This paper explores the plurality and dynamics of ‘cultural heritage’ formation in Ghana by looking at key players in the historically constituted heritage arena and the contestations between them. Focusing on the intersecting domains of the state, religion, and entertainment media, it discerns several tendencies with regard to the framing of cultural pasts : mobilization of ‘heritage’ by the state as part of national identity politics ; contestation of this state project by Pentecostal churches that view ‘heritage’ as demonic and dangerous ; and revaluation of ‘heritage’ as aesthetic style in local television and video making. Recent, market-driven trends towards a more positive representation of ‘African heritage’ depart from earlier stat...
This thesis investigates the contributions made by masked performances to postcolonial Ghanaian cul...
There is no established general pattern, philosophy or style for designing national cultural buildin...
Using the example of an exhibition I have built around dwelling in rural Northern Ghana, my contribu...
This paper explores the plurality and dynamics of ‘cultural heritage’ formation in Ghana by looking ...
Prenant comme point de départ l’arène patrimoniale historiquement constituée au Ghana, et plus parti...
This essay focuses on the representation of 'tradition' and 'heritage' in Ghanaian video films, whic...
What are the influences, internal and external, shaping the video-movie industry in Ghana? In what d...
In spite of many years of research, theorizing, debate and contestation, there is always freshness a...
Exploring the values attached to heritage through an ethnography of craftwork in southern Ghana, thi...
This research looks at the production of media in Ghana, specifically, film produced in the “Glamour...
How do popular media genres reinforce or provide alternative perspectives to circulating official po...
In recent times, the mass media in Ghana have come under heavy attack for what is often considered t...
If images are life-forms, and objects are the body they animate, then media are the habitats or ecos...
This paper examines two manuscript collections housed at the Schomburg Center for Research in Black ...
In Ghana, Graphic Design is regarded as one of the contemporary arts that was introduced in the Gold...
This thesis investigates the contributions made by masked performances to postcolonial Ghanaian cul...
There is no established general pattern, philosophy or style for designing national cultural buildin...
Using the example of an exhibition I have built around dwelling in rural Northern Ghana, my contribu...
This paper explores the plurality and dynamics of ‘cultural heritage’ formation in Ghana by looking ...
Prenant comme point de départ l’arène patrimoniale historiquement constituée au Ghana, et plus parti...
This essay focuses on the representation of 'tradition' and 'heritage' in Ghanaian video films, whic...
What are the influences, internal and external, shaping the video-movie industry in Ghana? In what d...
In spite of many years of research, theorizing, debate and contestation, there is always freshness a...
Exploring the values attached to heritage through an ethnography of craftwork in southern Ghana, thi...
This research looks at the production of media in Ghana, specifically, film produced in the “Glamour...
How do popular media genres reinforce or provide alternative perspectives to circulating official po...
In recent times, the mass media in Ghana have come under heavy attack for what is often considered t...
If images are life-forms, and objects are the body they animate, then media are the habitats or ecos...
This paper examines two manuscript collections housed at the Schomburg Center for Research in Black ...
In Ghana, Graphic Design is regarded as one of the contemporary arts that was introduced in the Gold...
This thesis investigates the contributions made by masked performances to postcolonial Ghanaian cul...
There is no established general pattern, philosophy or style for designing national cultural buildin...
Using the example of an exhibition I have built around dwelling in rural Northern Ghana, my contribu...