The Politics of Theorising in Historical Reconstruction: An Examination of the Views of the Protagonists and Antagonists

The significance of theory in research has made the formulation and use of theories a common practice in most fields of study, particularly in the natural sciences and in some social sciences. In history, however, there is a lack of unanimity regarding the formulation and application of theories in the reconstruction of the past. Thus, whereas some historians accept and employ theoretical formulations in their studies, others reject and avoid them altogether in their works. Interestingly, both camps have raised strong arguments in support of their positions. To understand the opposing camps, therefore, necessitates a thorough appraisal of their views. Accordingly, this paper, employing the multi-disciplinary approach, first distinguishes between the ‘pro-theorists’ and the ‘anti-theorists’[1] in historical studies. It then examines in detail two of the important arguments the two schools of thought have advanced in relation to formulating and applying theories in the study and reconstruction of the past. Finally, the paper attempts to contribute towards resolving this somewhat controversial issue in the historical theatre by way of permitting itself the luxury of stating its own views on the matter. It concludes that to help make historical studies more scientific and easily intelligible, theories should be applied, with utmost caution, in historical research. Key Words and Phrases: Formulation, Framework, Historical phenomena, Historical reconstruction, Theory, Anti-theorists, Pro-theorists, Presentism [1] For the purpose of this study, we have chosen to refer to those in favour of the formulation and application of theories in historical reconstruction as the pro-theorists and their camp as pro-theory, and those against them as the anti-theorists and their school as anti-theory. These designations have been accorded and used arbitrarily only for our present purpose without resorting to any rules

TEACHING THE PERFORMING ARTS IN GHANAIAN PRIMARY SCHOOLS: A DILEMMA FOR PRE-SERVICE GENERALIST TEACHERS

Pre-service generalist teachers in Ghanaian Colleges of Education spend two years for studies on campus and one year for practical training in teaching in partner primary schools during which they teach all curriculum subjects. They however express fear and lack of adequate preparation to teach the performing arts. Through action research, nine selected pre-service teachers were guided to plan and implement activity based Performing Arts lessons. Participants’ confidence and competence of teaching the Performing Arts appreciated significantly after the study, suggesting that knowledge, understanding and skills of pre-service teachers who did not offered the full complement of the Performing Arts courses in College can be built through training workshops during their practical training session. Regular training workshops and in-service training for both generalist pre-service and in-service teachers in teaching the Performing Arts is recommended.     Article visualizations

Playing for oman Ghana: Women’s Football and Gendered Nationalism

Feminist scholars of nationalisms acknowledge the gendered character of national identity. Due to their association with heterosexual masculinity, national sports teams are one avenue through which gendered nationalisms manifest. Football (soccer) represents the peak of sporting masculinity and national identity around the world. Following the inaugural Women’s World Cup in 1991, women’s football continues to gain global popularity, raising questions about what new forms of nationalism can take root through this sport. Recent transnational feminist research has highlighted how, despite feminist resistance, patriarchal forms of gendered nationalism persist. Using the case of Ghanaian women’s football, I examine how reactions to the national team shape and reveal understandings of gender and national identity. I find that whilst state institutions use their support of the women’s team to shore up heteropatriarchal national identity, some spectators and fans discursively advocate for a recognition of women footballers as citizens and workers. These findings have implications for how activists and scholars engage the gendered construction of national identity

THE ROLE OF PERFORMING ARTS IN GHANAIAN SOCIETY AND ITS IMPLICATION FOR FORMAL EDUCATION IN PRIMARY SCHOOLS

The Performing Arts play a pivotal role in the traditional and contemporary life of the Ghanaian. Among its numerous importance and benefits are academic development, career development, transmission and preservation of cultural values, and promotion of tourism. In spite of some knowledge that has been created about these benefits and importance, the significance of the Performing Arts in the Ghanaian society is downplayed. The aim of this paper is to re-emphasise the role as well as the benefits and importance of the Performing Arts in Ghana and its implication for formal education.  Article visualizations

Resuscitating ‘Clio’ for the Development of Twenty-First-Century Ghana and Beyond: Arguments in Defence of the Government’s Decision to Reintroduce National History as a Separate Subject in the Pre-tertiary School Curriculum

In the colonial days, history occupied an enviable position in the school curriculum. At this time, the colonial authorities exploited the discipline to achieve their imperial objectives. After independence, President Nkrumah also retained history in the school curriculum mainly because of his appreciation of the contributions of history to national development. History continued to be studied in pre-tertiary schools up to the 1980s. From 1987, however, the study of history started experiencing a substantial degree of marginalisation in the educational curriculum when the educational reforms of that year placed history under social studies. Over time, the study of history in the primary and junior secondary/high school levels was discontinued altogether, while at the senior high school level, it was made an elective subject, with little patronage by students. As a result, history is currently in a state of disrepute; the welfare of history, as a branch of human knowledge, is certainly exposed to more serious dangers, with academic historians struggling to justify the place of history in the school curriculum. Fortunately, after realising the need for the teaching and learning of the history of Ghana at the pre-tertiary level of education, the new government, the Nana Addo Dankwa Akufo-Addo-led New Patriotic Party administration, has decided to reintroduce history as a separate subject in the pre-tertiary school curriculum. This move raises the question, “For what reasons should history be reintroduced into the pre-tertiary school curriculum?” Using both secondary and primary data, and employing the qualitative research approach, this study seeks to defend or justify the decision of the government through a critical appraisal of the contributions the study of history makes to the development of society. The study concludes that in view of the enormous value of history for the survival of our societies, the government should go ahead and reintroduce national history as a separate and a compulsory subject in the pre-tertiary school curriculum. Finally, the paper urges the government to institute measures that would ensure the early, effective and efficient implementation of the decision. Keywords: development, discipline, history, justification (justify, justifying), reintroduce, the study of history, uses of history, values of histor

MUSICAL PROCESSES IN THE PRIMARY SCHOOL CLASSROOM

Music is a strand of the Creative Art curriculum content for Ghanaian primary schools. Composition, performance and listening forms part of the methods or strategies that are supposed to be used to teach this art form in the classroom. Elsewhere, it is argued that these three musical processes constitute the starting point of music activities in the classroom. Having some knowledge and practical insight of each of these processes is therefore very significant for the teacher’s professional practice in the music classroom. This article attempts to describe these processes and highlights some activities that can serve as a guide for the teacher to engage pupils in music activities under each of these three interrelated activities for effective musical learning and experiences. Article visualizations

ALTERNATIVE APPROACH TO TEACHING MUSIC IN THE PRIMARY SCHOOL

Music contributes significantly to pupils’ growth and development. They interact and respond to it in a way that can form the foundation to consolidate their skills and knowledge in this art form. Research indicates that a good number of classroom teachers who are tasked to provide learning experiences in music to pupils consider themselves as having inadequate education to do so, thereby resulting in ineffective music education in the primary schools. The purpose of this study was therefore to explore alternative approach available to teachers for providing effective learning experiences in music to pupils in a primary school in Ghana. The result suggests that some teachers can draw on pupils’ relevant experiences in music to inform their teaching. However, there is the need to organise in-service training workshops for these primary school teachers in the area of identification of alternate approaches in teaching music.  Article visualizations

Developmentally appropriate strategies of teaching music in selected primary schools in Ashanti region of Ghana

Abstract is in English, Zulu and XhosaIn Ghanaian primary schools, music is a compulsory study area which is taught by generalist teachers. However, information is deficient on the strategies teachers use to implement the music curriculum. The aim of this study was to determine how teachers organise musical learning experiences in terms of developmentally appropriate practice (DAP) for lower primary school pupils. DAP is an educational concept which refers to teaching strategies that consider children’s age, abilities, interests and experiences, to help them achieve challenging and achievable goals. The study was underpinned by the concept of teaching within the context of constructivist theory. Qualitative Interpretative Phenomenological Analysis and ethnographic research methods were used to find answers to the research questions. Data were collected by means of observations, interviews and document analysis. Singing, movements and the playing of improvised instruments (although they constitute only a part of the planned music curriculum in the Creative Arts syllabus) dominate the music activities provided in the schools. In fact, unplanned music activities dominate planned music lessons due to teachers’ perceived lack of adequate training to teach music, the non-application of ICT in teaching, a lack of teaching and learning materials, unsuitable physical conditions for teaching, lack of motivation and support to teach, and lack of time to teach music because of the emphasis on meeting the targets of teaching and assessment in core subjects. Strategies the teachers adopt to overcome the challenges they encounter in teaching music include collaboration with their colleagues in planning, teaching and integrating music into most classroom activities and drawing on pupils’ expertise in teaching and learning. It is recommended that teachers be given in-service training, that specialist teachers be used, and that adequate teaching and learning materials be provided, as well as support for teachers to integrate ICT in teaching music. Limitations associated with the study make generalisation of the findings impossible. A larger sample from various primary schools within the Ashanti region of Ghana should be considered for further research. Functional integration of music in the other subject areas within the Ghanaian context should also be explored and further studies should be conducted about the application of developmentally appropriate practice in teaching music in the lower-primary classroom.Ezikoleni zamabanga aphansi zaseGhana, umculo uyindawo eyimpoqo yokufunda efundiswa ngothisha abajwayelekile. Kodwa-ke, ulwazi alwanele ngamasu othisha abawasebenzisayo ukwenza izifundo zomculo. Inhloso yalolu cwaningo kwakuwukuthola ukuthi othisha bahlela kanjani amava okufunda omculo ngokwendlela efanelekile yokuthuthuka (NET) yabafundi bezikole zamabanga aphansi. NET ingumqondo wezemfundo obhekisa kumasu okufundisa abheka iminyaka yezingane, amakhono, izintshisekelo kanye nezipiliyoni ezithile, ukuzisiza ukuthi zifeze izinhloso eziyinselele futhi ezingafinyeleleka.Ucwaningo lwalusekelwa ngumqondo wokufundisa ngokwengqikithi yethiyori yokwakha. Ukuhlaziywa Okufanelekile Kokuhunyushelwa Kokubukeka Kwabantu nezindlela zokucwaninga ngobuzwe zisetshenzisiwe ukuthola izimpendulo zemibuzo yocwaningo. Kuye kwaqoqwa imininingwane yolwazi ngokubheka okwenzekayo, izinhlolokhono kanye nokuhlaziywa kwemibhalo. Ukucula, ukunyakaza nokudlalwa kwezinsimbi ezithuthukisiwe (yize ziyingxenye nje kuphela zekharikhulamu yomculo ehleliwe kusilabhasi Yezobuciko Bokuzenzela) kulawula imisebenzi yomculo enikezwe ezikoleni. Empeleni, imisebenzi yomculo engahlelwanga ilawula izifundo zomculo ezihleliwe ngenxa yokungabi bikho kothisha abaqeqeshwe ngokwanele ukufundisa umculo, ukungasetshenziswa kwe- ICT/Ezobuchwepheshe ekufundiseni, ukuntuleka kwezinto zokufundisa nokufunda, izimo ezzibambekayo ezingafanelekile zokufundisa, ukungabi nogqozi nokusekelwa ekufundiseni, nokungabi nesikhathi sokufundisa umculo ngenxa yokugcizelelwa ekuhlangabezaneni nezinhloso zokufundisa nokuhlola ezifundweni ezibalulekile. Amasu othisha abawasebenzisayo ukunqoba izinselelo abahlangabezana nazo ekufundiseni umculo kufaka phakathi ukusebenzisana nozakwabo ekuhleleni, ukufundisa nokuhlanganisa umculo emisebenzini eminingi yasekilasini nokudweba ubuchwepheshe babafundi ekufundiseni nasekufundeni. Kunconywa ukuthi othisha banikezwe ukuqeqeshwa emsebenzini, ukuthi kusetshenziswe othisha abangochwepheshe, nokuthi kuhlinzekwe ngezinto ezanele zokufundisa nokufunda, kanye nokuxhaswa kothisha ukuze bahlanganise i-ICT/Ezobuchwepheshe ekufundiseni umculo. Ukulinganiselwa okuhambisana nesifundo kwenza ukuthi okwenziwa jikelele kokutholakale kungenzeki. Isampula elikhudlwana elivela ezikoleni ezahlukahlukene zamabanga aphansi esifundeni sase-Ashanti eGhana kufanele licatshangwe ukuqhubeka nocwaningo. Ukuhlanganiswa kokusebenza komculo kwezinye izindawo ezingaphansi komongo waseGhana nakho kufanele kuhlolwe futhi kufanele kuqhutshekwe nezifundo ezimayelana nokusetshenziswa kwenqubo efanelekile yentuthuko ekufundiseni umculo ekilasini lamabanga aphansi.Kwizikolo zaseGhana zamabanga asezantsi, kusisinyanzelo ukufundisa umculo, kwaye oku kwenziwa ngabafundisi ntsapho okanye ootitshala abafundisa yonke into. Noxa kunjalo, akukho lwazi lwaneleyo ngamacebo asetyenziswa ziititshala ekufundiseni ikharityhulam yomculo. Injongo yesi sifundo kukuqwalasela ukuba iititshala zikulungiselela njani ukufundisa ngendlela yophuhliso olufanelekileyo (iDAP) kumabanga asezantsi. Le DAP nesisishunqulelo sesiNgesi sebinza elithi developmentally appropriate practice, yingcinga yezemfundo emalunga namacebo okufundisa athathela ingqalelo ubudala bomntwana, izinto akwaziyo ukuzenza, umdla namava akhe, ukuze ancedwe ekufezekiseni iinjongo ezicela umngeni nezinokufikeleleka. Esi sifundo sisekelwe yingcinga yokufundisa ephuma kwimeko yengcingane yokuzakhela ulwazi. Iimpendulo zophando zifunyenwe ngokusebenzisa iindlela zophando ngokuxoxa nokutolika iimeko ezahlukeneyo (Qualitative Interpretative Phenomenological Analysis) kunye nokuqwalasela inkcubeko. Iinkcukacha zolwazi okanye idatha, ziqokelelwe ngokujonga okuqhubekayo, udliwano ndlebe nokuphengulula imibhalo ekhoyo. Ukucula, ukushukuma nokudlala izixhobo zomculo ezingoozenzele (nangona ziyinxalenye yekharityhulam ecetywayo yobuGcisa Bokuzenzela) kudlala indima eyongameleyo kwimisebenzi yomculo eyenziwa ezikolweni. Xa sithetha inyaniso, into eyenzekayo ekufundiseni umculo yimisebenzi engacetywanga ezifundweni ngenxa yokuba ootitshala abaqeqeshekanga kakuhle ekufundiseni umculo, abusetyenziswa ubuchwepheshe ekufundiseni umculo, azikho izixhobo zokufundisa nokufunda umculo, iindawo ekufundiselwa kuzo azifanelekanga, inkxaso nenkuthazo yokufundisa umculo iyasilela kwaye lincinci ixesha lokufundisa umculo ngenxa yokuleqa ukufezekisa imiqathango yokufundisa nokuhlola kwizifundo ezingoondoqo. Ekulweni nemingeni yokufundisa umculo, ootitshala babhenela ekusebenzisaneni nabanye ekwenzeni amacebo okufundisa nokubandakanya umculo kwimisebenzi yeklasi nasekusebenziseni ulwazi lwabafundi. Kucetyiswa ukuba ootitshala bafumane uqeqesho lo gama besebenza, kusetyenziswe ootitshala abaziingcali zomculo kwaye kufumaneke izixhobo ezifanelekileyo zokufundisa nokufunda, kuxhaswe ootitshala ekusebenziseni ubuchwepheshe xa befundisa umculo. Ukunqaba kolwazi okungqonge esi sifundo kwenza kube nzima ukugqiba jikelele ngokufunyanisiweyo. Mhlawumbi kunokuthathwa isampulu yophando enkulu kwingingqi yaseAshanti eGhana ukuze kwandiswe olu phando. Okunye okunokwenziwa kukuhlanganisa umculo nezinye izifundo ngokwemeko yaseGhana, kwaye kufuneka kuqhutywe izifundo ezithe chatha malunga nokusebenzisa iindlela zokufundisa ezinophuhliso olufanelekileyo ekufundiseni umculo kwiklasi yamabanga asezantsi.Art History, Visual Arts and MusicologyPh D. (Music

Afropolitan projects : creating community, identity, and belonging

Despite a dramatic growth in the numbers of African immigrants to the United States, until recently, this population has been marginal in studies about voluntary migration and race. Likewise, in mainstream scholarship about black identities, Africa appears as a site of imagination and struggle whilst contemporary Africans are frozen in an unchanging, parochial age. My dissertation addresses the marginalization of Africa and Africans in both race and migration studies through an ethnographic case study of a community of Ghanaians in Houston, Texas. The research considers how questions of religion, race, class, and sexual politics shape the community’s boundaries of belonging. I explore how answers to these questions inform members’ relationship with Ghana, Africa, Houston, and the United States more generally. The ways in which the community addresses these issues are part of what I call its Afropolitan projects, which advance a modern non-victimized narrative about Ghana and Africa more generally, and sustain the community’s identity as progressive, modern Ghanaians. By outlining the contours of one community’s Afropolitan projects, my research offers an urgent contribution to understanding contemporary African and black identities. The dissertation argues that within the intentionally curated community of Ghanaians in Houston, members engage Christianity, sexual and racial politics, and class respectability to claim their place in the United States and to a culturally complex and cosmopolitan Ghanaian/African identity. These practices of belonging are produced through community members’ experiences as Christians, postcolonial Africans, and American residents and citizens. My analysis reveals how this particular Afropolitan project complicates possibilities for the community to find solidarity with working class and queer black/African people and instead aligns itself with heterosexual respectability and middle-class progress. By examining this black/African community formation through a theoretical lens that complicates flattened conceptualizations of community, this project proposes new ways of building solidarities across difference within the black diaspora.Sociolog