Theses / Dissertations >
College of Arts and Social Sciences >
Please use this identifier to cite or link to this item:
|Title: ||Ghanaian painting as an expression of Ghanaian culture (1970-90)|
|Authors: ||Kwami, George Dzigbordi Atta|
|Issue Date: ||15-Sep-1991|
|Series/Report no.: ||1952;|
|Abstract: ||The research sought to find out the extent to which painting reveals the character of Ghanaian culture. It was carried over a period of three years during which the author collected data, studied and analysed Ghanaian paintings and wrote the report. It was conducted against the background of notable developments in Ghanaian painting over two decades and. the desire of educated individuals to grasp the character of painting as practised in Ghana by Ghanaians.
The research methodologies used in the study are the Descriptive Survey and. Analytical Methods. These involve the description of the works of selected Ghanaian painters. The results were analysed interpreted and conclusions drawn. Research tools employed include interviews, questionnaire and personal observations. The scope of the research was limited to contemporary and indigenous painting as practised in Ghana between 1910 and 1990. The choice of a sample
population was, however, limited to 22 painters selected from literate and pre-literate or indigenous communities in Ghana.
The report is presented in five chapters. It includes Figures illustrating samples of Ghanaian painting, Charts, Tables showing the distribution of Charts, Tables showing the distribution of population studied, the stratification and sample procedure, the distribution and retu.ms of the questionnaire and the result. Appendices include a postscript on Ghanaian painting.
The main findings of the research indicate the visual elements of pre-literate culture as depicted in Ghanaian paintings as well as the relationships between indigenous and contemporary painting in Ghana in terms of styles, subjects and media. These relaxation ships point out the danger of contemporary Ghanaian painting getting out of touch with autodithonous traditions. Recommendations in favour of propagating ideas associated with ‘grass—roots culture and made to ensure the exposure of Ghanaian youth to them. Painting then becomes not only an avenue for promoting cultural and. national unity but an important means of making a people’s conscious of the roots of culture.|
|Description: ||A thesis submitted to the Board of Postgraduate Studies, Kwame Nkrumah University of Science and Technology, Kumasi, in partial fulfilment of the requirements for the award of the Degree of Master of Philosophy in Design and General Art Studies, 1991|
|Appears in Collections:||College of Arts and Social Sciences|
Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.