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Relevant bibliographies by topics / Ghanaian Theatre

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Academic literature on the topic 'Ghanaian Theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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Journal articles on the topic "Ghanaian Theatre"

1

ANSAH, KWAW. "On Ghanaian Theatre and Film." Matatu 21-22, no. 1 (2000): 301–14. http://dx.doi.org/10.1163/18757421-90000331.

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Adejunmobi, Moradewun. "FonTonFrom: Contemporary Ghanaian Literature, Theatre and Film (review)." Research in African Literatures 33, no. 4 (2002): 208. http://dx.doi.org/10.1353/ral.2002.0100.

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Agyekum, Humphrey Asamoah. "Peacekeeping Experiences as Triggers of Introspection in the Ghanaian Military Barracks." Africa Spectrum 55, no. 1 (2020): 50–72. http://dx.doi.org/10.1177/0002039720922868.

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African political elites have been forthcoming with military support for United Nations peacekeeping missions, contributing substantially to these missions’ workforce. Despite their contribution, most studies on peacekeeping omit the African soldier’s voice on his experiences of the African war theatre. This article features Ghanaian soldiers’ narratives based on their peacekeeping deployments and illuminates how Ghanaian peacekeepers connect their experiences to their home society. In this contribution, I illustrate how Ghanaian soldiers’ narratives about peacekeeping experiences are framed as deterring examples for their home society, thus potentially impacting their actions and behaviours. Based on long-term qualitative research embedded with the Ghanaian military, drawing from interviews and informal conversations with peacekeeping veterans and serving military operatives, it is argued that Ghanaian soldiers’ narratives of peacekeeping experiences and the collective processes through which these narratives gain currency in the barracks and beyond are informed by introspection in the post-peacekeeping deployment phase.

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4

Cole, Catherine M. "‘This is actually a good interpretation of modern civilisation’: popular theatre and the social imaginary in Ghana, 1946–66." Africa 67, no. 3 (1997): 363–88. http://dx.doi.org/10.2307/1161180.

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AbstractWest African popular theatre has been the subject of a growing body of scholarship. Yet what has not yet been adquately accounted for in this literature is historical change, both within particular theatre traditions and in their relation to society at large. This article begins to address the gap by focusing on the Ghanaian concert party in the volatile years from the end of World War II through the early years of independence. During this period the Ghanaian concert party underwent profound transformations in form, content, and its modes of production and consumption. Through their geographic mobility and widespread popularity, concert parties participated first-hand in the transformation of public consciousness. Just as the popular press played a central role in the formation of European nationalism, so popular travelling theatre performed a pivotal role among a largely non-literate population during Ghana's transition from colonialism to modern nation state. This article interprets the generic conventions through which the concert party convened and constituted its new public. By deploying an eclectic range of formal techniques to dramatise everyday realities, concert parties became a primary integrative mechanism through which audiences negotiated a tumultuous historical epoch.

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5

Holdbrook-Smith, Kobna. "What is Black Theatre? The African-American Season at the Tricycle Theatre." New Theatre Quarterly 23, no. 3 (2007): 241–52. http://dx.doi.org/10.1017/s0266464x07000140.

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Kobna Holdbrook-Smith was a member of the repertory company formed by artistic director Nicolas Kent for the 2005–2006 African-American season at the Tricycle Theatre in north London. That company also included Jenny Jules, Joseph Marcell, Lucian Msamati, Carmen Munroe, and Nathan Osgood. In Walk Hard – Talk Loud by Abram Hill, a play originally produced in 1944 and set in New York in the late 1930s, Holdbrook-Smith played a young boxer who faces racism. In Lynn Nottage's contemporary satire Fabulation, he took on dual roles – the heroine's husband who absconds with her wealth, and the gentle ex-junkie who offers her love. And in August Wilson's Gem of the Ocean, set in Pittsburgh in 1904, his Citizen Barlow seeks purification from the 285-year-old spiritual adviser Aunt Ester and is taken on a symbolic rite of passage. The Ghanaian-born Holdbrook-Smith also appeared at the Tricycle in 2004–2005 in Mustapha Matura's Playboy of the West Indies. Terry Stoller, who teaches at Baruch College in New York City and is working on a book project about the Tricycle Theatre, spoke with Holdbrook-Smith in June 2006 in Covent Garden, London.

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6

Nkyekyer, Kobinah. "Day-Case Laparoscopy in a Ghanaian Teaching Hospital: The Patients' Perspective." Tropical Doctor 26, no. 4 (1996): 147–50. http://dx.doi.org/10.1177/004947559602600403.

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A questionnaire survey was carried out to determine the acceptability to patients of various aspects of day-case laparoscopy in Korle-Bu Teaching Hospital. One hundred consecutive patients were interviewed within 2 weeks after operation. Sources of dissatisfaction include inadequate explanation about the operation and its aftermath, hospital reporting time, the waiting times at various stages of the process, the mechanism for sending patients from the ward to the theatre and the total length of time spent in hospital. Almost half the patients felt they were not well enough to be sent home at the time of discharge. More than half would have preferred overnight stay post-operatively. The main causes of morbidity were dizziness, abdominal pain, shoulder pain, nausea and vomiting. To make day-case laparoscopy more acceptable to patients a dedicated day care surgery unit with formal anaesthetic cover should be established. The operation and its aftermath should be fully explained to patients well before the day of operation. Stricter criteria should be established for patient discharge, and where appropriate, patients should be allowed the option of overnight stay post-operatively.

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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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8

de Bruijn, Esther. "Sensationally Reading Ghana’s Joy-Ride Magazine." Cambridge Journal of Postcolonial Literary Inquiry 4, no. 1 (2017): 27–48. http://dx.doi.org/10.1017/pli.2016.31.

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AbstractThis article argues that the 1980s and nineties popular literary magazine Joy-Ride attracted an exceptionally wide and regular readership by transposing the sensational aesthetics of Ghanaian oral narrative performance into the printed text. Joy-Ride retained its circulation in a period of devastating economic and sociopolitical tumult that resulted from an accumulation of natural disasters combined with the forced austerity measures of J. J. Rawling’s military government. Offering a collage of modern media such as serialized comics and photonovels, the magazine created intertextual associations with popular cultural experiences like Concert Party theatre and Ananse storytelling. Comics scholarship and affect and embodiment studies come together to support my position that the rich integration of text and image in Joy-Ride worked mnemonically to produce a sense of cultural vibrancy in the magazine narratives. This vitalism functioned, I argue, to sustain a feeling of cultural continuity for the magazine’s readership.

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9

Adejunmobi, Moradewun. "BOOK REVIEW: ed. Kofi Anyidoho and James Gibbs.FONTONFROM: CONTEMPORARY GHANAIAN LITERATURE, THEATER AND FILM. Amsterdam: Rodopi, 2000." Research in African Literatures 33, no. 4 (2002): 208. http://dx.doi.org/10.2979/ral.2002.33.4.208.

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10

Matzke, Christine. "Trickster Theatre: The Poetics of Freedom in Urban Africa. By Jesse Weaver Shipley. Bloomington and Indianapolis: Indiana University Press, 2015. Pp. xii + 285 + 16 illus. $85 Hb; $35 Pb; $34.99 Ebook. - Spiders of the Market: Ghanaian Trickster Performance in a Web of Neoliberalism. By David Afriyie Donkor. Bloomington and Indianapolis: Indiana University Press, 2016. Pp. xvii + 233 + 11 illus. $80 Hb; $30 Pb; $29.99 Ebook." Theatre Research International 43, no. 1 (2018): 118–21. http://dx.doi.org/10.1017/s0307883318000214.

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Dissertations / Theses on the topic "Ghanaian Theatre"

1

Asiedu, Awo Mana. "West African theatre audiences : a study of Ghanaian and Nigerian audiences of literary theatre in English." Thesis, University of Birmingham, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288805.

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This thesis examines the question of who the main audiences of West African literary theatre in English are and what they expect from literary theatre performances. Through a survey of audiences at performances in Ghana and Nigeria, it shows that the main audiences of literary theatre in English in this region of Africa are mainly students and the educated elite. The language of these plays and the main venues of performance are largely seen as responsible for this limited but important audience. The study concludes that since playwrights and their audiences see theatre as a medium for social change and edification respectively, this category of audiences are strategic targets. The study, however, sees the role of other theatre practices, such as Theatre for Development and Concert Party Theatre, which are in local languages and target the larger, less educated sections of society as more relevant but complementary to literary theatre in English. This thesis also highlights the lively interaction of West African audiences with theatre performances. Theatre practitioners encourage the active participation of their audiences by casting them in concrete roles or by directly addressing them, thus insisting on their participation.

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Asiedu, Emelia Pinamang. "My acting process: getting out of my own way." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/3247.

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My thesis paper will address why I act and different aspects of my work as an actor. Acting training is a constant process and it is the job of the actor to keep up a regular routine that keeps one from going out of practice. I will discuss what I personally do regularly to stay in training. I will also discuss the process I go through to prepare myself to perform in acting roles. Though my approach to developing each new character is different, there are some aspects of my approach that remain constant. This paper will also describe the kinds of stories I am interested in telling. Though actors are equipped to tell a wide variety of stories from many different perspectives, I, as a Ghanaian female artist of color, am drawn to specific kinds of projects that relate to my life experiences. These are the stories that I feel compelled to tell. I believe my work is not just an occupation but rather encompasses the way I choose to live my life. So I will also discuss the ways in which I think my acting work is relevant in the world at large. I will include the ways in which I feel my work has had an impact in my environment, as well as how I hope to use my acting a vehicle to influence change in the future.

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3

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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Lambert, Jade Maia. "Ama Ata Aidoo’s Anowa: Performative Practice and the Postcolonial Subject." Miami University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=miami1133810135.

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Lambert, Jade Maia. "Ama Ata Aidoo's Anowa performative practice and the postcolonial subject /." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1133810135.

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Thesis (M.A.)--Miami University, Dept. of Theatre, 2005.<br>Title from first page of PDF document. Document formatted into pages; contains [1], iv, 57 p. Includes bibliographical references (p. 56-57).

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6

Baah-Fenning, Emmanuel. "The relevance of theatre for development in Ghanaian education." Master's thesis, 2017. http://hdl.handle.net/10451/29699.

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Este estudo aborda a importância do Teatro para o Desenvolvimento (TfD) na educação do Gana. Analisa a emergência da educação formal no Gana antes da independência, o estabelecimento de estruturas e instituições educativas diferentes que valorizaram aa educação até hoje. Iniciou-se com as mission schools e continuou com os university colleges, universidades, escolas superiores de educação, politécnicos, escolas primárias, junior secondary schools, (agora chamadas junior high schools) e senior high schools que levam ao certificado denominado West African Senior School Certificate Examination (WASSCE). São analisadas contribuições académicas sobre TfD para apoiar o objetivo da investigação. O TfD é apresentado e discutido como um dos módulos relevantes para a educação no Gana, devido à introdução de diversas políticas, encorajadas para valorizar o ensino e aprendizagem como uma forma de aquisição de conhecimento holística, quer nos setores formais quer nos informais. Para isso, este estudo foca-se na Abibigromma, a companhia de teatro residente da School of Performing Arts da Universidade do Gana, analisando projetos de TfD altamente desenvolvidos e apresentados desde a fundação da companhia. A sua história, contexto e contribuição para a educação e para a comunidade do Gana são apresentados e avaliados, seguidos da análise do mais recente do projeto de TfD da companhia. Recebem particular atenção a estética e elementos dos espetáculos que Abibigromma utiliza nos seus projetos TfD e que poderiam ser introduzidos nas instituições de educação formal para valorizar o impacto e aquisição de conhecimento na educação do Gana. A estética e os elementos foram analisados para demonstrar a relevância de TfD na educação do Gana, sendo este o objeto deste estudo. Com base nessas informações, são sugeridos possíveis projetos de investigação nessa área.<br>This research study looks at the relevance of Theatre for Development (TfD) in Ghanaian Education. It reviews the emergence of formal education in Ghana before independence, the establishment of different educational institutions and structures that have enhanced formal education to date, which began with mission schools, university colleges, full universities, teacher training colleges, polytechnics, primary schools, junior secondary schools, (now known as junior high schools) and senior secondary schools (with its certificate recognised as Senior Secondary School Certificate Examination: SSSCE but now recognised as senior high schools with its certificate recognised as West African Senior School Certificate Examination: WASSCE) Scholarly contributions on TfD are reviewed to support the objectives of the research. TfD is introduced and discussed as one of the relevant modules for Education in Ghana, due to the introduction of diverse policies which are encouraged to enhance teaching and learning as a holistic form of knowledge acquisition both in the formal, as well as the informal sectors in the country. In view of this, the study focuses on Abibigromma, the resident theatre company at the School of Performing Arts University of Ghana for their highly developed TfD projects they have carried out across the country since the company was founded. Their history, background and contribution to schooling and the Ghanaian community are presented and assessed, followed by analysis of the company’s most recent TfD project. Performance aesthetics and features that Abibigromma employs in their TfD projects that could be introduced in the formal educational institution to enhance the impact and acquisition of knowledge in Ghanaian education have received particular attention. The aesthetics and features have been analysed to ascertain the relevance of TfD in Ghanaian education which is the objective of the research study and based on the findings recommendation have been made for future research projects in this field.

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7

Collins, John. "The Ghanaian concert party African popular entertainment at the cross roads /." 1994. http://catalog.hathitrust.org/api/volumes/oclc/50188379.html.

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Books on the topic "Ghanaian Theatre"

1

Gibbs, James. Ghanaian theatre: A bibliography. Enuanom Publications, 1994.

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2

James, Gibbs. Ghanaian theatre: A bibliography : a work in progress. 2nd ed. Nolisment Publications, 1995.

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3

Asiedu, Awo Mana. West African theatre audiences: A study of Ghanaian and Nigerian audiences of literary theatre in English. University of Birmingham, 2003.

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4

Nkyinkyin Essays On The Ghanaian Theatre. Rodopi, 2009.

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Gibbs, James. Nkyin-Kyin: Essays on the Ghanaian Theatre. Rodopi B.V. Editions, 2009.

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6

Kofi, Anyidoho, and Gibbs James, eds. FonTomFrom: Contemporary Ghanaian literature, theatre and film. Rodopi, 2000.

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FonTomFrom: Contemporary Ghanaian literature, theatre and film. Rodopi, 2000.

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Fontomfrom. Contemporary Ghanaian Literature, Theatre and Film. (Matatu 21-22) (Matatu). Rodopi Bv Editions, 2000.

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(Editor), Kofi Anyidoho, and James Gibbs (Editor), eds. Fontomfrom. Contemporary Ghanaian Literature, Theatre and Film. (Matatu 21-22) (Matatu). Editions Rodopi B.V., 2000.

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Book chapters on the topic "Ghanaian Theatre"

1

"Efua Sutherland (1924–96): The ‘Mother’ of the Ghanaian Theatre." In Nkyin-Kyin. Brill | Rodopi, 2009. http://dx.doi.org/10.1163/9789401206730_007.

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