his Nyame na ayɛ design worn by President Nana Addo Dankwa Akufo Addo during his 2017 inauguration ceremony. It was highly praised by many as kente, though it was produced with a combination of kente and embroidery stripes. It is recommended that the nation must consider honouring his creative efforts as it persists in other developed nations who honour their creatives. The textile designs of this creative designer must feature in the collections of the Ghana National Museum for art education purposes.

Breaking the Academic Silence on Anonymity of Indigenous Textiles: Textile Art of Nana Kwaku Duah II in Focus

Navei, N. (2020). Sociocultural contexts of Chaira pottery art

The uniqueness of pottery is synonymous with its makers. The pottery art of the various ethnic groups in Ghana is inseparable from their cultural identities in that, the art is entrenched in their cultures. Notwithstanding this, much is not documented about the sociocultural contexts of Charia pottery art in the Upper West Region of Ghana. Adopting qualitative paradigm and case study design, the study purposively sampled eight (8) practising potters of not less than three decades of pottery experience in Charia. Empirical data was collected through interviews and field observation in order to reveal the sociocultural contexts of Charia pottery art. The study concluded that Charia pottery art has long historical standing, however, the art has since become women’s job in the generational life of Charia, and largely practiced by old women. The study recommends massive involvement of Charia women including the young ladies in the pottery art of Charia since the practice of pottery/ceramic has become a lucrative business venture in contemporary Ghana. Also, it emerged that Chariapottery art is a home affair. The establishment of a communal pottery centre in Charia by the potters through the formation of a formidable front is recommended. The sociocultural contexts of Charia pottery art is that which interlinks with the daily lives of the people. It is recommended that, Charia potters should continuously produce such culturally-related pottery wares to showcase, and preserve the sociocultural identity of the people to their future generations and for public admiration.

Sociocultural Contexts of Chaira Pottery Art