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Journal articles on the topic 'Ghanaian Art'
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1
Nortey, Samuel, and Edwin K. Bodjawah. "GHANAIAN CLAY PRACTICES: A RETHINKING." JADECS (Journal of Art, Design, Art Education & Cultural Studies) 7, no. 1 (2022): 18. http://dx.doi.org/10.17977/um037v7i12022p18-29.
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This paper discusses Ghanaian clay practices and how their histories and some practices limit their clay discourse, creating a disconnect from ecologies of practice. Western contemporary and academic ceramics communities acknowledge the present and historic lack of diversity and inclusion of Global south indigenous practice, a condition that has been constant since there has been a conception of “contemporary ceramics”. Documentation of art has been largely the exclusive province of art historians, yet, Ghana never had art history has a major in any Ghanaian university including Achimota School that was set up by the colonial government. There are several ceramic material sites but no processing industries for creating products. This paper signals a rethinking of forms, economic exchange, materiality and recommends that it is expedient to expand Ghanaian clay practice discourse in all forms to connect to the ecologies of practice by forward-thinking, looking at the indigenous ceramic medium outside the pigeonhole, and pushing the boundaries of conventional Ghanaian ceramics.
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Nortey, Samuel, and Edwin K. Bodjawah. "GHANAIAN CLAY PRACTICES: A RETHINKING." JADECS (Journal of Art, Design, Art Education & Cultural Studies) 7, no. 1 (2022): 18. http://dx.doi.org/10.17977/um037v7i12022p18-29.
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This paper discusses Ghanaian clay practices and how their histories and some practices limit their clay discourse, creating a disconnect from ecologies of practice. Western contemporary and academic ceramics communities acknowledge the present and historic lack of diversity and inclusion of Global south indigenous practice, a condition that has been constant since there has been a conception of “contemporary ceramics”. Documentation of art has been largely the exclusive province of art historians, yet, Ghana never had art history has a major in any Ghanaian university including Achimota School that was set up by the colonial government. There are several ceramic material sites but no processing industries for creating products. This paper signals a rethinking of forms, economic exchange, materiality and recommends that it is expedient to expand Ghanaian clay practice discourse in all forms to connect to the ecologies of practice by forward-thinking, looking at the indigenous ceramic medium outside the pigeonhole, and pushing the boundaries of conventional Ghanaian ceramics.
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Nortey, Samuel, and Edwin K. Bodjawah. "GHANAIAN CLAY PRACTICES: A RETHINKING." JADECS (Journal of Art, Design, Art Education & Cultural Studies) 7, no. 1 (2022): 18. http://dx.doi.org/10.17977/um037v7i12022p18-29.
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This paper discusses Ghanaian clay practices and how their histories and some practices limit their clay discourse, creating a disconnect from ecologies of practice. Western contemporary and academic ceramics communities acknowledge the present and historic lack of diversity and inclusion of Global south indigenous practice, a condition that has been constant since there has been a conception of “contemporary ceramics”. Documentation of art has been largely the exclusive province of art historians, yet, Ghana never had art history has a major in any Ghanaian university including Achimota School that was set up by the colonial government. There are several ceramic material sites but no processing industries for creating products. This paper signals a rethinking of forms, economic exchange, materiality and recommends that it is expedient to expand Ghanaian clay practice discourse in all forms to connect to the ecologies of practice by forward-thinking, looking at the indigenous ceramic medium outside the pigeonhole, and pushing the boundaries of conventional Ghanaian ceramics.
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Kasfir, Sidney Littlefield, Doran H. Ross, and Timothy F. Garrard. "Akan Transformations: Problems in Ghanaian Art History." International Journal of African Historical Studies 18, no. 3 (1985): 542. http://dx.doi.org/10.2307/218667.
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Azaglo, Alex Kwasi, Alice Korkor Ebeheakey, Benjamin Quarshie, and Prosper Kwaku Asiedu. "Conceptualizing the stylistic body movements in contemporary Ghanaian dances as performance art form." Journal of African History, Culture and Arts 2, no. 1 (2022): 61–74. http://dx.doi.org/10.57040/jahca.v2i1.104.
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This paper attempts to conceptualize the stylistic body movements in contemporary Ghanaian dances through the aesthetic lenses of performance art. The expressiveness of performance art forms is frequently praised for the emotions we have toward them. These feelings are derived from the symbolic connotations and functionalities of the arts in life. Through an exploratory design of qualitative inquiry, the researchers focus on a contextual dialogue on the aesthetic visual presentations of selected contemporary Ghanaian dances as performance art forms. The critical content analysis of music videos was espoused to examine the stylistic body movements and gestures coded in some contemporary Ghanaian dances such as Azonto, Twerking, Kupe, Pilolo and Shoo as part of an empirical artistic study. Instruments for data collection were observation, document analysis and photography for the contextual visual content analyses grounded in semiotic and aesthetic theoretical discourse. This study again relied heavily on secondary data from recorded communication including music videos, books, transcripts, websites, newspaper articles, journal articles and the like to make objective inferences. The findings indicate that dance is the communication that occurs via the conduit of the dancer's body that ruptures individuals' independent existence and generates a sense of finitude. Whereas some of the dances make aggressively erotic visual statements, others are mere expressive gestural and body movements to simply entertain a targeted audience. The result further shows that, the contemporary Ghanaian dance performances transcend beyond mere entertainment but rather are an embodiment of body language emerging from the indigenous dance symbolisms. Teaching learners to perceive visual aesthetic qualities and symbolic interpretations in dance performances will deepen the appreciation of Ghanaian dance performances not just as entertainment but as another medium for expression to transmit their inherent messages. It is suggested that, these dance forms should be formalized as indigenous knowledge in a quest to blend tradition with modernity in our creative endeavours. This knowledge should be propagated through creative arts education in Ghanaian schools. Other performance art components displayed in contemporary Ghanaian dances including body painting, facial expressions, costumology and fashion accessories present another lacuna for further research by future researchers. Key words: aesthetics, dance, therapy, performance art, body, movement
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Bodjawah, Edwin K., Samuel Nortey, and Kwaku Boafo Kissiedu. "Modernism and reforms in contemporary Ghanaian art education." International Journal of Education Through Art 15, no. 2 (2019): 133–47. http://dx.doi.org/10.1386/eta.15.2.133_1.
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Adinku, Grace Uchechukwu. "Dipo: The Krobo Ghanaian Puberty Rite and Art." Matatu 48, no. 2 (2016): 450–74. http://dx.doi.org/10.1163/18757421-04802013.
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The girl child’s transition from childhood to adulthood, Dipo, is of prime importance in the development of the Krobo community of Ghana. The transition acknowledges the part women play in the welfare of society; hence the performance of elaborate puberty rites for girls. The performance of Dipo puberty rites is therefore regarded as a means of unifying teenage women in their social role and integrating the arts of the Krobo people. Furthermore, it reveals the significance of these different art forms in the life of the Krobo people and in Dipo performance in particular. The problem, however, is that although there are several artistic elements embedded in the performance of Dipo, they have not been documented as art forms; nor have they constituteded a site for critical discussion and appraisal of Ghanaian performing arts. Early historical and anthropological scholarship on Dipo almost completely overlooks these artistic elements. This essay responds to this critical gap by situating Dipo in the context of these artifacts as displayed in multiple phases of ritual ‘installation’ performance. This essay also identifies and examines the specific artistic elements featuring in the rite in order to highlight their embeddedness in and significance to the Krobo people, and, by extension, Ghana. The artistic elements in Dipo include ritualized visual, verbal, body, and theatrical elements, all of which are active and inseparable in the rites. As such, these art forms are analysed and discussed by means of figures and plates, which confirm visually their existence, aesthetic significance, and cultural value.
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Kombui, Babaaradio, Dickson Adom, and Samuel Prophask Asamoah. "Nana Yaw Frimpong: A royal footprint of modern Ghanaian painting." Journal of African History, Culture and Arts 1, no. 1 (2021): 1–10. http://dx.doi.org/10.57040/jahca.v1i1.90.
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Ghanaian modernist painting started with the establishment of Achimota school in 1927 where the artists learned to combine the traditional Ghanaian artforms with the European representation artistic techniques. Though the influences of this new movement went beyond the academically trained artists to affect the self-trained artists, very little is known about it. The main objective of this paper was to conduct a biographical study of Nana Yaw Frimpong who without any art college training, booked a notable slot for himself through his painting within the modern Ghanaian art space. An Iconographic analysis of five paintings of Nana Yaw Frimpong using Erwin Panofsky’s three-step approach which include 1. the pre-iconographical description, 2. the iconographical analysis, and 3. the iconological interpretation. The selected paintings were compared to the philosophical underpinnings of the works of the earlier academically trained artists from the Achimota school. The findings revealed that the philosophy and style of Nana’s paintings were the philosophical foundations of modern painting in Ghana hence, placing Nana within the Ghanaian modern painting space.
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Avorgbedor, Daniel Kodzo. "Nigerian Art Music: with an Introductory Study of Ghanaian Art Music (review)." Research in African Literatures 32, no. 2 (2001): 219–22. http://dx.doi.org/10.1353/ral.2001.0043.
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Agawu, Kofi. "The Amu Legacy." Africa 66, no. 2 (1996): 274–79. http://dx.doi.org/10.1017/s0001972000082437.
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AbstractEphraim Amu, 1899–1995, was the leading Ghanaian composer of ‘art music’ (the music of concerts, churches, schools and formal performance). This article is both a brief appreciation of the man as his ideas, personal practice and musical style developed over the years, and an account of the influence Ephraim Amu exercised over Ghanaian musical life.
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Otto, Kristin. "Shapes of the Ancestors: Bodies, Animals, Art, and Ghanaian Fantasy Coffins." Museum Anthropology Review 13, no. 1 (2019): 47–58. http://dx.doi.org/10.14434/mar.v13i1.26580.
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This project report describes the research and presentation of Shapes of the Ancestors: Bodies, Animals, Art and Ghanain Fantasy Coffins, an exhibition focusing on the workshop of Ghanain fantasy coffin maker Paa Joe. The exhibition was on display at the Mathers Museum of World Cultures in Bloomington, Indiana from August 14 through December 16, 2018.
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Oppong, Christopher Effah, Dickson Adom, and Alex Kwasi Azaglo. "It’s in the blood: An artistic inquiry into the concept, materials, and works of Samuel Baah Kortey." Journal of African History, Culture and Arts 2, no. 1 (2022): 15–28. http://dx.doi.org/10.57040/jahca.v2i1.119.
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Contemporary art transcends a lot of areas of interest and also highlights a lot of artistic narratives. There is an enthralling array of potential expanding conversations on how every aspect of art production and distribution is marked by diversity. It comes from everywhere and strives to conceive the world as a distinct yet inextricably linked totality and the variety of modern art is its defining feature. This qualitative biographic study that craftily utilizes Feldman’s method of art criticism and Panofsky’s iconography in art historical writing sought to explore the concept, materials, and works themed ‘It's in the Blood’ by the Ghanaian contemporary artist, Samuel Baah Kortey. The study investigated the philosophical ideologies, materiality, and artistic narratives that his works evoke. His creative works reveal the dichotomies within the scope of the contemporary Ghanaian art scene and their twists and turn on religion, spirituality, and popular culture. The uniqueness about Kortey is how he deliberately works on projects that are provocative, testing boundaries of art and its ethics. The study revealed that Kortey theorise blood as synonymous with life; giving life to and spiritually cleansing every cell in the human body. His art concept and practice reveal that although humans have been oriented to conceive blood in biological terms, blood has immense spiritual importance. His art practice interrogates sacredness in human thoughts, religious concerns, folklore, and explores issues about animal cruelty. Kortey’s art practice is a revelation of the apparent commercialization or cheapening of religious iconographies in contemporary culture.
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Agyekum, Kofi, Hayford Pittri, Edward Ayebeng Botchway, et al. "Exploring the Current Technologies Essential for Health and Safety in the Ghanaian Construction Industry." Merits 2, no. 4 (2022): 314–30. http://dx.doi.org/10.3390/merits2040022.
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Technology has undoubtedly played a vital role in improving construction procedures and processes for many years. However, its application for health and safety monitoring and management has not been fully exploited in the Ghanaian construction industry. This study aims at exploring the current technologies essential for health and safety in the Ghanaian construction industry. Three specific objectives are set: (1) to identify the current health and safety technologies important in the Ghanaian construction industry; (2) to examine the level of utilization of the current health and safety technologies in the Ghanaian construction industry; (3) to identify the barriers to the adoption of the current health and safety technologies in the construction industry. A structured questionnaire is used to solicit the views of 123 construction professionals who double as health and safety officers in large construction firms in Ghana. The questions are developed through a critical comparative review of the related literature. The data are analyzed via descriptive and inferential statistics. The findings reveal that key among the current technologies important for health and safety in the Ghanaian construction industry are wearable safety devices, geographic information systems, sensing technologies, virtual reality, and BIM. The findings further reveal a moderate level of usage of the key technologies among construction professionals in Ghana. Key among the barriers to the adoption of these technologies for health and safety in the Ghanaian construction industry are the factors ‘excess costs related to acquiring new technologies’, ‘weak innovation culture’, ‘lack of continuous training of the workforce in adapting to the technologies’, ‘resistance to change with aging workforce’, and ‘little or no governmental support and regulations for the use of the technologies’. The findings from this study provide insight into the ever-increasing state-of-the-art technologies used in the construction industry.
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Agawu, Kofi. "The Challenge of African Art Music." Circuit 21, no. 2 (2011): 49–64. http://dx.doi.org/10.7202/1005272ar.
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This essay offers broad reflection on some of the challenges faced by African composers of art music. The specific point of departure is the publication of a new anthology, Piano Music of Africa and the African Diaspora, edited by Ghanaian pianist and scholar William Chapman Nyaho and published in 2009 by Oxford University Press. The anthology exemplifies a diverse range of creative achievement in a genre that is less often associated with Africa than urban ‘popular’ music or ‘traditional’ music of pre-colonial origins. Noting the virtues of musical knowledge gained through individual composition rather than ethnography, the article first comments on the significance of the encounters of Steve Reich and György Ligeti with various African repertories. Then, turning directly to selected pieces from the anthology, attention is given to the multiple heritage of the African composer and how this affects his or her choices of pitch, rhythm and phrase structure. Excerpts from works by Nketia, Uzoigwe, Euba, Labi and Osman serve as illustration.
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Adjahoe, Mawuyram Quessie. "From Ghanaian Folk Song to Contemporary Art Music for Bb Atɛntɛbɛn and Piano". Malaysian Journal of Music 6, № 2 (2017): 94–114. http://dx.doi.org/10.37134/mjm.vol6.2.5.2017.
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Nagy, Rebecca Martin, and Alissa Marie Jordan. "Cutting Edge of the Contemporary: KNUST, Accra, and the Ghanaian Contemporary Art Movement." African Arts 51, no. 3 (2018): 1–8. http://dx.doi.org/10.1162/afar_a_00411.
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Cooksey, Susan. "Two Works by Ghanaian Artists: The Harn Museum of Art University of Florida." African Arts 51, no. 3 (2018): 9. http://dx.doi.org/10.1162/afar_a_00412.
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Adzovie, Daniel Edem, Abdul Bashiru Jibril, Rita Holm Adzovie, and Divine Narkotey Aboagye. "Sex Sells! Could Sex Scenes in Ghanaian Video Films be used to Market Culture through Costume?" Technium Social Sciences Journal 10 (July 23, 2020): 133–41. http://dx.doi.org/10.47577/tssj.v10i1.1266.
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Film, although one of the youngest art forms, influences societies due to its unique way of interacting with the viewer. Film directors employ different tropes in conveying messages to audiences. One of such tropes is costume. “Sex sells” is a popular expression in advertising and marketing communications. The purpose of this study is to offer a new perspective on how sex scenes in films could be used to project aspects of a country’s culture. Riding on this popular expression, we argue that sex scenes in a Ghanaian video film could be a strong fulcrum to expose aspects of the rich Ghanaian culture to the world. We submit that by paying particular attention to the mise-en-scene of costume used during sex scenes, directors could lure film lovers into appreciating the kinds of fabric as well as style used by characters in a film. Through the case study method, we reviewed literature on mise-en-scene of costume in film, and its ability to convey underlying messages to the viewer. The literature review serves as the basis of our argument, where we propose how to ride on costume in sex scenes to project and market the richness of Ghanaian culture regarding clothing/costume in sex scenes in films. In this regard, we have been able to problematize a new way of thinking about sex scenes in films, especially regarding sex scene costume as a unique selling proposition and its contribution to marketing a country’s culture to the viewing public. This study contributes to policy in the entertainment industry in terms of portrayal of sex scenes in Ghanaian video films while ensuring cultural adaptability and growth.
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Hess, Janet, and Nii O. Quarcoopome. "Spectacular Nation: Nkrumahist Art and Resistance Iconography in the Ghanaian Independence Era: [With Commentary]." African Arts 39, no. 1 (2006): 16–92. http://dx.doi.org/10.1162/afar.2006.39.1.16.
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Labi, Kwame A. "EDITOR’S DESK On Your Marks, Get Set: Ghanaian Contemporary Art is Here with us." Critical Interventions 13, no. 1 (2019): 1–3. http://dx.doi.org/10.1080/19301944.2020.1756128.
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Woets, Rhoda. "“Young Artists Can Try Out Everything”: Redefining Contemporary Ghanaian Art in the 21st century." Critical Interventions 13, no. 1 (2019): 4–20. http://dx.doi.org/10.1080/19301944.2020.1760054.
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Danso, Augustine. "Reconstructing cinematic activities in the early twentieth century: Gold Coast (Ghana)." Journal of African Cinemas 13, no. 2 (2021): 147–55. http://dx.doi.org/10.1386/jac_00051_1.
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In the history of African cinema, there is a nexus between films and the colonial imperial project. That is, products of cinema and cinematic practices shaped the process of colonialism in the specific case of Africa. Predicated largely on archival documents, this study explores how cinema was regulated in the major towns and cities in the Gold Coast during the colonial era. Ghanaian cinema has a considerably long historical narrative, however, much of what is known about the history of cinema in Ghana, particularly, on film screening, censorship and exhibition practices, is rather little. Thus, it is with this gap that this study attempts to fill and make a useful contribution to Ghanaian film history. The colonial experience set the basis for cinematic houses, film production, censorship, distribution and ideological concerns in African cinema. This study is framed within the relationship between cinema and history, with a specific focus on Ghana. This article concludes that while film exhibition, censorship and licensing stimulated the growth of art, particularly cinema, they further inflated the colonial imperial agenda in the Gold Coast.
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Adejuyigbe, Samuel B. "The Planning of Continuity of Technological Education in West Africa Using Critical Path Method: Nigeria and Ghana as Case Studies." Advanced Materials Research 18-19 (June 2007): 389–96. http://dx.doi.org/10.4028/www.scientific.net/amr.18-19.389.
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In this paper the author used his personal experience having passed through all the facets of technological education specializing in Mechanical Engineering to solve the problem of noncontinuity of technological educational system. Critical Path Method (CPM) was used to develop a model for the continuity of Technological Education using Nigeria and Ghana as a case study. The paper completely eliminates the terminal certificates awarded in some Nigerian and Ghanaian Technological Institutions. Other educational lines like: Education, Art and Sciences were compared with that of Technological line and solutions were proffered to the identified problems.
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Navei, Nyamawero. "Youth participation in traditional cultural practices in contemporary Tumu: An exposé on the Ceremonial Costume Art of Fuowie Nasolo, a youth cultural iconic figure in Tumu." Journal of African History, Culture and Arts 3, no. 1 (2023): 13–28. http://dx.doi.org/10.57040/jahca.v3i1.307.
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Youth participation in traditional cultural practices in contemporary Africa (Ghana) has been on the decline due to the alarming rate at which African youth assimilate foreign cultures. Many African (Ghanaian) youth nowadays mock African (Ghanaian) ethnic cultures in favour of Western cultures. However, previous research suggests youth cultural activism in Tumu, Ghana. This positive development has the tendency to preserve and promote the cultural identity of Tumu. This study, therefore, sought to establish the motivation behind youth participation in traditional cultural practices in contemporary Tumu with a specific focus on the costume art of Fuowie Nasolo, a youth cultural iconic figure in Tumu. Qualitative descriptive analysis of interview transcripts and photographic data gathered from twenty-five (25) heterogenous-purposively sampled informants reveal that youth cultural activism in contemporary Tumu is engendered by the sustained cultural tutelage provided by the elders of Tumu. Additionally, it was emphasised that youth cultural participation in contemporary Tumu is extrinsically motivated by the admirable cultural activism of Fuowie, the unifying leader of Tumu youth cultural group. A cursory study of the cultural manifestations of Fuowie’s ceremonial costume art, reveals the royal, heroic, and wardress culture of the indigenes of Tumu. Since Fuowie’s cultural activism significantly complements the effort of Tumu elders in promoting youth cultural participation, the study calls for sustained collaboration between Fuowie and the elders of Tumu to massively promote youth participation in traditional cultural activities for cultural preservation, cultural restoration, and the construction of authentic cultural identity of the people of Tumu for posterity.
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Ankrah, Ebenezer, and Evans Sokro. "Intention and Usage of Human Resource Information Systems among Ghanaian Human Resource Managers." International Journal of Business and Management 11, no. 2 (2016): 241. http://dx.doi.org/10.5539/ijbm.v11n2p241.
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The purpose of this study is to investigate the intentions and usage of human resource information systems (HRIS) among Ghanaian HR managers and practitioners. In today’s global networking era, information technology has become an integral part of human resource management. This is because the increasing pressure to support strategic goals and the greater focus on shareholder value has led to changes in both job content and expectations of Human Resource professionals. Hence, the use of Human Resource Information System has been used by HR professionals to become strategic managers. Survey methodology was adopted to obtain data from HR managers and practitioners in Ghanaian companies. A net-targeted sample of 175 respondents produced 100 usable questionnaires for analysis. The study results revealed that information technology (IT) has assisted “organizations to deliver state-of-the art HR services, and reduced operational costs of companies, regardless of the size of the firm”. Advances in IT helps in resolving many of the challenges of HRM such as attracting, retaining, motivating employees, meeting the demands for a more strategic HR function, and managing the “human element” of technological change. Furthermore, effective HRIS has a direct positive influence on organizational performance.
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Br, M. "Genotypic diversity and mutation profile of HIV-1 strains in antiretroviral treatment (ART) -Nave Ghanaian patients and implications for antiretroviral treatment (ART)." Journal of AIDS and HIV Research 4, no. 7 (2012): 187–97. http://dx.doi.org/10.5897/jahr12.008.
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De-Graft Aikins, Ama, and Bernard Akoi-Jackson. "“Colonial Virus”: COVID-19, creative arts and public health communication in Ghana." Ghana Medical Journal 54, no. 4s (2020): 86–96. http://dx.doi.org/10.4314/gmj.v54i4s.13.
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Since March 2020, Ghana’s creative arts communities have tracked the complex facets of the COVID-19 pandemic through various art forms. This paper reports a study that analysed selected ‘COVID art forms’ through arts and health and critical health psychology frameworks. Art forms produced between March and July 2020, and available in the public sphere - traditional media, social media and public spaces - were collated. The data consisted of comedy, cartoons, songs, murals and textile designs. Three key functions emerged from analysis: health promotion (comedy, cartoons, songs); disease prevention (masks); and improving the aesthetics of the healthcare environment (murals). Textile designs performed broader socio-cultural functions of memorialising and political advocacy. Similar to earlier HIV/AIDS and Ebola arts interventions in other African countries, these Ghanaian COVID art forms translated public health information on COVID-19 in ways that connected emotionally, created social awareness and improved public understanding. However, some art forms had limitations: for example, songs that edutained using fear-based strategies or promoting conspiracy theories on the origins and treatment of COVID-19, and state-sponsored visual art that representedpublic health messaging decoupled from socio-economic barriers to health protection. These were likely to undermine the public health communication goals of behaviour modification. We outline concrete approaches to incorporate creative arts into COVID-19 public health interventions and post-pandemic health systems strengthening in Ghana.
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Iyengar, Sujata, and Lesley Feracho. "Hamlet (RSC, 2016) and representations of diasporic blackness." Cahiers Élisabéthains: A Journal of English Renaissance Studies 99, no. 1 (2019): 147–60. http://dx.doi.org/10.1177/0184767819837738.
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In 2016 Paapa Essiedu, a British actor of Ghanaian ancestry, starred as Hamlet in Simon Godwin’s lauded Royal Shakespeare Company (RSC) production, set in a post-colonial African state whose non-specificity nonetheless irritated some reviewers. We contend, however, that the production mixed multiple referents of blackness (Eastern African, West African, Caribbean, South African, 1970s African American) in order deliberately to create an imaginary post-colonial domain where these different kinds of diasporic blackness engaged with each other through the figure of Hamlet and his art. We therefore examine how the concept of race changes with the transatlantic or transnational movement among spaces in this production.
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Popescu, Monica. "Cold War Solidarities and Twenty-First-Century Frayed Alliances: Romanian-Ghanaian Vantage Points." Comparative Literature Studies 59, no. 3 (2022): 487–505. http://dx.doi.org/10.5325/complitstudies.59.3.0487.
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ABSTRACT During the Cold War, socialist countries in the Eastern Bloc forged fraternal relations with newly independent states on the African continent and other parts of the Third World. These alliances translated into economic exchanges, political and ideological ties, and cultural solidarities. Oftentimes subsumed under the rubric of internationalism, these understudied cultural exchanges reflect both the forward thinking elements of global socialism as well as the paternalist and condescending aspects of relations between the Second and the Third Worlds. In order to analyze the legacies of these solidarities in the twenty-first century, the author looks at the work of Wanlov the Kubolor, which is the stage name of Emmanuel Owusu-Bonsu, a Ghanaian-Romanian musician, poet, film director, and activist. Describing himself as an “African Gypsy” and a peripatetic trickster (a “kubolor”), Wanlov draws on Ghanaian and Romanian artistic traditions to forge a unique perspective on postsocialist societies, from the margins of the capitalist world-system. The work of artists such as Wanlov the Kubolor presents a clear-eyed East/South perspective on global phenomena: consumerism, the quick cooptation and taming of oppositional aesthetics into commercial art, racism, and class distinctions, yet also possible new directions for activism and resistance.
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Ryan, MacKenzie Moon. "Kabas and Couture: Contemporary Ghanaian Fashion Ham Museum of Art Gainesville, FL February 24–August 23, 2015." African Arts 49, no. 2 (2016): 86–89. http://dx.doi.org/10.1162/afar_r_00290.
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Quaye, L., W. K. B. A. Owiredu, N. Amidu, Y. Adams, and A. W. Huseini. "Evaluation of HIV therapeutic agents on immunological, lipid and lipoprotein indices in Ghanaian HIV-1 infected patients." Journal of Medical and Biomedical Sciences 5, no. 3 (2017): 13–27. http://dx.doi.org/10.4314/jmbs.v5i3.2.
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HIV-1 infected patients initiating antiretroviral therapy (ART) in Ghana are placed on one of the two most commonly used non-nucleoside reverse transcriptase inhibitors (NNRTIs), nevirapine (NVP) and efavirenz (EFV), in combination with a nucleoside reverse transcriptase inhibitor backbone of either combivir (CBV) or stavudine (d4T)/lamivudine (3TC). This study sought to evaluate the effect of these therapeutic agents on weight, immunological, lipid and lipoprotein changes as well as the atherogenic indices of Ghanaian HIV-1 infected patients. This observational study was carried out at the ART clinic of the Regional Hospital, Bolgatanga in the Upper-East region of Ghana from September 2008 to September 2009 comprising 61 HIV-1 infected patients who were initiated on NVP or EFV in combination with either CBV or d4T/3TC. Out of the 61 enrolled patients, 27(44.3%) were on NVP and 34(55.7%) were on EFV. Within the NVP group, 16 (59.3%) were on CBV and 11(40.7%) on d4T/3TC whilst the EFV group had 26(76.5%) on CBV and 8 (23.5%) on d4T/3TC. Percentage changes in lipid profile components comprising total cholesterol (TC), triglycerides (TG), high density lipoprotein cholesterol (HDL-c) and low density lipoprotein cholesterol (LDL-c) was assessed over the 12-month period. Percentage changes in atherogenic index expressed as TC/HDL-c and LDL-c/HDL-c was also estimated. NVP elicited a 10.2% increase in weight compared to EFV and this was associated with CBV combination use. EFV further elicited a 9.1% increase in TC, 1.2% increase in TG, 39.3% increase in LDL-c and a 4.1% increase in HDL-c which resulted in concomitant percentage increases in TC/HDL-c (22%) and LDL-c/HDL-c (47.3%). CBV as a NRTI component of EFV elicited a 4.3% increase in TC/HDL-c and a 16.6% increase in LDL-c/HDL-c compared to d4T/3TC whilst conversely, d4T/3TC elicited a 3.6% increase in TC/HDL-c and a 34.0% when used in combination with NVP. NVP combination therapy elicited improvement in weight compared to EFV combination therapy for the different categories of patients. The less atherogenic lipid profile observed in patients taking NVP in comparison to those taking EFV and the reduction in CHD risk associated with NVP + CBV combination therapy observed in this study should be factored into considerations taken when selecting the most appropriate ART regimen for treatment naïve HIV-1 infected patients.Journal of Medical and Biomedical Sciences (2016) 5(3), 13-27Keywords: HIV-1, Antiretroviral therapy, Immunological, Lipids, Atherogenic indices, Bolgatanga, Ghana
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Avorgbedor, Daniel K. "REVIEW: Bode Omojola.NIGERIAN ART MUSIC, WITH AN INTRODUCTORY STUDY OF GHANAIAN ART MUSIC, Ibadan: Institut Fran�ais de Recherche en Afrique, University of Ibadan, 1995." Research in African Literatures 32, no. 2 (2001): 219–22. http://dx.doi.org/10.2979/ral.2001.32.2.219.
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Azaglo, Alex Kwasi, Dickson Adom, Joe Adu-Agyem, and Kofi Opoku-Mensah. ""My Sculpture, My Life": An iconographic study of the contemporary Ghanaian sculptor, Isaac Opoku-Mensah." Journal of African History, Culture and Arts 2, no. 1 (2022): 1–14. http://dx.doi.org/10.57040/jahca.v2i1.125.
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There is little information on Contemporary Ghanaian artists in the form of literary presentations and documentation. Isaac Opoku-Mensah is one great personality whose contribution to the development of Ghanaian sculpture and the field of bust sculpture deserves to be recognized, celebrated, and studied. This is a biographic study that focuses on his profile and contributions to academia as well as his sculptural art technique. It looks at some of his creative works, the techniques he used, and his influence on his students and the next generation of sculptural artists. The qualitative research design was used to conduct an iconographic analysis of three specific sculptural pieces as part of an empirical artistic study. Research instruments such as in-depth interviews, observation, and photography were utilised to gather the required data for the study. The paper also appreciates Isaac Opoku-Mensah's sculptural pieces through Erwin Panofsky's iconographic analysis, which has three levels: pre-iconographical description, iconographical analysis, and iconological interpretation. The findings among others indicated that there were detailed interpretations of the busts of three murdered Judges, a cocoa farmer, and academic graduands which aimed at comprehending the images’ visual elements and performing a formal analysis of its physical manifestation, followed by an iconographic analysis in which the images were linked to a known story or recognizable character, and finally, an iconological analysis in which the meaning of the artefacts was determined in relation to its social, cultural, and historical contexts.
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Khoo-Dzisi, Agnes. "Re-Framing Ghana-Korea People to People Solidarity." African and Asian Studies 18, no. 1-2 (2019): 153–87. http://dx.doi.org/10.1163/15692108-12341419.
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Abstract Movements of people between Africa and Asia have exponentially increased beyond diplomatic exchanges and development aid under neo-liberal globalisation. Similarly, Ghana-Korea encounters have expanded to people-to-people engagement, including sports and entertainment in recent years. This chapter explores new forms of people-to-people exchanges that go beyond ‘Ghana as the football nation’ and ‘Korea as the Samsung Republic’. The focus is to explore innovative ways of bridging cultures and transcending boundaries. This paper relies on primary data (participation observation, interviews) and secondary data (published academic, government and ephemeral material) to highlight new areas of collaboration, ranging from commerce and investment, academic exchanges, collaboration in art and cultural endeavours, and the merging of these areas in a mutually beneficial way. Korea can learn from Ghana’s cultural diversity and tolerance; Ghana can benefit from Korea’s success in turning its art and cultural industries into an important export. In considering new forms of Ghanaian-Korean cooperation that transcends the traditional paradigm, starting from the grassroots, critical perspectives and approaches are examined for building a sustainable partnership based on mutual respect and understanding.
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Adjandeh, Evelyn Aku. "Analysis of Wole Soyinka’s The Trials of Brother Jero in Relation to Ghanaian Religious Discourse." Asemka: A Bi-Lingual Literary Journal of University of Cape Coast, no. 10 (September 1, 2020): 143–53. http://dx.doi.org/10.47963/asemka.vi10.278.
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One of the roles of Literature is its aesthetic value. Aside from that literary works serve as important tools that are used to comment on issues of society since most writers base their writings on their societal occurrences. While agreeing with the reflectionist theory of art that Literature reflects the society from which it emerges, this paper underscores that through writing, literary works have often sought to correct the ills of society. Wole Soyinka’s The Trials of Brother Jero satirizes the work of the clergy. The paper analyzes selected reports in the Ghanaian media in relation to the clergy and identifies how Wole Soyinka’s theme is reflected in these papers. The presence of Soyinka’s theme in these reports is a reaffirmation that literary writers do not only present fiction but also express pertinent realities. This study seeks to examine the extent to which themes in Soyinka’s Trials of Brother Jero play out in religious discourses in Ghana. The global nature of the issues problematized by Wole Soyinka also comes out through this study as the work set in Nigeria is analyzed in relation to the selected articles set in Ghana. The paper relies on a content analysis of The Trials of Brother Jero and similar themes presented in the selected articles and makes a few recommendations on how these religious issues could be partially, if not wholly, resolved in Ghana.
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Yitah, Helen. "Artistic Expression through (Re)Creation: Children’s Play Songs in Ghana." Utafiti 15, no. 1 (2020): 45–64. http://dx.doi.org/10.1163/26836408-15010022.
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Abstract This paper examines rural Ghanaian children’s creative performance of play songs in the context of recent scholarship on children’s rights in children’s literature. This scholarship, which has focused mainly on written literature in western contexts, seeks to give serious literary attention to children’s creative expression and thereby uphold their rights to contribute to the artistic life and culture of their societies. Kasena children of northern Ghana exhibit creative agency in adapting traditional play songs to new situations, as they re-create and reinterpret communal idioms, imagery and symbols, thus generating new forms, new concepts and new meanings. I illustrate the aesthetic qualities and transgressive features of this phenomenon by drawing on relevant indigenous Kasem concepts about art and creative resistance. If taken seriously, this dynamic heritage of children’s poetry can help us see emerging play genres as an affirmation of children’s creativity, and prompt a redefinition of ideas about childhood.
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Dapaah, Jonathan M. "Attitudes and Behaviours of Health Workers and the Use of HIV/AIDS Health Care Services." Nursing Research and Practice 2016 (2016): 1–9. http://dx.doi.org/10.1155/2016/5172497.
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Background. This article discusses how health workers relate to and communicate with clients of VCT and ART treatment. It also looks at how health worker practices in the form of attitudes and behaviours towards clients influence the use of these services. Methods. In-depth interviews, informal conversations, and participant observation were used to collect data from health workers providing VCT and ART and clients who access these services in two Ghanaian hospitals. Results. The study found that health workers providing these services, with the exception of a few, generally showed positive attitudes and behaviours towards clients during clinical encounters. Health workers warmly received clients to the facilities, addressing clients with courtesy, advising clients on a wide range of issues, sometimes supporting clients financially, and comfortably interacting with them. This is contrary to the findings of most studies in the literature that health workers often do not communicate and relate to these patients well. Conclusion. It concludes that dealing with clients well during interactions in the centres and clinics is crucial for reducing the perceived stigma associated with the use of services and increasing use as part of the national effort to reduce the infection rate of the disease in Ghana.
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de-Graft Aikins, Ama. "'Colonial virus'? Creative arts and public understanding of COVID-19 in Ghana." Journal of the British Academy 8 (2020): 401–13. http://dx.doi.org/10.5871/jba/008.401.
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In this paper I examine how responses to COVID-19 by Ghana�s creative arts communities shape public understanding of the pandemic. I focus on comedy, music, textile designs, and murals created between March and August 2020, through frameworks of the social psychology of everyday knowledge and arts and health. The art forms perform three functions: health promotion (songs), improving environmental aesthetics (murals), and memorialising (textile designs). Similar to arts-based interventions for HIV and Ebola, Ghanaian artists translate COVID-19 information in ways that connect emotionally, create social awareness, and lay the foundation for public understanding. Artists translate COVID-19 information in ways that connect emotionally, create social awareness, and lay the foundation for public understanding. Some offer socio-political critique, advocating social protection for poor communities, re-presenting collective memories of past health crises and inequitable policy responses, and theorising about the Western origins of COVID and coloniality of anti-African vaccination programmes. I consider the implications for COVID public health communication and interventions.
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Park, Jeong Kyung, James Nyachae Michira, and Seo Young Yun. "African hip hop as a rhizomic art form articulating urban youth identity and resistance with reference to Kenyan genge and Ghanaian hiplife." Journal of the Musical Arts in Africa 16, no. 1-2 (2019): 99–118. http://dx.doi.org/10.2989/18121004.2019.1686225.
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Donkor, Evans Kwadwo, Victor Kweku Bondzie Micah, and David Akomea. "PLASTIC WASTE AND ITS ARTISTIC CONTEXT." Detritus, no. 14 (March 31, 2021): 118–35. http://dx.doi.org/10.31025/2611-4135/2021.14066.
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The prevalence use and handling of plastics have become a global menace to the environment. This menace has even led to a national discourse on banning plastics in Ghana. The plastic waste situation seems to be an oblivious less concerned by some Ghanaian sculptors, engineers and scientists on its artistic exploration and contribution to the quota of environmental sanitation in Ghana. However, having identified the artistic qualities of plastics, this article seeks to transform plastic waste into art by exploring and analysing non-biodegradable polyethylene as a viable and unconventional material for sculpture. The focus of this studio-based research employed the Praxis with arts-based recycling approach as technique and procedures to create a bust from plastic waste as a means of establishing its viability as an unconventional material for sculpture. It was established from the outcome of the research that plastics as non-biodegradable material should not be seen as an environmental menace, but a viable and unconventional material for sculptors and other professionals like engineers and scientists beyond Ghana must also expand on this research further.
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van Dijk, Rijk. "Localisation, Ghanaian Pentecostalism and the Stranger's Beauty in Botswana." Africa 73, no. 4 (2003): 560–83. http://dx.doi.org/10.3366/afr.2003.73.4.560.
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AbstractThis contribution considers the current position of the Ghanaian migrant community in Botswana's capital, Gaborone, at a time of rising xenophobic sentiments and increasing ethnic tensions among the general public. The article examines anthropological understandings of such sentiments by placing them in the context of the study of nationalisms in processes of state formation in Africa and the way in which these ideologies reflect the position and recognition of minorities. In Botswana, identity politics indulge in a liberalist democratic rhetoric in which an undifferentiated citizenship is promoted by the state, concealing on the one hand inequalities between the various groups in the country, but on the other hand defending the exclusive interests of all ‘Batswana’ against foreign influence through the enactment of what has become known as a ‘localisation policy'. Like many other nationalities, Ghanaian expatriate labour has increasingly become the object of localisation policies. However in their case xenophobic sentiments have taken on unexpected dimensions. By focusing on the general public's fascination with Ghanaian fashion and styles of beautification, the numerous hair salons and clothing boutiques Ghanaians operate, in addition to the newly emerging Ghanaian-led Pentecostal churches in the city, the ambiguous but ubiquitous play of repulsion and attraction can be demonstrated in the way in which localisation is perceived and experienced by the migrant as well as by the dominant groups in society. The article concludes by placing entrepreneurialism at the nexus of where this play of attraction and repulsion creates a common ground of understanding between Ghanaians and their host society, despite the government's hardening localisation policies.
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Mfoafo-M’Carthy, Magnus, Jeff D. Grischow, and Nicole Stocco. "Cloak of Invisibility: A Literature Review of Physical Disability in Ghana." SAGE Open 10, no. 1 (2020): 215824401990056. http://dx.doi.org/10.1177/2158244019900567.
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This literature review surveys the state of current scholarship on physical disability in Ghana. The intention is to identify major themes and opinions relating to the challenges faced by Ghanaians with physical disabilities. After an extensive literature review, the authors selected 21 articles for inclusion based on the criteria that they had to focus on physical disability in a Ghanaian setting. Reviewing the articles revealed that most scholars have focused on the pervasive oppression of Ghanaians with physical disabilities. Six major topic areas emerged, including the experience of the disability rights movement from the 1990s to the present, the public perception of people with physical disabilities, the issue of families and abuse, the rights to education, challenges around employment and finances, and health care for disabled Ghanaians. This literature review presents these topics, discusses their implications, and makes suggestions for further research and action to improve human rights for Ghanaians with physical disabilities.
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Ayamah, Richard, Godwin Awuitor, and Zutaah Puotier. "MATHEMATICALLY MODELING THE SPREAD OF HIV/AIDS INFECTION AFTER THE INTRODUCTION OF ANTIRETROVIRAL THERAPY IN GHANA." American Journal of Computing and Engineering 3, no. 1 (2020): 24–39. http://dx.doi.org/10.47672/ajce.602.
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One of the deadliest and highly infectious diseases is Human Immunodeficiency Virus-Acquired Immune Deficiency Syndrome (HIV-AIDS). One person was first diagnosed with HIV-AIDS in the Eastern region part of Ghana in 1986, followed by 41 more in the same year. The spread of the disease was so unbearable in the subsequent years (1987-2003), even after several intervention measures taken by Government and other stakeholders. Hence, in 2003, the antiretroviral therapy (ART) program was introduced by the Ghana AIDS Commission (GAC) through the Ghana Health Service (GHS) to sabotage the virus such that it cannot be transmitted from one person to another, not even from the pregnant mother to the unborn child. It is in this direction that this research was conducted to use differential equations to derive a model for the prediction of the HIV/AIDS infection rate, after the introduction of the ART program in Ghana. The data on the number of HIV infected people per each year (I) for the years 2003-2018 were collated from the reports given by Ghana AIDS Commission (GAC), WHO and UNAIDS published on their associate websites. Differential equations, with the employment of numerical analysis of data, were used to derive a model for the prediction of the yearly number of HIV/AIDS infected people. Graphical analysis on the residuals of the predicted number of HIV/AIDS infected people (residual analysis) were carried out to check whether the derived model was adequate or not. Finally, a model was derived using ordinary differential equations and the yearly numbers of HIV infected people estimated using the model were in descending, order as portrayed in the original data set. The residual analysis on the model adequacy checking proved that the model is adequate for the prediction of the number of HIV infected people in Ghana. In effect, the ART program really played a major role in the reduction of the HIV infection rate. The uniqueness of this research is portrayed in the fact that it is the first time differential equation is being employed in Ghanaian academia to derive a model for the future prediction of the HIV infection rate. 
 Keywords: Human Immunodeficiency Virus, Acquired Immune Deficiency Syndrome, antiretroviral therapy, HIV-Infected People, Susceptible People.
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Lokpo, Sylvester Yao, Patrick Jnr Ofori-Attah, Louis Selassie Ameke, et al. "Viral Suppression and Its Associated Factors in HIV Patients on Highly Active Antiretroviral Therapy (HAART): A Retrospective Study in the Ho Municipality, Ghana." AIDS Research and Treatment 2020 (February 13, 2020): 1–7. http://dx.doi.org/10.1155/2020/9247451.
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Background. The WHO targets to end HIV/AIDS as a public health problem by 2030. The introduction of the ambitious “90-90-90” strategy to attain this target is expected to be achieved by the year 2020. However, there is lack of regional data, especially on the third “90.” This study sought to assess the rate and associated factors of viral suppression among people living with HIV (PLWH) on highly active antiretroviral therapy (HAART) at the Antiretroviral Therapy (ART) Clinic in a Ghanaian health facility. Method. The study design was a retrospective analysis of secondary data of 284 HIV registrants on HAART for at least 6 months at the ART Clinic from July 2016 to April 2019. Data on sociodemography including age, gender, marital status, education, and occupation as well as pharmacological (type of medication and duration on medication) and laboratory variable (current viral load results) were extracted from patients’ folders. Viral suppression and failure were determined using the WHO definitions (viral suppression as viral load <1000 copies/ml and virologic failure ≥1000 copies/ml). Regular clinic attendance (used as a proxy measure for medication adherence) was defined as consistent monthly clinic attendance for HAART medication and other clinical management within the past 12 months. Results. Out of the 284 HIV patients, 195 (69%) achieved viral suppression. Of the 195 who were virally suppressed, 77 (39.5%) had undetectable levels, with a similar proportion (39.5%) achieving viral load results ranging from 20 to 200 copies/ml. Moreover, 27 (13.8%) patients had viral load ranging from 201 to 500 copies/ml while 14 (7.2%) recorded viral load from 501 to 1000 copies/ml. No clear pattern in the viral suppression rate was associated with the age groups (p=0.1152). However, regular clinic attendance (used as proxy for medication adherence) (p<0.0001) and being on HAART for more than three (3) years (p=0.03) were associated with viral suppression. Conclusion. The rate of viral suppression among PLWH on HAART in the Ho municipality fell short of the WHO target. However, the study identified regular ART clinic attendance and treatment >3 years as factors associated with viral suppression.
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Ocran, Francisca M., Xiaofen Ji, and Liling Cai. "A Case Study on Factors Influencing Online Apparel Consumption and Satisfaction between China and Ghana." Asian Social Science 15, no. 12 (2019): 38. http://dx.doi.org/10.5539/ass.v15n12p38.
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The study explores and compares the influence of perceived online shopping benefits namely convenience, pricing, and wider selection towards online satisfaction between China and Ghana. It also seeks to explore the factors that motivate individuals to shop online. Further, the problem(s) faced by both countries in shopping online is examined. Descriptive analysis, correlation, Anova and regression analysis were used in assessing and comparing consumers’ online experience. It was found that there is a high prevalent rate (97.5%) of online apparel shopping among Chinese and Ghanaian respondents where the prevalent rate of patronizing online apparel was relatively higher among Chinese youth than the Ghanaian. Convenience, internet usage proficiency and easy access to internet were the main factors that facilitates online apparel shopping among the respondents. Level of income makes the difference in rate online apparel patronization between Chinese and the Ghanaian. On the contrary, level of income, Trust, and Privacy and confidentiality of personal information were found as challenges discourages Ghanaians online apparel consumers likewise Chinese consumers.
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Israel, Peace Chinwendu. "A Semiotico-Pragmatic Analysis of President Nana Addo Danquah Akufo-Addo’s Address on Ghanaian Economy." Advances in Social Sciences Research Journal 10, no. 1 (2023): 81–102. http://dx.doi.org/10.14738/assrj.101.13752.
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This study analyzed President Nana Addo Dankwa Akufo-Addo first official address on the Ghanaian economic crisis. It is qualitative study and explicit content analytical method was employed. Applying concepts from semiotic model and pragmatic act, the study revealed different semiotic elements and practs through which the presidents effectively communicated to his audience on government’s plans and initiatives towards ameliorating the escalating inflation and the resultant economic hardship Ghanaians were experiencing. The findings revealed that semiotic elements such as the coat of arm, the president’s outfit, the national flag, the microphone and the outfit of the sign-language interpreter effectively acts as a signifier and immensely contributed to meaning. Again, the findings showed that the president employed several practs in his address such as informing (47.06%), tasking (13.37%), cautioning (7.45%), sympathizing and recounting (3.16%), promising (16.01%); pleading/praying, reporting, and instructing (2.11%) each, saluting (9.06%), suggesting and urging (1.05%) each. The paper therefore concludes that through shared situational knowledge, reference and inference, Ghanaians were able to understand what the president wishes to communicate.
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HESS, JANET BERRY. "THE ART OF NATION-BUILDING - Building the Ghanaian Nation-State: Kwame Nkrumah's Symbolic Nationalism. By Harcourt Fuller . New York: Palgrave Macmillan, 2014. Pp. xxxii + 262. $90, hardback (ISBN 9781137448569)." Journal of African History 57, no. 3 (2016): 492–93. http://dx.doi.org/10.1017/s0021853716000517.
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Mawusi, Dickson, Kwame Adu-Bonsaffoh, Chrissie Stansie Abaidoo, and Frederick Kwaku Addai. "Variation in Anti-Mullerian Hormone Levels with Age in Women Accessing In Vitro Fertilization Services in Ghana." Reproductive Medicine 3, no. 3 (2022): 253–62. http://dx.doi.org/10.3390/reprodmed3030020.
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The emergence of AMH as a reliable biomarker for assessing ovarian reserve and optimization of assisted reproductive technology (ART) remains a promising tool for the evaluation and prediction of controlled ovarian stimulation (COS) outcomes. This study assessed the association between serum AMH levels and maternal age in females receiving in vitro fertilization (IVF) treatment in Ghana. Methods: We conducted a prospective cohort study at a specialized fertility center in Ghana. Descriptive analysis was performed, and the differences between maternal age and AMH categories were assessed by the Kruskal–Wallis test. Results: We included 426 women with mean (±SD) age and AMH levels of 35.25 ± 6.33 years and 2.80 ± 2.60 ng/mL, respectively. Women with very-low AMH levels (0.94 ± 73 ng/mL) were older (>40 years), whereas the younger (20–25 years) group had higher levels (4.85 ± 3.34 ng/mL). There was a significant negative correlation between women’s age and serum AMH levels (R = −0.46; p < 0.001). None of the younger women had AMH levels <0.30 ng/mL, while 70% of women who had AMH levels of <0.30 ng/mL were older women (>40years). In addition, none of the older women had AMH levels >4 ng/mL with only 5% having AMH levels between 2.20 and 4.0 ng/mL. Conclusions: AMH levels ≤0.3 ng/mL are archetypal of 70% of Ghanaian women >40 years old receiving fertility treatment. A combined assessment of AMH levels and age supports clinical decisions in predicting ovarian response to controlled ovarian stimulation (COS) and may be valuable in predicting of IVF success. Further research to evaluate the combined use of age, AMH, and other ovarian reserve markers in assessing ovarian response to COS is recommended.
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Tetteh, Joshua, Nancy Darkoa Darko, Chrissie Stansie Abaidoo, and Thomas Diby. "Height Estimation using Arm Span as a Proxy among Ghanaians." International Journal of Anatomy and Research 9, no. 2.2 (2021): 7984–90. http://dx.doi.org/10.16965/ijar.2021.120.
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Height is an important anthropometric tool and most popular characteristic parameter employed in human identification. However, body height cannot always be ascertained by direct measurement due to various deformities of the extremities in patients with injuries. There is accumulating evidence to demonstrate the use of arm span measurements in the estimation of height but there is very little information on the use of arm span measurements in Ghana. Therefore, this study sought to determine the relationship between height, arm span and sex as well as the correlational efficiency of using arm span as a surrogate for height. This cross-sectional study recruited 716 participants [328 males and 388 females] aged 18 to 30 years. Ethical approval and informed participant consent were sought. Male participants were taller and had wider arm span than the females with a statistically significant value [p < 0.001]. The results also showed that, the mean arm span measurement was higher than the mean height measurement with values of males [arm span: 180.57 cm; height: 170.79 cm] and females [arm span: 168.60 cm; height: 161.19 cm]. There was a statistically significant strong positive correlation [p < 0.001] between the arm span and height in the male, female and pooled sample with “r” values of 0.815, 0.788 and 0.873 respectively. Sex-specific equations to predict height from arm span measurements among Ghanaians were established. This study has developed sex specific equations to predict height from arm span measurements and has proved that arm span can effectively predict height using regression equations. KEY WORDS: Height, Arm Span, Ghana, Identification, Forensic, Anthropometry.
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Meyer, Birgit. "Popular Ghanaian Cinema and ?African Heritage?" Africa Today 46, no. 2 (1999): 92–114. http://dx.doi.org/10.2979/aft.1999.46.2.92.
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