Browsing by Author "Atiase, Cleveland Edem Kwesi"

Now showing 1 - 3 of 3
  • Thumbnail Image
    Item
    Aesthetic and Educational Underpinnings of signs and symbols among the Central Ewes of Ghana
    (2012-07) Atiase, Cleveland Edem Kwesi
    The Central Ewes have identifiable signs and symbols that are of significance to them. The youth, especially, do not adequately benefit from them. The older generations are dying with the knowledge, so a gap is created as to how to learn the accumulated knowledge and values from the signs and symbols. Central Ewe signs and symbols are also not generally known and the larger population is generally not familiar with their values. They are ‘coded’ and need to be unravelled for better appreciation. In order to solve the problem, the research sought to identify and discuss the signs and symbols, their aesthetic and educational values. The study sets out objectives, which help develop a structured interview guide to gather information. Geographically, the study is limited to eleven (11) towns in the Central Volta region of Ghana. Twenty-one (21) signs and twenty (20) symbols were identified. The signs and symbols have aesthetic and educational values from which moral lessons are learnt and it is an integral part of their everyday life. Central Ewes also have additional concepts of aesthetics which spell out the theory of excellence. Besides, they equate beauty with function or usefulness. Some of the signs and symbols are similar to that of the Akans. Their use will achieve cultural unity among the Central Ewes and other cultures, especially non-Ewes in the country.
  • Thumbnail Image
    Item
    Aesthetic and Educational Underpinnings of Signs and Symbols among the Central Ewes of Ghana
    (2015-05-22) Atiase, Cleveland Edem Kwesi
    The Central Ewes have identifiable signs and symbols that are of significance to them. The youth, especially, do not adequately benefit from them. The older generations are dying with the knowledge, so a gap is created as to how to learn the accumulated knowledge and values from the signs and symbols. Central Ewe signs and symbols are also not generally known and the larger population is generally not familiar with their values. They are ‘coded’ and need to be unravelled for better appreciation. In order to solve the problem, the research sought to identify and discuss the signs and symbols, their aesthetic and educational values. The study sets out objectives, which help develop a structured interview guide to gather information. Geographically, the study is limited to eleven (11) towns in the Central Volta region of Ghana. Twenty-one (21) signs and twenty (20) symbols were identified. The signs and symbols have aesthetic and educational values from which moral lessons are learnt and it is an integral part of their everyday life. Central Ewes also have additional concepts of aesthetics which spell out the theory of excellence. Besides, they equate beauty with function or usefulness. Some of the signs and symbols are similar to that of the Akans. Their use will achieve cultural unity among the Central Ewes and other cultures, especially non-Ewes in the country. July, 2012
  • Thumbnail Image
    Item
    Leather as a medium for sculpture
    (2004-11-14) Atiase, Cleveland Edem Kwesi
    Progress in technology has made it possible for new materials to be introduced in production of goods. From time immemorial, sculptures have been done using conventional materials, such as clay, metal, stone, plaster of Paris, cement, plasticine etc. These materials are expensive and difficult to acquire. Besides, works from these materials are also massive. The processes can also be hazardous and as well boring. Searching for new grounds in sculpture makes it expedient to explore alternatives materials. Experimental and descriptive methods were used in this project. In the modeling, an armature was built and reinforced with marshed paper mixed with P.V.A. glue. Leather was then modeled with Formica glue and left to dry. The relief image was carved on elephant leather by removing the unwanted parts bit by bit to achieve and desired form, and then polished with lacquer. The cast image in leather was made form a clay mould. It was dried with a hard dryer to take the form of the mould, and then given a finish. The constructed forms were done by gluing pieces of different sizes of leather on cards with Formica glue to create forms. The forms were then joined into the constructed image with good finish. Leather was conveniently used in modeling, carving, casting and construction. The works produced in this project are portable, light weight and transportable sculptures that are suitable for indoor decoration. The skills involved can be used to produce small and light weight sculptures as souvenir to give the tourism industry a boost. Besides, the scare, which is a hindrance to sculpture to sculpture, as expressed by the young ones, due to its strenuous and energy consuming nature, is limited. It is a clue to those who find it cumbersome and difficult in the acquisition of the conventional materials for sculpture. It is recommended that other durable leather is explored for sculpture. Students in the field of art can adopt the methods used in the project as a cheap and easy means of producing sculpture. In order to boost up Ghana’s tourism industry, the project report will motivate sculptors to produce more sculptures of this kind to compliment the other leather articles that are already on the market. It is generally recommended that sculptors and students produce more sculptures in leather.