NEEDLEPOINT TECHNIQUE AS A MEDIUM FOR CULTURAL EXPRESSION: A CASE STUDY OF THE BAMAYA DANCE IN TEXTILE ART

The needlepoint technique, a decorative textile art traditionally used in upholstery and surface design, remains underexplored within Ghana’s tertiary textile education despite its potential for artistic innovation and cultural preservation. Similarly, the Bamaya dance of the Dagomba people, renowned for its symbolic costumes, rhythmic movements, and historical depth, has received limited scholarly attention as a source of design inspiration. This study bridges these gaps by employing the needlepoint technique to reinterpret the aesthetic and symbolic features of the Bamaya dance into a contemporary textile-based interior décor piece. Adopting a qualitative, practice-led methodology, the research integrated studio experimentation, iterative reflection, and design refinement. Selected Bamaya motifs, colour schemes, and movement patterns were analysed and translated into needlepoint compositions using computer-aided design (CAD) software for pixelation, colour mapping, and stitch planning. Production processes included canvas preparation, sequential stitching, background filling, motif outlining, and finishing. The resulting wall hanging demonstrated that needlepoint, enhanced by digital tools, can effectively convey the movement, symbolism, and visual rhythm of the Bamaya dance. The work proved aesthetically appealing, durable, and contextually appropriate for interior branding, particularly in educational or cultural settings. The findings underscore the potential of integrating indigenous cultural expressions with contemporary textile practices to enrich creative pedagogy, promote skill diversification, and support the revitalization of Ghanaian traditional arts. The paper recommends that the integration of traditional cultural expression with modern textile methods provides a valuable pedagogical model for future textile design education, encouraging culturally responsive creativity and innovation

Teacher Pedagogical Strategies in Early Childhood Education for Learners with Visual Impairment in Ghana: Evidence from Akropong and Wa Schools for the Blind

Early childhood education (ECE) is a critical period for building language, early literacy foundations, concept development, independence, and socio-emotional participation. For learners with visual impairment, achieving these outcomes depends on teachers’ use of deliberate, developmentally appropriate, visual-impairment–responsive pedagogy (e.g., multisensory instruction, tactile learning, safe routines, and accessible assessment). This study examined teacher pedagogical strategies in ECE for learners with visual impairment in Ghana, drawing evidence from Akropong School for the Blind and Wa Methodist School for the Blind. Using a convergent mixed-methods approach, survey data were collected from early-grade teachers (N = 16) and analysed descriptively using frequencies/percentages and item means and standard deviations. Qualitative evidence from interviews and field notes was analysed thematically and organised under three research questions that focused on strategies used, instructional knowledge, and practical skills/confidence with implementation. Quantitative data findings indicate high reported use of core strategies that promote participation and access, including verbal mediation of visual content, multisensory teaching, structured classroom organisation, and peer-supported participation. However, implementation was less consistent for specialised early literacy and braille-readiness activities as well as mobility-friendly routines. Teachers’ instructional knowledge was generally moderate, with clearer gaps in areas requiring specialised preparation, for example, adapting play-based learning for non-visual access and using tactile materials and graphics systematically. Confidence was strongest for verbal mediation and classroom organisation, but weaker for pre-braille readiness and some play and assessment adaptations. Resource availability was a major constraint: early braille readers and books, tactile learning materials, and assistive technologies were largely unavailable or insufficient, alongside limited access to relevant professional development. Overall, the findings suggest that teachers employ practical inclusion-oriented strategies but require targeted capacity-building and improved resourcing to strengthen consistent, high-quality ECE provision for learners with visual impairment in Ghana’s schools for the Blind

Assessing Teachers’ Knowledge and Attitude on Gender Based Pedagogy (GBP) in Public Primary Schools in Ijebu Ode Local Government, Ogun State, Nigeria

This study assessed teachers’ knowledge and attitudes toward Gender Responsive Pedagogy in public primary schools in Ijebu Ode Local Government, Ogun State, Nigeria. Gender responsive pedagogy is a teaching and learning approach that acknowledges the specific needs, interests, and experiences of both female and male students to create a more inclusive and equitable classroom. This approach is effective in reducing sexual harassment cases in the school system, as the rate of Gender-Based Violence since COVID-19 has escalated among primary school pupils. GBV has become a deeply rooted issue across all levels of education, threatening learners' rights, undermining educational equity, and impeding sustainable development goals. Cultural norms that silence the voices of children—particularly girls—worsen the situation. A descriptive survey research design was adopted, and three research questions were raised using a purposive sampling method. 44 STEM teachers were trained on the use of gender responsive pedagogy to teach, and they were observed for a period of four weeks in their classrooms. A pre-test and post-test were done using a structured questionnaire titled "Gender-Responsive Pedagogy and Gender-Based Violence Questionnaire, designed to assess teachers’ knowledge, attitudes, and classroom practices. The findings showed that there was a significant difference in knowledge of teachers on GRP before and after the training as reflected in their mean scores (t = -4.738; df = 36; p0.05); (? = 0.51; t = 0.32; p>0.05). Therefore, the study recommended that for gender-responsive pedagogy to be fully realized, ongoing professional development, supportive policy frameworks, and school-level commitment are essential. Empowering teachers with the necessary tools, knowledge, and confidence will not only improve learning outcomes for all students but also contribute to broader societal progress toward gender equality

Anthora: A conceptual framework for integrating indigenous songs into the kindergarten curriculum in Ghana

This paper presents the Anthora (Anthology of Songs) conceptual framework, a model designed to guide kindergarten teachers in the systematic selection, categorisation, and application of indigenous songs for holistic child development. Developed in response to the 2019 Ghanaian Kindergarten Curriculum's emphasis on an integrated approach to the 4Rs (Reading, wRiting, aRithmetic, and cReative arts), the framework addresses a critical gap in teachers' pedagogical resources and skills. A qualitative case study in the Gomoa Central District, incorporating observations and interviews with 40 teachers, culminated in the collection and thematic categorisation of 78 indigenous Akan songs. The Anthora framework demonstrates how these songs can be strategically used to foster cognitive (numeracy, literacy), psychomotor (movement, coordination), and affective (moral values, cultural identity) development. This paper outlines the framework's structure, provides exemplar songs and teaching activities, and argues for its potential to make learning more meaningful, contextually relevant, and aligned with the goals of the national curriculum

FROM RITUAL TO SCREEN: WESTERN THEATRE MAKE-UP REVOLUTIONS AND AFRICAN INDIGENOUS INNOVATION

This paper re-examines the historical development of theatrical make-up by challenging the dominant linear narrative that frames Western innovation as the universal endpoint of cosmetic progress. Drawing on historical analysis, performance theory, and postcolonial perspectives, it traces how make-up evolved from ritual body transformation practices into a technologically sophisticated component of modern stage and screen production. Highlighting Western theatrical make-up breakthroughs such as the nineteenth-century introduction of greasepaint and the twentieth-century development of camera-ready cosmetic formulations as context-specific responses to changes in lighting, performance aesthetics, and visual recording technologies rather than as markers of global superiority. The study places these developments in dialogue with African indigenous make-up traditions, demonstrating that such systems embody equally complex forms of material knowledge rooted in ritual transformation, ecological awareness, and embodied cognition. Through comparative analysis, the paper argues that Western make-up practices historically prioritised realism, optical control, and psychological legibility, whereas African indigenous practices emphasised visibility, spiritual mediation, and communal identity formation. These differing orientations reveal not a hierarchy of progress but parallel trajectories of innovation shaped by distinct cultural ontologies of the body and performance. By reframing theatrical make-up as a trans-historical technology of identity and embodiment, the paper contributes to contemporary debates in theatre studies, performance anthropology, and cultural production. It further proposes that the future of global make-up industries particularly within rapidly expanding film sectors such as Nollywood and Ghallywood depends on integrating indigenous materials and knowledge systems with modern production technologies. Such integration offers pathways toward sustainable, culturally grounded, and economically viable cosmetic innovation beyond Eurocentric models

Teacher Education and Curriculum Alignment in History Education: A Bridge to Enhanced Learning Outcomes

Education in Ghana faces a structural crisis rooted in a persistent misalignment between what colleges of education teach and what basic schools actually require. Despite this being a well-documented concern in Ghanaian education more broadly, no systematic study has examined the specific disconnect in history education. Colleges of education prepare history specialists for Junior High School teaching, yet history does not exist as a standalone subject at that level. At the same time, primary school teachers, who are required to deliver history as a discrete subject, receive no formal training in the discipline. This study addresses that gap through a mixed-methods investigation involving 100 participants: 50 student-teachers drawn from colleges of education affiliated to five major universities in Ghana, 30 in-service teachers, and 20 education administrators. The findings show that 96% of primary school teachers teach history without any specialised training, while 92% of history specialists reported serious concern about the mismatch between their preparation and available teaching positions. There was strong consensus across stakeholder groups, with 94% calling for systematic curriculum restructuring. Anchored in Biggs and Tang's (2011) Constructive Alignment Theory, the study develops the Teacher Education Curriculum Alignment Model (TECAM) as an analytical tool to examine the structural and functional dimensions of this misalignment. The findings point to the need for mandatory history training within primary education programmes, a revision of the college of education curricula to reflect how history is actually structured in basic schools, and stronger coordination between curriculum development bodies and teacher training institutions

Safety First: Determinants Of Drinking Water Preferences Among Tertiary Students in a Ghanaian University

Access to safe drinking water in Africa is a serious public health concern, and it is relevant for attaining SDG 6.1. Among university students in Ghana, determinants of drinking water source preferences remain understudied despite their distinct residential, financial, and institutional contexts. Underpinned by Ajzen’s Theory of Planned Behaviour, which links perceived behavioural control, attitude, and subjective norms to water choice, this study examined the determinants of drinking water source preference among students of the University of Education, Winneba, using a sample of 400 students selected via stratified sampling from halls of residence and off-campus hostels during the second semester of the 2022/2023 Academic Year. Data were collected using a structured questionnaire, and analysis employed descriptive statistics and multinomial logistic regression. Key findings indicate that sachet water was students’ most preferred source (OR?= 7.988; p = 0.005 for perceived healthiness), primarily due to perceived safety, even though piped water was most available. Reliability perceptions (OR?= 0.099; p = 0.002 for pipe-borne water) and financial responsibility were also significant predictors. The study found no significant relationship between place of residence and drinking water preference. The study recommends that the University management and hostel owners install water storage infrastructure and filtration systems, conduct regular water quality testing, and subsidise the cost of safe water access for students. The findings represent the water situation as of the 2022 data collection period and should be read with that temporal context in mind

Archiving Yoruba liturgical choruses through art music compositions: A survey of some selected art music compositions

Volume 8 Issue 4 December 31, 2025 DOI: https://doi.org//10.63102/jaac.v8i4.202518 https://jaac-sca.org ISSN 2637-3610 Abstract In the last over one and a half centuries of the growth and development of African Art Music Compositions, composers have depended on a number of preexisting materials as thematic materials in their syncretic compositions. Some of these materials are African folk music, traditional songs, rhythm and melodies that recalls traditional scenes, African hymnodies and common liturgical choruses. Most of the liturgical choruses used by these composers have been passed down through the ages by rote method, which is largely due to the inability of the composers to notate their ideas. Some of these art music composers who have depended on common liturgical choruses in their compositions, apart from producing artistic works that their audience can easily comprehend with, breaking barriers of musical cultures, they also succeeded in documenting and archiving these choruses unknowingly through using one of the best means of documentation, which is the staff notation (scoreography). This research is premised on the framework of Archival science theory. The work will be focused on some Choral Art music compositions of Sunday Olawuwo, Kayode Oguntade and Gbenga Obagbemi. The primary materials used in the three compositions are some common Yoruba liturgical choruses. In other to achieve the goal of this qualitative research, I depended largely on the staff notation of those music under focus, I also depended on direct interviews, interview through social media devices such as WhatsApp and Facebook as primary sources of eliciting information. My secondary sources of eliciting materials are bibliographical materials such as textbooks, journals, magazines and some internet sources. The work looked into some of the compositional tools used in achieving African authenticity of the intercultural liturgical choral composition. This research recommends a furtherance of African compositional musicology through artistic rebranding, archiving and documentation of preexisting liturgical choruses

A review of Ghanaian and Pan-African artistic renaissance: An in-depth interview with Anumnyam

This paper examines the life, work, and enduring legacy of Anumnyam Anumnyam, a seminal figure in Ghanaian cultural expression whose contributions span music, literature, performance, curation, and cultural activism. Employing a qualitative case study design, this research draws on in-depth interviews with Anumnyam, archival analysis of his literary works and organizational records, and critical review of his artistic collaborations to construct a holistic portrait of his career. A protégé and collaborator of the legendary percussionist Kofi Ghanaba (Warren Gamaliel Akwei), Anumnyam embodies a dynamic synthesis of traditional African aesthetics and contemporary artistic practice. His partnership with Ghanaba, an architect of Afro-jazz who revolutionized the integration of African talking drums into spiritual and jazz idioms, anchors Anumnyam within the broader narrative of Ghanaian cultural resurgence and Pan-Africanist thought. Beyond performance, Anumnyam has been instrumental in shaping national cultural policy and literary development. His leadership roles in key institutions including the Ghana Association of Writers (GAW) and the Pan-African Writers Association (PAWA), underscore his commitment to fostering creative communities and advancing the professionalization of the arts in Ghana and across the continent. As a writer, Anumnyam has enriched Ghanaian letters through poetry, children’s folktales, and biographical narratives. These works reflect a sustained engagement with cultural preservation, oral tradition, and the reimagining of African stories for new generations. Drawing on in-depth interview analysis, this paper situates Anumnyam’s multifaceted career within the larger context of 20th- and 21st-century Pan-African cultural renaissance. It argues that Anumnyam serves as both a custodian of heritage and a catalyst for innovation, bridging the artistic, intellectual, and political dimensions of African identity in a postcolonial world

Resilience and Self-Worth among Young Adults from Broken Homes in Ghana

This research study is intended to provide perspectives on why there are lasting impacts of parental break-up and how better solutions could be found to provide assistance among future youth for mental health and well-being in similar circumstances. Participants in this research included four men and four women aged 18 to 29 years who were enrolled at the University of Ghana in Accra. These volunteers took the plunge that following a flyer from the recruitment committee inviting people to volunteer to tell their story to enable academic research, they volunteered to be interviewed. The private interviews with the researchers focused on participants’ lived experiences. It turned out that young adults hailing from broken homes had experienced abandonment, rejection, and negative self-perception, which had limited their sense of their own value. It was recommended that children from broken homes should have access to counselling services. Providing mental health support: Creating and providing access to support groups tailored to young adults who grew up in broken homes