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All Journal International Journal of Cultural and Art Studies (IJCAS) Humanities and Language
navei, Nyamawero
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Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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The Lioness of African Music: Cultural Interpretation of Wiyaala’s Stage Costume Art navei, Nyamawero
International Journal of Culture and Art Studies Vol. 7 No. 1 (2023): International Journal of Culture and Art Studies (IJCAS)
Publisher : Talenta Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32734/ijcas.v7i1.10463

Abstract

In stage performance, costume art is an essential visual signature device with the veracity to unveil the character and cultural identity of the performer. Stage costume art could also be deployed to respond to pertinent societal issues. In spite of its versatile essentiality in performing arts, there seems to be a dearth of scholarly interpretation of stage costume art of Ghanaian musicians, thereby creating a knowledge gap. This qualitative case study makes a hermeneutical interpretation of eight random-purposively sampled stage costumes of Wiyaala (a Ghanaian female musician) to establish their cultural symbolism. The study found Wiyaala not only an iconic Ghanaian artiste but an internationally recognised musician who toured many countries across Africa, Europe, the Americas, and other continents for musical stage performances. It emerged that Wiyaala’s stage costumes were locally self-constructed, and ably reflected the uniquely versatile indigenous African (Ghanaian) dress cultural identity in respect of African (Ghanaian): royal dress fashion, war costumes, initiation costumes, and others. Wiyaala could be said to have prioritised interest in using her locally sourced stage costume art to promote and preserve indigenous African (Ghanaian) dress cultural identity. Since Wiyaala is an iconic musician, she is encouraged to continue deploying locally sourced costume art for her stage performances to promote and preserve African (Ghanaian) dress cultural identity for posterity. This tends to decolonise the stage costume choice of many Ghanaian musicians with its cascading impact on the Ghanaian textile and fashion industry for economic and job gains.
Symbols and Metaphors of Ceramic Sculpture Receptacles Donkor, Evans Kwadwo; Navei, Nyamawero; Addae, Alexander
Humanities & Language: International Journal of Linguistics, Humanities, and Education Vol. 1 No. 4 (2024): Humanities & Language: International Journal of Linguistics, Humanities, and Ed
Publisher : Abdul Media Literasi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32734/c235sv12

Abstract

In Africa, the production of ceramic sculpture receptacles is a common artistic practice. This artistry has attracted a plethora of historical, cultural, archaeological, and ethnographic studies. Such studies have revealed some of these African ceramic sculpture receptacles' metaphorical, philosophical, social, and cultural contexts. However, the paucity of literature on the symbols and metaphors of the ceramic sculpture receptacles produced at Takoradi Technical University (TTU) in Ghana provides a research gap. The current study, therefore, sought to examine selected ceramic sculpture receptacles from the Ceramic Design Technology Department of TTU to reveal their symbolic and metaphorical connotations from the indigenous Ghanaian cultural context. The study utilised a qualitative research approach and a descriptive research design. Twelve (12) ceramic sculpture receptacles were purposively sampled, and triangulation of instruments, including non-participant observation, personal interviews, and document reviews, were used to elicit interpretative data from thirteen experts (lecturers & students of TTU), who were all practicing artists. The findings reveal that the twelve ceramic sculpture receptacles incorporate culturally revered animals (birds, reptiles, amphibians, mammals) as decorative symbols. These animal-related metaphors are strongly tied to traditional Ghanaian society's sociocultural, religious, and political dimensions. These symbols reflect rich cultural values and philosophies, making the artefacts vital for preserving and promoting Ghanaian cultural heritage. The study recommends further research on other institutional artefacts to decode their embedded sociocultural repositories. This tends to promote and preserve Ghanaian cultural and artistic heritage, which serves as an educational tool for current and future generations.
Co-Authors Addae, Alexander Donkor, Evans Kwadwo