International Journal of Innovative Research and Development

Abstract

The study aimed at finding out what mode of communication prevail in Ghana, which one is very effective to benefit all categories of student who are hearing impaired in the various schools and the community, with particular reference to Bechem School for the Deaf in the Brong Ahafo Region of Ghana. The study made use of questionnaires, interviews and observations. The sample was sixty (60), including thirty-two (32) students, ten (10) teachers, ten (10) parents, two (2) officers from Special Education Division of Ghana Education Service (GES) and four (4) executive members of Ghana National Association of the Deaf as well as two Headmasters. The result of the study was analysed according to a demographic distribution of respondents’ status, gender and age. Simple statistical descriptions of analysis of opinions of the people were done using simple percentage, backed by Venn diagram and Bar graphs. The findings were able to give the researcher information that Sign Language (SL) was the prescribed mode of communication for the Hearing Impaired no matter their level of hearing since it was a policy from the Special Education Directorate. Recommendations made include the use of Total Communication as an effective teaching and learning mode that would benefit all categories of Hearing Impaired according to their linguistic needs in the schools and the community at large. There should also be speech therapists, speech rooms and auditory training units with individuals wearing hearing aids in the schools. Effective Sign Language teachers, interpreters and books for Sign Language must also be in the various schools for those interested in Sign Language.

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Progress in technology has made it possible for new materials to be introduced in production of goods. Sculptures have been done using conventional materials such as clay, metal, stone, plaster of Paris, cement, plastiscine and others.  These materials are expensive and difficult to acquire.  Besides, works from these materials are massive.  Searching for new grounds in sculpture makes it expedient to explore alternative materials. Giving the reason that this technological age calls for a lot of experimenting with new materials and methods of working with old materials, the use of leather for sculpture is worth experimenting.  There is the need for further exploration within the boundaries of leather that can be incorporated into sculpture to be known as leather-sculpture.

In this search, leather was identified, processed and used to make sculpture.  In the modelling, an armature was built and reinforced with mashed paper mixed with P.V.A. glue.  Leather was then modelled 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 the desired form, and then polished with lacquer.  The cast image in leather was made from a clay mould.  It was dried with a hand 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 a good finish.

The works produced in this project are portable, lightweight and transportable sculptures that are suitable for indoor decoration.  The skills involved can be used to produce small and lightweight sculptures as souvenir to give the tourism industry a boost.  Besides, the scare, which is a hindrance to sculpture, as expressed by the young ones, due to its strenuous nature, it 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.

In order to boost up Ghana’s tourism industry, the project report will motivate sculptors to produce more sculptures of this kind of compliment the other leather articles that are already on the Ghanaian market.  Leather was conveniently used in modelling, carving, casting and construction.  It is generally recommended that sculptors and students produce more sculpture in leather.

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The Central Ewes have identifiable symbols that are of significance to them. The older generations are dying with the knowledge of these symbols which the youth are to benefit from. So a gap is created as to how to learn the accumulated knowledge and values from the symbols. Central Ewe symbols are also not generally known and the larger population is generally not familiar with their values. They are implied and need to be explicit for better understanding. To solve the problem, the research sought to identify and discuss the symbols and their aesthetic and educational implications. A structured interview guide was developed in relation to the objectives set. Literature related to the theoretical foundations of the topic was reviewed. Geographically, the study covered ten (10) towns in the Central Volta Region of Ghana. Ten (10) symbols were acknowledged. The symbols have aesthetic and educational implication from which moral lessons are learned as it forms an integral part of their lives. Symbols connect beauty to usefulness. Some of the symbols are similar to that of Akans. It is recommended that in order to achieve cultural unity among the Central Ewes and eventually other cultures, these findings should be exposed to non-Ewes in the country and finally, the symbols should be developed into a written language for easy communication.

The Central Ewes have identifiable symbols that are of significance to them. The older generations are dying with the knowledge of these symbols which the youth are to benefit from. So a gap is created as to how to learn the accumulated knowledge and values from the symbols. Central Ewe symbols are also not generally known and the larger population is generally not familiar with their values. They are implied and need to be explicit for better understanding. To solve the problem, the research sought to identify and discuss the symbols and their aesthetic and educational implications. A structured interview guide was developed in relation to the objectives set. Literature related to the theoretical foundations of the topic was reviewed. Geographically, the study covered ten (10) towns in the Central Volta Region of Ghana. Ten (10) symbols were acknowledged. The symbols have aesthetic and educational implication from which moral lessons are learned as it forms an integral part of their lives. Symbols connect beauty to usefulness. Some of the symbols are similar to that of Akans. It is recommended that in order to achieve cultural unity among the Central Ewes and eventually other cultures, these findings should be exposed to non-Ewes in the country and finally, the symbols should be developed into a written language for easy communication.

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The existing literature on Ama Ata Aidoo’s works, especially, on her novels Our Sister Killjoy (1977) and Changes (1999) have not looked at formal education being a double edged sword that brings immense benefit as well as its adverse effects to the African woman. This study intends to fill up this gap. Based on the theory of humanism or existentialism, this study mainly seeks to find out Aidoo’s view on the value of formal education to the African woman in her novels, Our Sister Killjoy (1977) and Changes (1999). 

Ama Ata Aidoo in her recent novels, Our Sister Killjoy (1977) and Changes (1999), seems to argue that formal education is like a double-edged sword which liberates the woman in one way and incapacitate her in another as it empowers the literate African woman economically, socially, and mentally. Because she is independent of her husband and other people in the society financially, she is also respected by the society.  She is also able to assert her right and take concrete decisions on her own. However, this same formal education renders the African woman an alien to her own African culture, thereby making her a misfit in her own society. The study finally concludes that education is more of a curse than a blessing to the African literate woman.

The existing literature on Ama Ata Aidoo’s works, especially, on her novels Our Sister Killjoy (1977) and Changes (1999) have not looked at formal education being a double edged sword that brings immense benefit as well as its adverse effects to the African woman. This study intends to fill up this gap. Based on the theory of humanism or existentialism, this study mainly seeks to find out Aidoo’s view on the value of formal education to the African woman in her novels, Our Sister Killjoy (1977) and Changes (1999). 

Ama Ata Aidoo in her recent novels, Our Sister Killjoy (1977) and Changes (1999), seems to argue that formal education is like a double-edged sword which liberates the woman in one way and incapacitate her in another as it empowers the literate African woman economically, socially, and mentally. Because she is independent of her husband and other people in the society financially, she is also respected by the society.  She is also able to assert her right and take concrete decisions on her own. However, this same formal education renders the African woman an alien to her own African culture, thereby making her a misfit in her own society. The study finally concludes that education is more of a curse than a blessing to the African literate woman.

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The Central Ewes have identifiable signs 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. Central Ewe signs are also not generally known and the larger population is generally not familiar with their values. They are ‘coded’ and need to be unraveled for better appreciation. In order to solve the problem, the research sought to identify and discuss the signs, 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 (10) signs were identified. The signs 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 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.  

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