Ghanaian Culture Research Articles

The Lifestyle of Hip Life Musicians and Its Influence on the Ghanaian Youth

This study sort to find out some of the negative effect the lifestyle of hip life musicians have on Ghanaian youth in two senior high schools in the Ashanti and Central regions of Ghana. Through quota sampling procedure twenty students were selected from the two schools. The research instrument used was open- ended questionnaire. Data collected was analyzed thematically. The findings revealed that most youth are into hip life because they believe it is modern fashioned. Also, the lyrics and rhythms are consistent with the jargons they use as well as the dances they do. A few mentioned that the lifestyle of the musicians have brought nothing but indiscipline and irresponsible behaviour among the youth and this can be seen in the way they dress, talk and even think. Similarly, the lifestyle of these musicians have greatly influenced Ghanaian culture in that most of the youth due to the lifestyle of these musicians have adopted foreign cultures which is making it difficult for the youth to adopt to Ghanaian culture. The researchers therefore recommend that the younger generation of musicians should be made aware of how their lifestyle is affecting the youth and Ghanaian culture negatively. Also there should be strict rules and regulations to govern the general lifestyle of all musicians as well as their lyrics and video clips. Hip life musicians should be educated to serve as positive role models for the youth since majority of them are in the age group of the youth.

Lost/gained in translation: Oware 3D, Ananse: The Origin and questions of hegemony

Abstract The computer and its related technology are typically interpreted as signifiers of western culture. Thus, when a ‘non-western’ cultural product is parsed through an electronic format, there is the inevitable gesture towards the extent to which the process of adaptation is a ‘westernized’ one. Irrespective of the tenuous nature of this question, hegemonic repercussions occur; thus this article considers the literary as well as socio-political implications of two different adaptations of aspects of traditional Ghanaian culture into mobile video games. The two games are Kobla Nyomi’s Oware 3D (2014), which is the virtual descendant of the Akan traditional board game Oware; and the Leti Arts produced Ananse: The Origin (2014), which refashions the Akan folk tale trickster Kweku Ananse into a superhero. This article processes the two adaptations as paraphrase and translation, respectively: the paraphrase from a board game to a mobile video board game on the one hand, and the translation from an oral literature-based folk tale to a mobile video action/adventure game. This comparative analysis is undertaken in the context of the game-making hegemony that is concomitant not only with globalization and cultural exchange, but also with the intersections between creative license and tradition.

Note from the Editors

This year’s issue combines original research articles with a small special section dedicated to the memory of Ivor Wilks, a seminal figure in both the academic study of Ghanaian culture and society and in the field of African history more broadly. We would like to extend our thanks, as always, to

Note from the Editors

Note from the Editors Akosua Darkwah and Sean Hanretta This year’s issue combines original research articles with a small special section dedicated to the memory of Ivor Wilks, a seminal figure in both the academic study of Ghanaian culture and society and in the field of African history more broadly. We would like to extend our thanks, as always, to those who submitted their work to Ghana Studies and who provided reviews of submissions. Particular gratitude is due to our editorial assistant, Jesse Nasta, whose work was generously funded by Northwestern University. Ian Saxine—also funded by Northwestern—came on as the new editorial assistant right as this issue was entering production and provided crucial help. Permission to reprint Jean Allman’s “The Historic Legacy of Ivor Wilks” from Africa Is a Country (http://africasacountry.com/2014/10/jean-allman-on-ivor-wilks/) is gratefully acknowledged. [End Page 1] Akosua Darkwah University of Ghana Sean Hanretta Northwestern University Copyright © 2015 Board of Regents of the University of Wisconsin System

Painting: Is It Indigenous to Ghanaian Culture?

Painting could be said to be well grounded in all cultures worldwide. This is underpinned by the vast record of cave art as globally represented, even though this phenomenon does not seamlessly continue into some ancient traditions that followed. In the face of the above however, to find the traditional period of a people one has to identify the geographical area of this group in order to consider the autochthonous art practice of the place so as to determine its cultural beginnings, extent, and forms of art explored. In the case of Ghana, one observes that, art historians usually site the beginning of painting at the time when colonial educational training of the arts was begun in Achimota from the 1900s. The study was conducted using historical review and analysis, unstructured interview guides as well as participant and non-participant observational techniques in a descriptive design at Sirigu, Ahwiaa and Ntonso, revealing the forms of painting that existed in the country before the introduction of formal training by the colonial masters. The result showed that Ghanaians traditionally practiced different kinds of painting, long before the colonial art training programme was introduced. We feel it should be of concern for any people to be able to tell, not only how, and why but also when they started doing the things that matter to their existence and cultural heritage .

Challenges of Civil Society Networks in Ghana: A Comparative Study of Four Networks

Ghana is the first country within Sub-Saharan Africa to become independent from British colonial rule and one of Africa’s most promising democracies. Ghana’s adoption of the 1992 Constitution and its return to democratic rule in 1993 created viable political environment for civic groups to freely operate. Article 21(1) of the 1992 Constitution provides considerable space for the growth of participatory civil society and associational life, and Article 37(2) gives enormous powers for the formation and participation of civil society in the process of development. These constitutional provisions, coupled with the Ghanaian culture of self-help and donor-driven programs such as the Poverty Reduction Strategy Paper (PRSP), have improved Civil Society Organizations’ (CSOs) participation in both development and decision-making processes. Civil Society Networks serve the purpose of being a unified force for marginalized CSOs thereby consolidating democracy and also holding governments to account. Yet, some CSO networks in Ghana have not been able to fully utilize the available political opportunity to influence government policies. Notwithstanding this relatively favorable environment for CSO operation, it is still difficult for them to constructively engage government in the policy arena and influence decisions in favor of their constituents. This research, seeks to examine CSO networks in Ghana, specifically to ascertain the challenges they face in their effort to influence government policies as well as the various ways in which the identified challenges can possibly be overcome. It will address the following questions: how do we conceive civil networks in Ghana? What types of networks exist in Ghana and how do they strategically operate? What challenges do they face and what is the way forward? Original Research Article British Journal of Economics, Management & Trade, 4(7): 1143-1158, 2014 1144

Carmela Garritano. African Video Movies and Global Desires: A Ghanaian History.Athens: Ohio University Press, 2013. xii + 246pp. List of Illustrations. Acknowledgments. Notes. List of Films and Videos. References. Index. $32.95. Paper.

Carmela Garritano. African Video Movies and Global Desires: A Ghanaian History. Athens: Ohio University Press, 2013. xii + 246 pp. List of Illustrations. Acknowledgments. Notes. List of Films and Videos. References. Index. $32.95. Paper.With African Video Movies and Global Desires, Carmela Garritano has established her place among the major interpreters of contemporary African video films, alongside Jonathan Haynes, Onookome Okome, Moradewun Adejunmobi, Birgit Meyer, John McCall, and others whose groundbreaking work has served to establish a new field of cinema studies and a new approach to African cinema. This is all the more significant in that the subject of her study is what she has defined as a minor cinema in the shadow of a minor cinema, that is, Ghanaian cinema as the junior cousin of Nollywood.But this is only a frame of reference: the actual subject of her study is the tracking of global South cinema in an age of globalization and neoliberalism. Her work reaches out to the theorizing of South Asian and Latin American film, but is firmly grounded in Ghanaian history, society, and culture. Her personal observations-as in those involving the backgrounds and thoughts of major figures in the industry, key directors like Bob Smith or Socrate Safo, Shirley Frimpong-Manso, and Veronica Quarshie, and many important producers and distributors-mark this study with her astute judgments. Since she experienced part of the period of the effulgent growth of Ghanaian video while living in Ghana, visiting the new mall with its multiplex cinema as well as the small quartier projection sites, and viewing in person the work of the filmmakers, we learn directly of the look and feel of the place, the viewers, and their world. The of cultural studies is conveyed in its immediacy, while the theorizing about Culture is informed by the major writings of James Ferguson, Achille Mbembe, Timothy Mitchell, Sarah Nuttall, Brian Larkin, John and Jean Comaroff, Simon During, and others, and of studies scholars like Tom Gunning, Moradewun Adejunmobi, and Stephen Heath. Historians and critics of Ghanaian culture and also abound. Garritano has seemingly read and absorbed them all-Birgit Meyer, Stephanie Newell, Esi Sutherland-Addy, Esi Dogbe, D. J. Smith, and others.By centering her work in the Ghanaian industry, Garritano has constructed a portrait of the globalized local centered in Accra and Kumasi, as well as in locations of Ghanaians living abroad. The context shapes our understanding of cinema studies today-that is, in terms of what context comes to mean in its local parameters in an age of global cultural flows. What distinguishes this study, however, is not the mobilization of the work of others-thorough and sensible though it is-but the author's original approaches in reading the cinema and its import. She establishes a baseline of what Ghanaian audiences and filmmakers understand as professional cinema-what we might otherwise define as commercial film, mainstream, or Hollywood cinema-in contrast to the variants of the local or minor cinemas in Ghana, often marked by melodramatic or magical indices. Instead of these familiar video film/telenovella genres marking an endpoint for her, they are starting points for more sophisticated elaborations on the directions local filmmakers have taken in pushing the envelope of what is possible, given the constraints of competition with Nollywood. For instance, her analysis of films, involving Ghanaians traveling to or living abroad, extends the sense of Ferguson's coevalness in a transnational practice- elaborated through her readings of the approaches taken by Socrate Safo and Bob Smith in films set in Ghana and Italy, Amsterdam, or New York, and marked by current conditions of and expatriation.The nature of travel film today might be seen not simply in the lives and dependencies of those living in the Ghanaian diaspora in relationship to those at home, but also in relationship to the structures of representation of their cultural singularity. …

Challenges of Single Ordained Women Ministers in the Presbyterian Church of Ghana

In the Presbyterian Church of Ghana every woman is expected to marry because within the Ghanaian culture marriage is believed to confer on a woman a high degree of respectability. Again, women who decide to remain single for one reason or the other are looked upon with suspicion that they sleep around with men. In some instances some men take sexual advantage of the single women. Even if a woman is ordained and manages her affairs successfully without a man the negative perceptions on single women affect them and their work as ministers. Indeed such negative perception on single women has so much affected the mindset of the congregational members of the Presbyterian church of Ghana that some congregations feel so reluctant to accept ordained women ministers as their congregational leaders. Even the single ordained women ministers who lead congregations feel uncomfortable working so closely with their male counterparts for fear that they will be accused of sleeping around with men. This paper examines the challenges that ordained women ministers face in the Presbyterian church of Ghana. It examines how the existing structure which in my opinion is very patriarchal helps in maintaining such stereotype of ordained single women in the church. Again, the cultural, religious and moral bases for such stereotyping of single women are examined.

Education, poverty and culture in Ghana 1991–2010

Ghana has seen notable poverty reduction alongside improvements in school participation since 1991. This thesis explores the patterns among descriptive indicators and uses regression analysis to ex...

Belief in Sasa: Its Implications for Flora and Fauna Conservation in Ghana

The rate of depletion of plants and animal species in Ghana has assumed an alarming dimension, and the government is finding it difficult to control the process. Several factors account for this. A major one is the neglect of the traditional ecological knowledge prevalent in the culture of Ghana. Sasa is the Akan word for the spirit believed to be found in some plants and animals. This paper examines the role of sasa in flora and fauna conservation in Ghana. Traditional Ghanaians have a strong belief that some plants and animals have special spirits, which when cut (as in the case with plants) or killed (animals) can bring serious harm to the person. Thus, such plants and animals are not eliminated. This paper argues that sasa as an Akan indigenous conservation tool can complement the modern means of nature conservation in Ghana.

Artistic Dialogue and Artistic Exchange through Movement

This article will narrate the process of working in artistic collaboration utilizing traditional Ghanaian dance forms and Western dance-making methods while incorporating a common artistic thread between the two cultures. Invited to create a new work of choreography for the Ghana Dance Ensemble (GDE), the author as guest artist choreographer explored ways of creating a hybrid dance work that honored the artistic footprint of GDE. The choreographer engaged company members, consisting of both dancers and musicians, in daily rehearsals and dialogue about the artistic process and the aesthetic roots from which each artist was grounded. Compositional structures were explored cross-culturally. Traveling out to several field sites, the choreographer was able to view and participate in sacred ceremony for more grounding and artistic information. From this process, a dialogic space was created in which new meanings were shared between cultures and traditional artistic values re-imagined. Dialogue through conversation was not the only exchange of importance. An additional dialogue was that of dancing bodies viewing each other, adapting and integrating change firmly grounded in each other's originating aesthetic footprint. Equally important was the exchange in a culture where it is inherent that the music sounds the dance and the dance moves the music. Thus the dialogue extended itself where the choreographer tried on new ways of thinking about the sounding body just as GDE integrated the choreographer's approaches and made it their own through their own processes of creative invention.

Beyond Budgeting and the Indigenous Ghanaian Culture

The budget document has been one of the key and basic documents for every organization for the purposes of planning, evaluation, coordination and controlling the operations of the organization. At the beginning of every accounting/financial year organizations spends time and money in preparing this document. However within the financial year organizations are hugely affected by events both favorable and unfavorable (that is opportunities and threats) which they have no control over. The external factors include technology, social, cultural, economic, legal, natural disasters etc. There is a continuous change in these external factors each minute and one can hardly predict the future. The business world is very dynamic. The spillage of oil, Enron scandal, the 2011 uprising in the Arab world leading to major constitutional and legislative changes etc. could hardly be predicted by anybody. For example the Enron Scandal led to the Sarbanes Oxley law regulating accounting firms in US and many nations have adopted some provisions in the Act.The purpose of this paper is to provide an insight into the relevance of beyond budgeting principles in relation to the Ghanaian culture in this dynamic and fast paced business world. Every management tool must operate within a certain cultural domain and its success to a greater extent depends on the compatibility between the management tool and the prevailing culture. Is it worthwhile for organizations to try to predict expected revenues and expenditure (budget) for their financial year using traditional models such as incremental or zero - based budgeting techniques, when one event can even collapse the existence of that very organization? In the absence of budgets, what should organizations do?

Application of an index-based scheme to fish pond culture in Ghana

The problem of stocking fish types to fish pond in the Ghanaian setting is highlighted and addressed using a simple but powerful algorithm. A case study of matching fish types of specific quality requirement to a given pond quality at a given location in Ghana is illustrated. The proposed model is used as a management tool to identify criteria which do not satisfy the desired pond standards, and also to assist policy makers in making informed decisions for implementation, monitoring and evaluation. These would ultimately reduce risk, uncertainty and hazard associated with fish pond culture.

“It's a Silent Trade”: Female Same-Sex Intimacies in Post-Colonial Ghana

While in many places same-sex cultures revolve around politically charged subcultural understandings, this paper explores conceptualizations of female same-sex desire beyond constructions of lesbian identity. It looks at a set of practices forged by women who are involved in intimate same-sex relationships in southern Ghana and examines how their self-understandings resist and intersect with the derogatory media representations that frame them. A key term to these representations is the term supi. It implies a close friendship between two adolescent girls, whether or not their relationship has a sexual dimension. In spite of rising tides of homophobia that impact such female intimacies, two factors still allow for the creation of niches for same-sex intimacy: first, southern Ghanaian cultures draw on norms of verbal indirection and discretion, which allow for the concealment of non-normative sexual conduct. Secondly, homosocial spaces of intimacy provide an environment in which female same-sex bonds are expressed through a language of allusion rather than a specialist, subcultural vocabulary. Erotic context is formed through practice and performance and is not discursively named or understood as a social identity. Rather, these understandings of female same-sex passions revolve around the notion of secrecy and are based on tacit but vibrant forms of knowledge.

Toward a Museum Culture in Ghana: Processes and Challenges

AbstractThis article discusses how the Institute of African Studies mounted a community‐based exhibition drawing on indigenous knowledge and narratives of culture contact and influence, with the hope that this, and similar exhibitions in Ghana, would help to develop a museum culture in local communities. The article also addresses the methods and procedures used in developing the content of the local exhibition, including consultations with leaders of Sekondi and neighboring areas.

The “Commercial” and “Museum” Life of Some Akan Brass Works

GHANA STUDIES / Volume 11 ISSN 1536-5514 / E-ISSN 2333-7168© 2010 by the Board of Regents of the University of Wisconsin System 175 THE “COMMERCIAL” AND “MUSEUM” LIFE OF SOME AKAN BRASS WORKS KWAME AMOAH LABI Introduction In the Fall 2008 volume of Museum Anthropology, I discussed efforts by the University of Ghana’s Institute of African Studies to develop community-­ based exhibitions in Ghana. This, I believe, is part of the call by the continent ’s museum professionals for the pursuit of a new direction by African museums. It requires a change in the way some traditional African museums have operated, since many of them were opened immediately before the end of colonialism or soon after independence. Since mounting exhibitions in Sekondi-Takoradi in 1999 and Kumasi in 2000, 2002, and 2004, the Institute has continued to study art and related cultural objects and to engage in different museum activities in an effort to make the museum part of the Ghanaian culture. This article reflects in part some of the efforts being made to increase cultural awareness and contribute to the development of a museum culture in Ghana. It is based on views shared with some of the founding fathers of the museum institution in Ghana, who believe that museums could be used to rapidly develop the country in many ways, in terms of social cohesion (Crinson 2001, 234), in understanding Ghanaian culture and, in my considered opinion, in playing a more integral part in Ghana’s economic growth and educational life. Since their establishment in Ghana, museums have struggled to play a dynamic role in Ghana’s socio-economic development , and sometimes questions have been raised about their relevance. Additionally, they have suffered from inadequate state support and have struggled to create a meaningful public image. The resulting challenges are enormous, including lack of skilled and motivated staff, appropriate structures, and good governance. In spite of these difficulties, a few private museums have been established and some public ones have received external funding for new initiatives. However, what little support they have 176 Ghana Studies • volume 11 • 2010 received has proved inadequate, and they have not created a dynamic space and environment for a rigorous debate about Ghanaian culture and the participation of museums in Ghana’s socio-economic development. In April 2008, the Institute of African Studies opened an exhibition of a brass work collection, titled “Kuduo: The Akan Art of Brass Casting.” Against the background of challenges the museum institution faces in Ghana, the Institute was determined to use this new collection as a model for attracting the public to view and use the objects and the museum’s holdings in general. While preparing the collection for public view, we reviewed and planned ways of addressing concerns about collection accessibility, use, and security. One of the core principles for the collection’s management was a determination not only to exhibit some of the objects and keep the rest in storage, as is often the case, but also to fulfill the donor’s wish to make the collection available to the community. If the Institute of African Studies was to guard against falling into this traditional exhibition/storage syndrome and be guided by trends of museum practice both in Africa and elsewhere, then how could the Institute address the problems local museums encounter and create a platform for the use of the collection, while at the same time securing it? This article is based on pre-exhibition activities, the catalogue that accompanied the exhibition (Labi & Boachie-Ansah 2008), post-exhibition activities in managing the collection, reviews of comments by visitors, and participation in an international workshop on “Producing, Preserving, and Repatriating Digital Cultural Assets” held at Rhodes University, South Africa , in 2008. It provides a comparison between the use of a collection in a private house in Germany and in a public space in Ghana. The current article extends the representations and discourse in the catalogue for a wider public thereby expanding access to the collection beyond those who had access to the original catalogue. By doing this, it will avoid restricting the collection to the Institute and engage in broader public discourse on museums in...

Book Reviews

Beads of Life: Eastern and Southern African Beadwork from Canadian Collections by Marie‐Louise Labelle. Canadian Museum of Civilization Mercury Series, Cultural Studies Paper 78. Gatineau, Quebec: Canadian Museum of Civilization, 2005. 208 pp.Suzanne Gott is Assistant Professor of Aboriginal and Visual Arts at Brandon University in Manitoba, Canada. Trained in art history, folklore, and African studies, her ethnographic research focuses on women's visual culture in Ghana's Ashanti region, particularly on the significance of dress, fashion, and urban performative display.

Popular Performance and Culture in Ghana: The Past 50 Years

GHANA STUDIES / Volume 10 ISSN 1536-5514 / E-ISSN 2333-7168© 2007 by the Board of Regents of the University of Wisconsin System 9 POPULAR PERFORMANCE AND CULTURE IN GHANA The Past 50 Years JOHN COLLINS Introduction This paper examines contemporary African culture from the mid-20th century through the lens of the popular arts. Although Ghana is the focus, first I look at some of the general features of what is a transcultural sub-Saharan phenomenon and take the story back to the late 19th century, when popular cultural forms began to be created by the newly emerging African urban masses, the maritime workers, and the cash-crop farmers, who blended or “syncretized” local forms with those of Europe and America (including its black diaspora), introduced through colonial soldiers, missionaries, and traders, as well as through then available forms of mass media. Despite their hybrid nature, these new cultural forms contained and still contain distinctive features that express the identities, symbols, and underlying value orientations of their African creators, practitioners, and audiences. The ability of these new art forms to reflect the moods and outlooks of Africans undergoing rapid sociocultural transformations is helped by their often ephemeral and transient nature, or what Karin Barber (1987, p. 12) calls their “aesthetic of change.” These new African art forms go far beyond what in the West is normally called “art,” for they embrace coffin designs (Burns, 1974; Secretan, 1994); house and barroom murals (Beinart, 1968; Szombati-Fabian & Fabian, 1976); local portrait photography (Amicchia, 1999; Hales, 1998; Sprague, 1978); sign-writing; advertisements (from barbering to bread labels 10 Ghana Studies • volume 10 • 2007 [Middleton, 1974]); wire bicycles (Jackson, 1978); lorry slogans (Kyei & Schreckenbach, 1975); comic literature;1 and local cloth designs.2 Popular performance lyrics and text also generate catch-names and idiomatic expressions , which I discuss later. Most Africanist writers on popular culture generally agree that the practitioners of popular performance and popular art are drawn largely from the “intermediate” groups in African society. These groups (consisting of urban or urbanizing Africans, skilled and semiskilled artisans, transport workers, seamen, traders, minor civil servants, cash-crop farmers, and so on3 ) have 1. Barber (1987, pp. 29, 40) provides the example of the “Onitsha market literature” of eastern Nigeria during the 1950s and 1960s, and the Kumasi-made Twi-English “Spider Man” comics of the mid-1970s (collected by Tom McCaskie), whose central character is a combination of the American Marvel Comics “Spider-Man” and the Akan Ananse-the-Spider, who from his jungle hideout assists the masses under Acheampong ’s military regime. 2. Ghanaian and Nigerian 1960s highlife songs that provided cloth names include “Yaw Berku” (a man’s name); “Aku Sika” (A golden lady called Aku); “Aban Nkaba” (Handcuffs ); “Afie Be Ye Asan” (Troublesome years); and “Joromi” (a mythical wrestler). 3. Ware (1978, p. 363) states that most of Sierra Leone’s popular musicians come from the lower/middle classes, while Alaja-Brown (1987) notes that Nigerian juju music originated with the “rascals” and “area boys” of the old Saro (Sierra Leone) Olowogbowo Collins • Popular Performance and Culture in Ghana 11 developed since the 19th century between the national elites and the vast class of subsistence peasant farmers. The intermediate status of some of Ghana’s pioneering popular performers is exemplified by the highlife guitarists Kwame Asare (Jacob Sam) and his nephew Kwaa Mensah, who also held down jobs as a carpenter, a mining surveyor’s assistant, a watch repairer , and a cocoa broker. Sutherland (1970, pp. 5, 18) also mentions that Bob Ansah and C. B. Hutton, of the 1930s Two Bobs concert party group, had been a small storekeeper and a tribunal clerk, respectively. To jump forward several decades, if indeed emergent African popular arts and culture involved the crossing and blurring of cultural boundaries (transculturation), the “aesthetic of change,” the “intermediate” layers of society, and urbanization, then one can see contemporary emergent separatist churches (spiritual, aladura, apostolic, and Pentecostal) also as manifestations of popular culture. They are transcultural or syncretic in that they incorporate African features like dancing, possession, spiritual healing, exorcism, and divination. The local church congregations are drawn from the very same “intermediate” masses as are...

Popular Performance and Culture in Ghana

This paper examines contemporary African culture from the mid-20th century through the lens of the popular arts. Although Ghana is the focus, first I look at some of the general features of what is a transcultural sub-Saharan phenomenon and take the story back to the late 19th century, when popular

Fifty Years of the Media’s Struggle for Democracy in Ghana: Legacies and Encumbrances

Fifty Years of the Media’s Struggle for Democracy in Ghana: Legacies and Encumbrances Audrey Gadzekpo (bio) Audrey Gadzekpo Audrey Gadzekpo Acting Director and Senior Lecturer, School of Communication Studies, University of Ghana, Legon. Footnotes 1. By 1992 a number of selected radio stations outside of the state apparatus were granted permission to operate, among them the University of Ghana station, Voice of Legon (VOL). However, the airwaves were officially liberalized in 1996 when the Frequency Registration Board began receiving applications and granting licenses from mostly private commercial entities. References Ainslie, R. 1966. The press in Africa: Communications past and present. New York: Walker. Google Scholar Ansu-Kyeremeh, K., & Karikari, K. 1998. Media Ghana: Ghanaian media overview, practitioners and institutions. School of Communication Studies, University of Ghana. Google Scholar Asante, C. 1996. The Press in Ghana. University Press of America. Google Scholar Fair, J.E. 2008. Ghana: Soft Control of the Press. Dissent. Vol. 55, No. 2, 39–42. Google Scholar Frohardt, M., & Temin, J. 2003. Use and Abuse of Media in Vulnerable Societies. Special Report 110: United States Institute of Peace. Google Scholar Gadzekpo, A. 2001. Women’s engagement with Gold Coast Print Culture from 1857 to 1957. Unpublished PhD thesis, University of Birmingham. Hasty, J. 2005. The press and political culture in Ghana. Bloomington: Indiana University Press. Google Scholar Jones-Quartey, K.A.B. 1968. The Gold Coast Press, 1822–1930 and the Anglo African Press, 1825–1930. Research Review, Vol. 4, No. 2, Institute of African Studies, University of Ghana. Google Scholar Karikari, K. 1994. State of the media. In Afriyie-Badu & Amihere (eds.), State of the Media in Ghana, 1994–1995. Friedrich Ebert Stiftung. Google Scholar Karikari, K. 1995. Overview of the media since Sunyani. In Afriyie-Badu & Amihere (eds.), State of the Media in Ghana, 1994–1995. Friedrich Ebert Stiftung. Google Scholar Karikari, K. 2007. African media since Ghana’s independence. In E. Barratt & G. Berger (eds.), 50 Years of Journalism: Africa media since Ghana’s independence. Grahamstown: Highaway Africa. Google Scholar Kumado, K. 1995. Introductory Remarks. In Afriyie-Badu & Amihere (eds.), State of the Media in Ghana, 1994–1995. Friedrich Ebert Stiftung. Google Scholar Temin, J., & Smith, D. 2002. Media matters: Evaluating the role of the media in Ghana’s 2000 elections. African Affairs, Vol. 101, 585–605. Google Scholar Thompson, N. M. 2008. Whither Ghanaian Journalism? [online] Available at http://news.myjoyonline.com/education/200810/22080.asp. Yankah, K. 2004. Language, and mass media and democracy in Ghana. Ghana Academy of Arts and Sciences Annual Lecture in the Humanities. Copyright © 2007 by the Board of Regents of the University of Wisconsin System