Academic literature on the topic 'Ghanaian drama'
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Journal articles on the topic "Ghanaian drama"
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Abarry, Abu Shardow. "The Significance of Names in Ghanaian Drama." Journal of Black Studies 22, no. 2 (1991): 157–67. http://dx.doi.org/10.1177/002193479102200201.
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Brew, Faustina, and Ebenezer Henry Brew-Riverson. "Europeanization of Ghanaian Names and Their Representations in Drama." Journal of English Language and Literature 10, no. 1 (2018): 966–74. http://dx.doi.org/10.17722/jell.v10i1.381.
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In Ghanaian culture a name could tell the story of when a person is born, how the person is born or some special event at the time of their birth. However, difficulties in pronunciation, as well as misinterpretation of local names by the then colonial masters resulted in alterations of many local names to the convenience of the British and Portuguese, resulting in evolution of some local names over the years to new pronunciations and spellings. During colonial dominance and immediate post-colonial period, some renowned Ghanaian playwrights used names that reflect this confusion and consequently imbedded in their characters, traits that depicted such misrepresentations as well as the specific roles the playwright assigned them. This paper reflects on the character names in relation to the settings in selected Ghanaian plays and how these characters reveal Ghanaian naming philosophies in the ways these characters play their roles. The focus is on, but not limited to, playwrights such as Kobina Sekyi, Ama Ata Aidoo, J.C. deGraft and F.K. Fiawoo who seem to be enduring points of reference particularly when one appreciates the reasoning that informs how they craft their characters, courtesy the curiously noteworthy names they drape them in. The discussion is preceded by deliberations on the indigenous naming, names and their significance furthering on the colonial influence and attempts to Europeanize.
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Yitah, Helen. "Adaptations of Play Songs in Ghanaian Children’s and (Young) Adult Drama." Children's Literature Association Quarterly 42, no. 1 (2017): 65–90. http://dx.doi.org/10.1353/chq.2017.0004.
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Collins, John. "Ghanaian Christianity and Popular Entertainment: Full Circle." History in Africa 31 (2004): 407–23. http://dx.doi.org/10.1017/s0361541300003570.
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In this paper I look at the relationship between Christianity and popular entertainment in Ghana over the last 100 years or so. Imported Christianity was one of the seminal influences on the emergence of local popular music, dance, and drama. But Christianity in turn later became influenced by popular entertainment, especially in the case of the local African separatist churches that began to incorporate popular dance music, and in some cases popular theatre. At the same time unemployed Ghanaian commercial performing artists have, since the 1980s, found a home in the churches. To begin this examination of this circular relationship between popular entertainment and Christianity in Ghana we first turn to the late nineteenth century.The appearance of transcultural popular performance genres in southern and coastal Ghana in the late nineteenth century resulted from a fusion of local music and dance elements with imported ones introduced by Europeans. Very important was the role of the Protestant missionaries who settled in southern. Ghana during the century, establishing churches, schools, trading posts, and artisan training centers. Through protestant hymns and school songs local Africans were taught to play the harmonium, piano, and brass band instruments and were introduced to part harmony, the diatonic scale, western I- IV- V harmonic progressions, the sol-fa notation and four-bar phrasing.There were two consequences of these new musical ideas. Firstly a tradition of vernacular hymns was established from the 1880s and 1890s, when separatist African churches (such as the native Baptist Church) were formed in the period of institutional racism that followed the Berlin Conference of 1884/85. Secondly, and of more importance to this paper, these new missionary ideas helped to establish early local popular Highlife dance music idioms such as asiko (or ashiko), osibisaaba, local brass band “adaha” music and “palmwine” guitar music. Robert Sprigge (1967:89) refers to the use of church harmonies and suspended fourths in the early guitar band Highlife composition Yaa Amponsah, while David Coplan (1978:98-99) talks of the “hybridisation” of church influences with Akan vocal phrasing and the preference of singing in parallel thirds and sixths in the creation of Highlife.
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Mupotsa, Danai S. "Feeling backwards: temporal ambivalence in An African City." Feminist Theory 20, no. 2 (2019): 201–14. http://dx.doi.org/10.1177/1464700119831542.
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The turn to optimism makes figures of progress, consumption, self-making and empowerment appear in various genres of chick-lit. These narratives, however, are often still shaped by a depressive tone that is distinct from one that says that women have more options than happy-ever-after, even while heterosexual romance remains a structuring force. This article takes the Ghanaian web-series An African City as its example to explore this ambivalence. An African City offered its first season in 2014 and was immediately received as ‘Africa’s own Sex and the City’, praised for challenging the image of a backward Africa, while criticised for offering an unrealistic account of life for urban African women. The series is set around the lives of five women, one of whom plays the leading role as narrator. The ‘African city’ serves as another character, rather than a mere backdrop for the action to unfold. I argue that the various characters perform an ongoing ambivalence towards progress, always stuck in a look backward. It is not simply that the quest for romance fails as part of the drama, but that the drama of failure itself folds onto both the African city and African women as figures that remain eternally stuck in their relation to the temporalities that accrue around modernity.
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Gilbert, Michelle. "The sudden death of a millionaire: conversion and consensus in a Ghanaian kingdom." Africa 58, no. 3 (1988): 291–314. http://dx.doi.org/10.2307/1159802.
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Opening ParagraphThe unexpected death of a citizen in 1977 triggered a series of events in one small Ghanaian kingdom, pointing to confusion in the locally accepted criteria for Christian conversion and to contradictions in the avenues to status and power. Since the deceased was a millionaire businessman, something of a huckster, and a person who was at the centre of an unusually complex constellation of social ties, his death forced the people of his local community to re-examine the relationships between traditional religion and Christianity, and between wealth, religious adherence and the display of status and prestige. There was long and bitter hostility between the two towns to which this man was affiliated by descent. Each town competed for the glory of ; claiming him as a member, and while once he too would have desired that, logically it could not be. There was also perennial conflict between the factions within the kingdom's capital. This enhanced the drama and helped explain the urgency of the respective townspeople's attempts to resolve the underlying structural contradictions which became manifest in the events following the death to their own advantage. At the same time this is the story of a self-made man, unusual largely because of his extreme wealth, who understood conflict and ambiguity, and who manipulated the social structure in which he found himself to his own advantage. The funeral of this one man, who simultaneously entertained contradictory belief systems and juggled opposing attributes of leadership, mobilised the attention of the entire population of both towns. It did so precisely because the ritual of his funeral was used to ‘describe in advance a desired but uncertain state of affairs. It [ritual] is about power and is itself more or less political’ (MacGaffey, 1986: 11, emphasis added).
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Appiah, Priscilla, Edward Owusu, Asuamah Adade-Yeboah, and Alberta Dansoah Nyarko Ansah. "The Illiterate African Woman as Depicted in Ama Ata Aidoo’s Anowa." International Journal of English and Comparative Literary Studies 2, no. 4 (2021): 56–68. http://dx.doi.org/10.47631/ijecls.v2i4.278.
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Based on the theory of existentialism, this study seeks to find out Ama Ata Aidoo’s view on how illiteracy affects the African Woman in her drama, Anowa, which was published in 1970. The text depicts the illiterate woman as being powerful woman in African society. However, Ama Ata Aidoo posits that illiteracy makes the woman a pathetic individual who is not able to function effectively in this changing world. This study seeks to deepen the appreciation of Ama Ata Aidoo’s Anowa, by contributing to the understanding of Aidoo’s attitude to the illiterate Ghanaian woman (and for that matter African woman) who is seen as a powerful matriarch, but frustrated by African society as a result of lack of formal education. The available literature was explored to find what other writers have said on Aidoo’s Anowa. We used the method of qualitative content analysis in our analysis. The findings of the study show that Ama Ata Aidoo uses her writing to satirize societal weaknesses for her readers to refrain from committing such wrongs. Her illiterate women characters in Anowa are bent on maintaining their traditions and are not prepared for change. Consequently, Aidoo uses the character, Anowa, to depict change in African societies.
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Adama, Daniel Tinyogtaa. "Perception and Effect of Undergraduate English Language Students have about Studying Literature." International Journal of Multidisciplinary Studies and Innovative Research 10, no. 3 (2022): 1622–35. http://dx.doi.org/10.53075/ijmsirq/354664766.
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The purpose of the study is to examine the Perception and Effect of Undergraduate English Language Students have about Studying Literature. The findings of this study have some implications for ESL students studying literature in the language classroom. The fact that literature has been used to make English language teaching and learning more interesting, even at the lower levels of learning, goes a long way to support the argument that literature should be encouraged in English language teaching and learning in Ghanaian schools. Poetry, drama, and prose have all been employed in the teaching and learning of various components of the English language. However, the critical function of literature in ESL students' language learning cannot be realized without a shift in the mindset of the stakeholders. According to the findings of this study, many undergraduate students have a negative attitude toward the study of literature. School authorities must also encourage parents to buy enough literary materials for their children and also encourage them to read them. This will help the students to develop good reading habits which will in turn improve their attitude toward the study of literature. Creative programmes could also be developed using current technologies which will make students develop good reading habits.
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Kim, Suweon. "Who watches Korean TV dramas in Africa? A preliminary study in Ghana." Media, Culture & Society 40, no. 2 (2017): 296–306. http://dx.doi.org/10.1177/0163443717706069.
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More and more Ghanaians are watching Korean TV dramas. These are not just ordinary Ghanaians because they are from a particular socioeconomic bracket; they have a certain level of education, access to screen devices and Internet, accumulated previous experience of watching other foreign screen products and, most importantly, a peer network with those who can afford these items. Drawing from qualitative work and focus-group interviews, the article argues that Korean TV dramas are spread efficiently by taking advantage of those contributing components within the privileged network, but they remain within the network due to the lack of those necessary components outside the bracket. The recipients find Korean media products attractive because they are fresh, funny, socially decent, different, yet close to them vis-à-vis Hollywood and Nollywood.
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Wright, Derek. "The Ritual Context of Two Plays by Soyinka." Theatre Research International 12, no. 1 (1987): 51–61. http://dx.doi.org/10.1017/s0307883300013298.
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New Year purification ceremonies are perhaps spread more widely over African fiction than African drama, ranging from the disposal of the old year's yams at the Feast of the New Yam in Achebe'sThings Fall Apartto the Somalian Rendezvous of the Brooms which, in Nurridin Farah's novelSweet and Sour Milk, the military dictatorship perverts into a political circus. More specifically, the annual rite of the carrier, who bears away the sins and misfortunes of the past year in the form of a miniature wooden boat, a bundle of twigs or a wicker effigy, is handled figuratively in the first novels of the Ghanaians Kofi Awoonor and Ayi Kwei Armah. This particular ritual practice does make some vestigial dramatic appearances, however – for example, in the symbolic dismemberment of Tufa in the cleansing floods at the end of J. P. Clark's playThe Masquerade– and it receives what is probably its most complex and experimental treatment in two plays by Wole Soyinka,The Strong Breedand his adaptation of Euripides'The Bacchae.
Dissertations / Theses on the topic "Ghanaian drama"
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MacKenzie, Benjamin Roe. "Designing the Part: Drama and Cultural Identity Development Among Ghanaian Teenagers." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300477046.
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Brew, Faustina. "'Create to learn' : a practical exploration of effectual educational drama in Ghanaian classrooms." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/21335.
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This study explores ways educational drama could function in the Ghanaian classroom, where a rigid teacher-centred approach is the norm and drama does not feature in the curriculum in any significant way. The research was practice-based and conducted through action research methodology. Through the execution of two major drama projects in Ghana, the author sought to determine ways in which educational drama could be introduced into the Ghanaian classroom to the benefit of the participating children and their teachers. The thesis identifies unique ways through which drama pedagogy can be introduced successfully in seemingly non-viable contexts. It provides critical reflections on teacher training requirements and how various drama games and strategies were used by participants. It also analyses the responses of participants who are accustomed to teacher-centred learning and rigid pedagogic methods. The study showed that, notwithstanding unfavourable classroom conditions for full drama lessons, if given appropriate training, teachers could use selected drama games and strategies to enhance teaching and learning. This will be of relevance to teachers in countries in which drama does not appear as a separate curriculum subject, as well as illustrating to others the strategies needed to allow non-drama specialists to include drama in their teaching approaches.
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Boneh, Galia. "Moving from entertainment towards art a new model for creating performance on HIV/AIDS /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1568127991&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full textBooks on the topic "Ghanaian drama"
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James, Gibbs. Ghanaian theatre: A bibliography : a work in progress. 2nd ed. Nolisment Publications, 1995.
Find full textBook chapters on the topic "Ghanaian drama"
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Osumare, Halifu. "Dancing in Africa." In Dancing in Blackness. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056616.003.0006.
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Chapter 5 records the author’s bold move to Ghana, West Africa for nine months to study and research the basis of black dance in the Americas. She studies the curriculum of the School of Music, Dance, and Drama (SMDD) at the University of Ghana, Legon, under the ethnomusicologist Dr. Kwabena Nketia and the dance ethnologist Professor Albert Opoku. She examines the development of the internationally touring Ghana Dance Ensemble. She also explores her personal relationships with other African Americans and Ghanaians to further interrogate race and blackness from the point of view of living in West Africa. She reminisces about how her dance fieldwork in five regions of Ghana and her excursion to Togo and Nigeria broadened her perspective on herself as African American in Africa.