Opening the workshop, Pugansoa Naa Professor John S. Nabila, Wulugu Naba and President of the National House of Chiefs said “it is incumbent on all chiefs in the country to be very knowledgeable about the various tenets of the Chieftaincy Act and above all, the 1992 Constitution”. “We should not forget the house has set up a committee headed by Nana Dr. Susubribi Krobea Asante, Asokorehene, to put together contributions from all the regional houses for discussion and subsequent submission to the Constitutional Review Commission,” he added.

He said their contributions will be helpful to the constitutional review exercise and urged all members to participate to make the exercise successful. Professor Nabila noted it is paramount that “we the chiefs and our staff know the tenets of the Act which is the basic law on chieftaincy and above all the tool we shall use in adjudicating the mediation of chieftaincy matters brought before the various traditional houses of chiefs.”

Mr.P.K.O Mensah, counsel for the Brong Ahafo Regional House of Chiefs who was a resource person said the new Chieftaincy Act “has removed all traces of governmental influences or at least interference.” ” There is no place in the Act that gives the President of Ghana or his ministers power to regulate any aspect of chieftaincy. It is now up to Nananom to stand firm against any direct or indirect interference so the institution will actively help the development of the nation.”

Isaac Owusu-Mensah, Senior Programmes Manager of KAS urged chiefs not to indulge in partisan politics and continue to strive to get the best for their people.

This (Volta Regional Festival of Arts and Culture), was aimed at choosing a regional representation for the national event to be held in November this year. Mr. Asum-Ahensah said that even though NAFAC would remain a medium for showcasing the country’s rich culture diversity, its economic potentials would be exploited to offer jobs for the unemployed. He added that Government has expressed commitment to creating jobs for the country’s youth and currently, the Ministry was finalizing proposals on job creation opportunities within the cultural sector. “It is the commitment of this Government to actively involve the youth in building a better Ghana by creating the requisite environment and empowering them to realize their potentials,” Mr. Asum-Ahensah stated. He then appealed to the Metropolitan, Municipal and District Assemblies to support Centres for National Culture in their jurisdictions to use arts and culture in job creation.

Colonel Cyril Necku (Rtd), Deputy Volta Regional Minister, in his speech, expressed that culture had the potential to reduce poverty and asked stakeholders in that sector to exploit its economic potentials, especially tourism to the benefit of the people. He then asked the participants to exhibit the rich culture of the region to enable them win the ultimate prize at the national competition.

Mr. William Addo, Volta Regional Director of CNC, then used the medium to commend the various assemblies for sponsoring their districts to part-take in the festival. He was hopeful that the Ho Craft Market which was under construction would create jobs for the youth, serve as market for products of artisans and enhance tourism, if completed.
Finally, Mr. Jude Kubiti, the Programmes Director of CNC, appealed to Government to complete work on the Regional Theatre for the CNC which started about 20 years ago. This he said, would in turn offer employment for the youth with talents in performing arts.
The Regional Festival, which coincided with the African Union Day celebration, saw the exhibition of works on Dr. Kwame Nkrumah, Ghana’s first President, and cultural objects from the participating districts.

Kwabena

Ghanaians and Africans living home and abroad have been urged to promote and give value to their culture in all endeavours of life.
Prince Sampson Oheneba Afriyie Fontomfrom (a.k.a Prince Sampson), founder of the African Friends of the United States Inc. (AFUS), formerly Ghanaian Friends of United States, a non-profitable charity organization, made the call in an exclusive interview with Today in Accra.

According to him, when African culture is promoted and valued, it will help in diverse ways to educate fellow American brothers and sisters who do not know the true history and culture of Africa.
The Ghanaian diasporan who has lived in America for over a decade now disclosed that the AFUS was formed about seven years ago with the aim of educating Africans living in America about the importance of African culture.
Mr Afriyie Fontomfrom, who is also called by many as ‘THE PRINCE OF AFRICA,’ indicated that the motive behind the establishment of AFUS is to portray African culture in the Diaspora and also provide humanitarian support to his African brothers and sisters back home through HIV/AIDS prevention programmes, soil conservation and water treatment programmes and economic development programmes in Africa.
“Although I am not a king or chief of any town here in Ghana, I was the leader of a cultural troupe and thought it wise to form this organization to portray African culture in the US and also render humanitarian support to Africans,” he told Today.
He however revealed that he does not fall under any stool name in Ghana but he was the son of the late Nana Bonsrah Kwasi Afriyie, Mmrantehene of Akuapem-Aburi and later a chief of Akuapem-Aburi Ahwerase in the Eastern region of Ghana.
Mr Afriyie Fontomfrom indicated that through his initiative he has been able to present Ghanaian culture and history in several formats which include a video on the AFUS website, books on Ghanaian culture and history, cultural performances and through events and educational forums sponsored by AFUS and his Fontomfrom Cultural Troupe of drummers and dancers.
He continued that the ‘Prince of Africa’ video which was produced by his organisation depicts how a prince is welcomed when coming home to Africa from America.
“The Prince of Africa video provides insight into the importance of African culture and cultural groups and its roles in my life and the organization.
…It also shows how the Fontomfrom cultural troupe has performed traditional drumming and dancing to the admiration and appreciation of American audience to enhance their knowledge in African traditions by demonstrating various dances from many cultures in Africa and explaining the meaning to them,” he told Today.
Mr Afriyie Fontomfrom hinted that he was coming up with an event that will be marked annually to celebrate African culture and promote development on the continent.
“This annual event will be known as Africa Day Parade or the African Continent Day Parade which is aimed at celebrating the cultural and economic development and business growth in Africa,” Mr Afriyie Fontomfrom explained.
He noted that AFUS also hopes to establish a kingdom which will be known as the Afriyie Fontomfrom Kingdom.
He said this kingdom will comprise schools, hospitals, cultural centres, Kwame Nkrumah museum of Africa in Ghana and the organisation’s headquarters.
He said there will be fundraising for all these initiatives and further advised Ghanaians living abroad to give values to their culture since Ghanaian culture has a lot to offer.

The Ghanaian Journal; April 21, 2010

The unit called “Tourism Police,” will have police personnel in mufti stationed at centres patronized by tourists, especially beaches, highways, airports, bus stops, public parks and hotel, lodges, entertainment spots, museums, tourist sites and market places.
Deputy Superintendent of Police, Reuben Asiwoko of the Criminal Investigations Department (CID), at a press conference to outdoor the unit, said the core functions of the task force would include handling and receiving inquiries, claims and complaints by tourists as well as investigate tourist-related crimes and prosecute offenders.

“The tourism taskforce will ensure that all tourism and tourism related establishments are registered and licensed by the Ghana Tourist Board.” He said tourism establishments would require documents, including Business Registration, building permits, development permit, police permit, fire certificate, environmental health certificate, site plan and basic building drawings, environmental impact assessment, business plan and insurance certificate. DSP Asiwoko pointed out that the idea to establish a tourism police had become necessary in view of the fact that Ghana’s tourism was growing at a very fast rate and the challenge of insecurity had become clearly imperative. He therefore advised owners of tourism establishments to display valid licenses at the first point of call on their premises since the task force would close down establishments which had not displayed valid licenses. DSP Asiwoko said late last year a delegation made up of members of the Tour Operators Union of Ghana, the Tourism Safety and Security Initiative, an NGO, and the Ghana Police Service toured Egypt to study their tourism policing system. He said: “Tourism is assuming greater importance and therefore safety and security dimensions are very important and will not be compromised.” Safety and security issues, he said, were tied to a destination’s image, he said, and called for wider consumer awareness to ensure that the country had a positive image. Mr Edwin Owusu Mensah, Deputy Executive Director of the Ghana Tourist Board, said Ghana had not dealt with security issues with regard to tourism in an organized manner. He therefore lauded the establishment of the Tourism Police and expressed the hope that it would help to ensure good safety practices.- Accra, March 2, GNA

Source: GNA

Recitation: Israel Larye
The Present
Nanina
The present could not be the barn
Of our harvested visions
So we must not light a thought
To open this barn of our harvest
It may not yet be a thoughtful dawn
Warm enough to keep-gate
Crushing ghost away
When the whiskered ones
Have bleated all nights the remains
Of their sad compelling voices
And spiteful beings in lustful colours
Have strained away
The begetters of our sundew
Across the fore-court of
Our harvested visions
Do not
Do not light a thought to see
These weeviled grains
Of our harvested visions
For our beloved country
Ghana
Is
Still
Forever

We patterned our destiny
In colourful strands like Kente
Red, gold, green and the star
Black and defiant
As if the great ones
Have declared us
True of word
Maheru

We dipped our fore fingers
In naked haste, forgetting ourselves
Deep into the still waters of our destiny
And tasted the future
Without the songs of triumph
Nor the ease of knowing
A solemn sigh then fell
On the lips of the great ones
As if the beautiful ones
Have not yet been born

Five time five we yearned
And held a multitude of emotions to our chest
And gathered husk without the burden of proof
Trusting instead the dance of the mask raiders
And
Still
Our
Beloved country
Ghana
Is
Still
Forever

The Past
We witnessed the past in anger
Fear, once dripped from the crevices of our well-being
And sorrow like tears of joy from our very eyes
We carried the spirit-pot
Filled and unfilled at once!
And tasted four recalcitrant whirlwinds
With our naked tongues
Which swirled around our destiny
But never sprouted into the glorious
Morning rise of the African star
Red, gold, green
Black and defiant
And
Still
Our
Beloved country
Ghana
Is
Forever

We poured libation at midnight
At half moon, we bowed in penance
And fasted for forty days and forty nights
Then a solemn sigh fell
On the lips of the Great ones
As if we were to live by bread alone

Seven times seven we waited with zeal
And heard echoes of the rain-thunder
That should have preceded us
But the rain never came
And our beloved country
Ghana
Is
Still
Forever

The Future
We parade the future now
In primary desires
Along the desolate path
And there is nothing to say or prophesise
The sooth Sayers have all gone home
Discarding their ware for a percentage
The divine drummers and the beautiful ones
They too have left
Surrounding their will
Desiring instead the facade beat of the divine drum
As if to hush the memory of their rebirth
And
Still
Our beloved country
Ghana
Is
Forever

The Star, once up above so high
Like a diamond in our hearts
Now twinkles with a stammering hope
We heard distant laughters
And felt a ray of sundew
On our foreheads
So we crossed the crossed-roads
And joined the enchanted ones
Singing along the path of hope

(Song)

We paused diligently
And scanned through
The remaining chapters of our destiny
Possessed by love, we wept
Sweetly and gently
As
If
We
Knew.

The poem was originally written for the Ghana @50 celebrations and was launched under the chairmanship of Prof. Atokwei Okai and Prof. Kofi Anyidoho in Accra. BARIMA ADU-ASAMOA, is a communication consultant, lecturer and cultural entrepreneur. A former lecturer at Ghana Institute of Journalism, he is currently a researcher (doctoral) at University of London, Goldsmiths College.

* Source: GNA

Dr Amu was born on September 13, 1899 at Avetile, Peki in the Volta Region, and died on January 2, 1995 when he was 96 years. Madam Misonu Amu, daughter of the late Dr Amu, narrating the history about his father, said Dr Amu as a multilingual composer, who composed songs in Twi, Ewe, Ga and English Language and had more than 100 musical compositions with inspiring lyrics. Madam Amu said apart from his musical accomplishments, Dr Amu tried to arouse in the African, a consciousness for ethical, social and political values. She said “He pioneered and encouraged the ‘Africanization’ of the church by introducing drumming and singing of Ghanaian songs during worship”.

Madam Amu appealed to organisations and institutions to support the foundation to promote musical creativity in Africa. The CISP is a three-year initiative under a two million euro grant from the European Union (EU) to Ghana to support culture. It was launched in compliance with European Development Fund (EDF) regulations and in collaboration with the Ministry of Finance and Economic Planning and National Commission on Culture (NCC). The Ephraim Amu Foundation was established in 1995 by family members and friends of Dr Ephraim Amu.

Source: GNA

INTRODUCTION

Globalism- the belief or advocacy that political policies should take worldwide issues into account before focusing on national or state concerns is gradually gaining root due to the realization of the fact that what happens to one nation’s environment directly or indirectly affect other nations and for that matter the whole world. With regards to this philosophy the more favored or endowed in society foresee the need the assist the less endowed to alleviate if not eradicate their shortcoming.

Moreover issues around the world are largely affected by human activities. The betterment and destruction of the favorable conditions in the world are all results or consequences of what man must do to survive. In view of this various research are being undertaken in order to redirected human activities in ways that are favorable. These are in the areas id economic, social, cultural but to mention a few, environmental.

In Ghana the art and craft industry also has a great percentage of the human resource in the cultural industry. The activities of this sector constitute the activities that indentifies the country is considered very important to the tourism sector as one of the main foreign exchange earners . In view of this the cultural initiative support programme (CISP) in is agenda of promotion, improving, protecting and perpetuating the essentials of cultural related activities in the country deem it important to consider  art and craft as one of their main objectives hence the programming of the workshop.

Problems identified

The problems of the craft men in this sector were ascertained by observation.  Information was gathered by the observation of some individual on the job and also the outcome of the works they produce. This was done in order to ascertain relevant information pertinent to the workshop. The researcher being a lecturer whose students go on industrial attachment in craft workplaces around the country contacted key on his list in the three Northern Regions who indulge in the target areas in order to authenticate the relevance of the  information to the organization of the workshop.

The lead consultant found out that, the people of the Northern regions are very dedicated and skillful in the work they do. Due to their commitment to work, they do not hesitate to fashion very intricate designs and other complex works though not of a very high quality.  However there were certain problems that the lead consultant identified. These are as follows:

• Insufficient knowledge of the use of available materials;
• low production and training capacity among craftsmen;
• Inefficient (obsolète) production technologies.
• Poor preservative and finishing treatment.
• Poor safety measure in production
• Lack of material management strategies
• Insufficient skills in packaging and marketing of craft products.
  • Inability to effectively communicate on the works they produce to arouse people’s interest.

Objectives:

• The primary objective of the workshop was to sensitise craftsmen to upgrade their knowledge and skills through the adoption of improved technologies to enhance the technical qualities of their works and motivate them through these new technology concepts to enhance quality, increase productivity and customer friendly products. The improved technical qualities are also meant to promote rural economy through the small scale enterprise concept.

This objective was tackled under the following:

• To keep the craftsmen abreast with current trends in the technology, production ethics and demands of the market.
• To brainstorm and come up with new ideas for the mutual benefit of the individuals.
• To discuss individual and general problems and find solution to them
• To also emphasize the need for their participation in environmental protection policies and its relevance to the worlds.
• Mutual identification of opportunities and how to utilise them.
• As an opportunity to promote unity among the people in the industry and encourage them to build together towards the development of the nation’s economy.

The scope of the workshop

The aim of the workshop was to cover the whole country of ten regions in three segments: first was the middle segment comprising the Brong Ahafo, Ashanti and Western Regions; Northern segment comprising the three northern regions namely- Upper East Region, Upper West Region and Northern Region; and the southern segment that consist of the Greater Accra Region, Eastern Region, Volta Region and Central Region. However this report only covers the one held for the northern segment.

The craft areas considered are areas that are predominantly practiced by the people there as well as other areas that are directly or indirectly relevant to the kind of work they do. These include: basketry, clay and earthenware, wood work, textile (fibers and fabrics), leatherwork, design, safety measure material management and preservation.

Workshop Strategy

The main workshop objective was carried out through the following interventions which was beneficial to the participants. These were to:

• Introduce craftsmen to new design concepts to upgrade their creative skills;
• upgrade the technical skills of practicing craftsmen through the introduction of    appropriate technologies;
• encourage craftsmen to make maximum use of raw materials produced within their localities for easy accessibility and thus involving themselves in economic activity that has less import content and will not bring about any problem of shortage of materials in order to keep them in business continually.
• introduction of relevant business initiatives to cavers;
• encourage collaboration among craftsmen for the sustainability of the craft Industry

The above are the basis for which the following course content was developed:

Course Content

This handout contains papers in the fallowing areas to address the problems:

1. 1. CONCEPT OF DESIGN IN THE ART INDUSTRY

a, Idea development

1. i.            Basic sketching techniques
2. ii.            Drawing – from known to unknown and unknown to the known- subject sources: natural (organic/inorganic) and man-made objects.
3. iii.            Application of elements and principles of design

b,  Introduction to computer aided designing

1. 2. MANAGING MATERIALS IN THE ART INDUSTRY
   1. i.            Identification of raw materials
   2. ii.            Secondary preparation (preservation/weight control)
   3. iii.            Selected processing , fabrication and finishing technologies

a, Wood Products.

b, Textiles

c, Leather

d, Rattan And Bamboo

e, Metal

1. 3. FINISHING TREATMENT AND PRESERVATION OF ARTIFACTS
2. 4. PACKAGING AND MARKETING OF FINISHED ARTIFACTS
   1. I.            Product labelling  and Packaging
   2. II.            Product Display and Set up
   3. III.            production based on  marketing trend and consumer interest
   4. IV.            costing, pricing and book  keeping
      1. V.            customer care
      2. ADOPTION OF SAFETY MEASURES FOR CRAFTSMEN

Resource Persons

The resource persons for the workshop were lead by a lead consultant -the Head of the leather section in the Department of Integrated Rural Art and Industry, KNUST supported by four lecturers. They are as follows:

The lead consultant

• Mr. Kafui Kwesi Agyeman is the lead consultant for the workshop. He will co-ordinate and facilitate the workshop and deliver some of the lectures.
  • Four additional resource persons will deliver lectures and practical lessons in specialized areas of craft.

The four supporting lecturers

• Dr. John Osei Bobie Boahin
• Dr Rudolf Steiner
• Dr. Olivia Aku Glimeh
• Mr. Adjei Tabi Emmanuel

Profiles of Resource Persons

The Lead Consultant:-

Mr. Kafui Kwesi Agyeman, PhD candidate-Art Education

He is a demonstrator in the Integrated Rural Art and Industry Department, Kwame Nkrumah University of Science and Technology is partly in charge of the practical lessons. He is skilled in sculpture (carving, modelling, construction and assemblage); computer graphic design including 2D/3D designing and modelling. He has a Bachelors Degree in Integrated Rural Art and Industry. In the University as a demonstrator he is a versatile artist and currently teaches metal production practical and is also a computer instructor in the area of 2D and 3D product design. He  will handle the 3Daspect of The Concept of Design in The Art Industry, Enhancing the Quality of Textile Products and metal product management.

Dr. John Osei Bobie Boahin, PG, DAEd, MPhil, PhD Art Education, K.N.U.S.T.

He is a lecture in the Department of Integrated Rural Art and Industry, Kwame Nkrumah University of Science and Technology. He will deliver lectures on: The Concept of Design in The Art Industry, Packaging and Marketing of Artifacts,  Managing Materials in The Art Industry and Managing Basic Problems Affecting the Quality of Indigenous Tanned Leathers.

He has more than 20 years experience as a teacher and lecturer at the second cycle institution and the university in the area of visual art generally, and extensive experience as a trainer of trainers, researcher and consultant in indigenous crafts. He also has more than 20 years practical experience as a master craftsman, working variously as a designer and manufacturer in leatherwork, picture making, fabric printing, raffia and calabash art.

He has done a number of research works and held workshops in the area of art. Some of the research topics are:

* Adapting Vat dye as alternate Dyeing Substance for Leather.

* Controlling the development of moulds and offensive odour affecting indigenous   tanned leather

* Exploring the use of sued dye on leather

* Modernization of fashion in Ghana

Dr Rudolf Steiner MA, PhD Art Education, K.N.U.S.T.

He is a lecture in the Department of Integrated Rural Art and Industry, Kwame Nkrumah University of Science and Technology. He will deliver lectures on Finishing Treatment and Preservation of wood species.

Dr Rudolf Steiner is a researcher of non timber plant preservation with particular interest in bamboo and its products. He is also a consultant in technology development for rural industry and has supervised a number of projects in this area with the objective of promoting the usage of lesser known wood species.

Dr. Olivia Aku GLimeh, PhD –African Art

He is a lecturer in the Department of Integrated Rural Art and Industry responsible for the following area: material management and processing. She is a fibers and fabrics designer and educationist and consultant. He has rich experience in dying of fabres and fabrics. She has served years as a senior lecturer. She has organized several art workshops for agencies and agents in textiles.

Her research areas in include:

• Local dyes and their application in the textile industry
• Local fibres and their relevance in modern art.

He has more than 10 years experience in wood carving and finishing; five years experience in metal work and three years rich experience in training others. His areas of research include:

• Integration of  materials and processes for sustainable development
• Creative integration of metals in wood art forms
• Wood waste management and utilisation
• Common finishes of wood and metals
• The application of computer aided design to Ghanaian indigenous art.

CHAPTER TWO

METHODOLOGY

Having taken cognizance of the rationale of the workshop that seeks to promote the use of appropriate technologies to upgrade the creative and technical skills of craftsmen, the resource persons adopted a “participatory” and “classifications” approach to beneficiaries. The identification and assessment of the needs of beneficiary (master craftsmen) were done with full extensive experience and observation of activities of selected craftsmen at different locations in the three Northern Ghana. In this respect, the initial identification of their needs was sorted out by the resource persons engaged through “Participatory Artisan Assessment” (PAA) methods. The process entails seeking out various categories of craftsmen and learning their concerns and priorities directly, on some selected production sites, there were face to face interaction with craftsmen so as to gain insight from their local physical, technical and social knowledge deficiencies.

The adoption of PAA methods was expected to facilitate investigation, analysis, presentation and learning delivery. This ensured that relevant information on target beneficiaries was generated, analyzed, owned and easily related to the craftsmen that enhanced the processes of their empowerment.

Beneficiaries

Based on the observation and the trend of participant in craft workshop especially organized by the Cultural Initiative Support Programme, it was possible to anticipate the caliber of participant and what they do. The participants were basically:

• Active and non-active craftsmen.
• Art teachers and trainers
• Graduate apprentices.
• Practicing entrepreneurs (small scale) in the craft industry.

Strategic Objectives

Based on the target beneficiaries the following strategic objectives were drawn.

1. 1. To offer formal training to master craftsmen and apprentices in the craft industry to improve their technical skills and efficiency in production and also in the training of their peers.
2. 2. To promote the adoption of suitable productivity-enhancing technologies to enhance efficiency and cost-effectiveness in the craft industry.
3. 3. To upgrade the entrepreneurial and managerial skills of Craftsmen to enable them to run their businesses profitably.
4. 4. To ensure that craftsmen play a more responsible role by making sure that their activities do not have any negative influence on the environment and the people living in it.

CHAPTER THREE

ADMINISTRATION OF THE COURSE CONTENT (THE WORKSHOP)

The purpose of the workshop demands resource persons who are knowledgeable in the traditional art the local craftsmen practice. This necessitated the service of resource persons from the only department in Ghana universities who specializes in integrated rural art.

The Department of Integrated Rural Art and Industry specializes in six major art forms including training in the use of 2-D and 3D computer training as the main technology for designing. The six major areas include Fibres and Fabrics; Rattan and Bamboo; Clay and Earthenware; Metalwork and Fabrication; Wood and Furniture and Skins and Leather. Therefore some staff members some of which are doctors and still practicing the arts were selected as resource persons for the workshop according to their areas of specialisations.

The workshop was made up of a combination of power point presentations by the resource persons on respective subjects. There were also discussions and case studies, critique and brainstorming sessions, work group sessions and vision prepositions.

The order of the workshop

The workshop cover front idea development and designing to the getting the product to the end user regarding current standards. The order of presentation is as follows.

CONCEPT OF DESIGN IN THE ART INDUSTRY

The first presentation was concept of design. The aim of this section was to instil into the local craftsmen the essence of design, how to design, the impart of design on art or craft and how design can help them improve on their respective areas of specialisation. This was presented as follows:

a, Idea development:- under this craftsmen were introduced to various element of design and how they can be organize into original designs. This includes:

1. iv. Basic sketching techniques: participants were taught when and how to make sketches and how ideas could be developed from sketches. They also understood the fact that sketching is expression that forms the basis of design and creativity.
2. v. Drawing – from known to unknown and unknown to the known- subject sources: natural (organic/inorganic) and man-made objects. Under this they came to the realisation that ideas are found in the environment and therefore the used of one’s environment as an idea library can be a trade mark that will distinguish their product from others.
3. vi. Application of elements and principles of design: They were also led to understand that, those elements of design are the basic units that make complex design. And for that matter they the same elements that are used in every field of art, and the only difference is their application.

b,  Introduction to computer aided designing

the participants were also made aware that basic element are what is fed into the computer to make their application easier. And were also taught  the fact that the computer could be used in all aspects  their businesses to make their transactions easier.

MANAGING MATERIALS IN THE ART INDUSTRY

In this segment participants were made to understand the nature and behaviour of the materials they use; how to treat them to suit their purpose as well as their intended market. Apart from these they were also alerted on the depletion of the material sources and how to maintain and also sustain them. These were done under the following areas so that the craftsmen will benefit from their respective areas.

1. iv.            Identification of raw materials:
2. v.            Secondary preparation (preservation/weight control)
3. vi.            Selected processing , fabrication and finishing technologies

• Wood Products.
• Textiles
• Leather
• Rattan And Bamboo
• Metal

FINISHING TREATMENT OF ARTIFACTS

Under this they were made to understand the finishing is not just giving surface beauty a but factors like the protection of the works, the preservation of the work, the protection of the ends user should also be taken into consideration.

PACKAGING AND MARKETING OF FINISHED ARTIFACTS

They also understood under this section that the quality of the product is what counts but quality without proper presentation to the market can cause a lot of problem on the performance of a product. They were therefore informed under the following area to get abreast with current issues related to packaging.

1. VI.            Product labelling  and Packaging
2. VII.            Product Display and Set up
3. VIII.            production based on  marketing trend and consumer interest
4. IX.            costing, pricing and book  keeping
5. X.            customer care

ADOPTION OF SAFTY MEASURES IN THE ART INDUSTRY

The participants after everything were made to understand that, above everything the sustenance of the environment and their health that constitutes life is the most important. There were therefore thought safety measure in their daily activities as an arm for the sustenance of the industry.

CHAPTER FOUR

BENEFITS OR OUTPUTS

At the end of the workshop:

1)      Craftsmen had concrete training in the concept of design towards idea development, structure building and colour combination.

2)      Beneficiaries acquired knowledge in the use of alternative materials for their work.

3)      Craftsmen  learnt new technologies introduced in the craft industry.

4)      Master craftsmen understood and were willing to adapt improved technologies for the various facets of their work.

5)      Craftsmen understood the essence of protecting the environment they work in, themselves and the people they work with, and also the people they work for or the users of their products.

According to the respond to the questionnaires the more than 95% of the respondents claim the

The workshop has really brought a change into their practices in their respective areas. The data in respect to the areas a provided by participants are as follows:

• How to do proper pricing of my products particularly to foreigners
• How to go about our work.
• Have to be creative, integrate other techniques into my work and how to preserve my raw materials.
• I now know how to integrate other areas into what I know in textiles.
• The art of integration of different media.
• Material management, packaging and marketing.
• Because of the new knowledge about integration I can now go about my business normally.
• We have learnt a lot of things.
• Using leather to design smock.
• The finishing treatment and marketing.
• The finishing treatment and preservation.
• Integration is one of the changes in our field of operation.
• The preservation of materials and using leather to produce many things.
• No.
• The removal of the offensive odour in the local leather.
• Organizing of my raw material, tool, designing of my products and marketing requirement (standardization).
• I now know how to manage materials.
• The change is that I can now integrate well than before with knowledge in the use of leather, metal, textiles etc.
• The change is that I was lazy I only teach. I don’t produce but now I’m going to.
• I will do better in marketing and I will do other things that will a change to my business.
• The change of so many things like design, integrating, and others.

It is realized from the above that the emphases is on integration. This is a clue that the craft industry in Ghana in also suffering from the inability to integrate idea and materials.

RECOMMENDATIONS

• The resource persons recommend that a workshop of such caliber should be organized in a more studio inclusive environment in order to beef up the practical lessons.

• The concept of integration and collaboration should to emphasized in the development of art in the country since it is one of the strong pillars of progress.

• The design of the workshop should be reconsidered, such that specific areas will be handled at a time to avoid the reception of irrelevant information by some participant.

APPENDIX

The order or presentation and their respective resource persons

COURSE CONTENT

This handout contains papers in the fallowing areas to address the problems:

1. 6. CONCEPT OF DESIGN IN THE ART INDUSTRY  (Dr J. Osei B. Boahin/(K. Agyeman))

a, Idea development

1. vii.            Basic sketching techniques
2. viii.            Drawing – from known to unknown and unknown to the known- subject sources: natural (organic/inorganic) and man-made objects.
3. ix.            Application of elements and principles of design

b,  3D Rendition of design

1. 7. MANAGING MATERIALS IN THE ART INDUSTRY
   1. vii.            Identification of raw materials
   2. viii.            Secondary preparation (preservation/weight control)
   3. ix.            Selected processing , fabrication and finishing technologies

a, Textiles (Dr Mrs. Glimer)

b, Leather (Dr J. Osei B.Boahin)

c, Rattan And Bamboo (Dr R. Steiner)

d, Metal (K. Agyeman)

1. 8. FINISHING TREATMENT OF ARTIFACTS (Dr J.Osei B.Boahin)
2. 9. PACKAGING AND MARKETING OF FINISHED ARTIFACTS (Dr R. Steiner)
   1. XI.            Product labelling  and Packaging
   2. XII.            Product Display and Set up
   3. XIII.            production based on  marketing trend and consumer interest
   4. XIV.            costing, pricing and book  keeping
      1. XV.            customer care

ADOPRTION OF SAFTY MEASURES IN THE ART INDUSTRY – (Dr. J. Osei Bobie Boahin)

Some paper presentation at the workshop

PRODUCT DESIGN AS A TOOL FOR IMPROVING ON THE QUALITY OF INDIGENOUS GHANAIAN ART IFACTS

A)    THEORY OF DESIGN

B)    PRODUCT DESIGN (PRACTICES OF DESIGN)

C)    3D RENDATION OF DESIGN AS ATOOL FOR PROCESSING CRAFT PRODUCTS

A) THEORY AND PRACTICES OF DESIGN:

Design in the craft industry refers to the act of creating an object’s form and function, through the application of the Elements and Principles of Design, in the processing of craft products to enhance their functional and aesthetic value for maximum satisfaction.

Designing of craft products is basically an art activity, it demonstrate the creative skills of people in art product development in which materials are shaped or selected to convey an idea, emotion, or visually interesting form.

Local craftsmen have been making divers forms of product designs however these have mostly been involuntary, they are indigenous based and have mostly been ideas handed down from one generation to another, any attempt to divert from the accepted traditional norm is considered as deviation. However, in order to sustain these local industries there is the need for rapid improvement of the design base of the local craft products.

Training in basic design will enable the craftsman to sustain the craft industry, besides; it will enable them to learn how to develop innovative ideas that would best help to improve upon the quality of their products, improve their marketing skills and coverage. Again it will help craftsmen to acquire knowledge and skills to organize their indigenous designs in terms of form and decoration.

Indigenous craft products are primarily the unconscious organization of the elements of design, as entrusted to craftsmen by their grandfathers, without sufficient attempt to understand the qualities that were put together for the production of these artifacts.  These qualities may be formally called ‘elements’. The elements are organized along certain guidelines known as ‘principles of design’. It is necessary for craftsmen to understand and be more conscious of the application of these elements in order to raise the standard of their products and to compete effectively in the aggressive international craft market.

Product Design,

Product Design, involved in the creation of products. It is involved with aesthetic appearance as well as with functional efficiency of finished products. Two major factors influences product design, these are the profit it brings the producer and the satisfaction it afford customers.

Underneath current principles of design, an artifact ought to have beauty of line, color, proportion, and texture; high efficiency and safety of operation; convenience or comfort in use; ease of maintenance and repair; durability; and expression of function in terms of form. The comparative importance of any of these principles may differ depending on the item. Thus, line and proportion may be more sought-after in a sofa than in a printing machine, where durability and simple maintenance may be supreme. A concern basic to all high-quality design is the issue of reasonable cost. As a consequence, efficient industrial design requires, besides artistic ability, combined knowledge of manufacturing principles and materials, production techniques and cost, and marketing situation.

A point is an element that has position, but no extension. It is a single mark in space with a precise, but limited, location. It can provide a powerful relation between positive and negative space. Line or form is a natural result of multiple points in space.

Line can be considered in two ways. The linear marks made with a pen or brush, the edge created when two shapes meet the edge made after a chisel mark.

A shape is a self contained defined area of geometric or organic form e.g. a piece of wood. The three basic shapes are: circle, rectangle (square) and triangle.

Colour A visual attribute of things that results from the light they emit or transmit or reflect.

There are many different kinds of colours systems, and many different theories on colours. For now we will focus on the basics, that is using the colour wheel for illustration. There are three main components of colours:

the primary and secondry colours(subtractive colours)

• Hue: (The quality of a colour as determined by its dominant wavelength) Where the colours is positioned on the colours wheel. Terms such as red, blue-green, and mauve all define the hue of a given colours.
• Value: The general lightness or darkness of a colours. In general, how close to black or white a given colours is.
• Saturation: The intensity, or level of chroma, of a colours. The more gray a colours has in it, the less chroma it has.

Colours are typically organized in a hierarchal fashion, based on how colours are mixed. A colours space helps to define how the colours are mixed, based on the medium in which the colours are used. There are two different kinds of colours spaces:

Proportion- Balance among the parts of something, or the relation between things (or parts of things) with respect to their comparative quantity, magnitude, or degree.

Texture- The feel of a surface or a fabric, the characteristic appearance of a surface having a tactile/actual quality.

Rhythm is a repetition or alternation of objects, often with defined intervals. There are many different kinds of rhythm, often defined by the feeling or emotion that is evoked when looking at it. The following are three kinds of rhythm to look at in The Principles of Design: regular, flowing and progressive.

Dominance refers to emphasis and visual weight in a composition. It often establishes perspective, and resolves where the eye is led to first when looking at a design. There are three stages of dominance: dominant, sub-dominant and subordinate.

Size is s the relationship of the area occupied by one shape to that of another. Visual weight refers to the relative size and scale of the various elements in a design. This gives meaning to the relationship between objects, or parts, of a whole.

The Meaning and Purpose of Design.

Design:

A design is the plan of work, the act of working out the form of a work of art, in this book refers to a leather product. It is an arrangement of the elements of design.

Purpose:

The purpose of design in this book is by making a sketch or outline or plan of intended leather products, through the use of both elements and principles of design for creating order and beauty in the end product.

The Principles of design can be thought of as what we do to the elements of design. How we apply the Principles of design determines how successful we are in creating a work of art. Leather product design therefore is primarily an art activity, the product of creative human activity in which materials are shaped or selected to convey an idea, emotion, or visually interesting leather forms.

Exploration of the environment:

The exploration of the environment involves the selection of varied objects of different shapes, from ones immediate environment (organic or inorganic) for the purpose of developing new ideas towards the manufacture of leather products. Such objects may include leafs, stones, a pieces of wood, fruits, vegetables and tree trunks.

PRELIMINARY DESIGN

Importance of preliminary designing.

Preliminary designing is the process by which ideas are developed from the shape of identified sources to the final drawing of the object and the making of a sketch model to ascertain the capability of applying the design in a practical and useful way.

The following are outlines of the importance of preliminary design:

• Offers opportunity for selecting from a series of designs.
• Prevents wastage.
  • Gives the chance to have the end products in view
  • Offer the opportunity to plan and prepare adequately.
  • Offers the chance to work accurately and with precision.
  • Serves as a guide.
  • It brings satisfaction to the patron of the final product.

DESIGN PROCESS

Making of design:

The designing process refers to the mechanism by which the intended  artifact  is planned to guide the manufacturer for final production.

The following are the main factors to consider when designing:

1. 1. Problem identification

The intended need is first identified, example certain items may be needed to at school, home or church, they include, book case, wooden mask, shopping bag, bed-sheets, lamp shade,  and flower vase.

1. 2. Specification of the problem

The specific nature of the need/problem must be made clearer, example the manufacture of three hook key case for a security officer

1. 3. Investigation of the problem

Detail investigation and analysis is required for this stage of the design process to solve the problem.

The following main factors are considered; the patron for whom the object is being made, the purpose, the shape, size and form of the item. The tools and materials required, safeness of the finished products, cultural identification and aesthetic qualities in terms of finishing, decoration and presentation.

1. 4. Solutions to the problem

To solve the problem free hand drawings of shapes derived from nature or geometric shapes are made taking into consideration the organization of the elements and principles of design, towards the final drawing.

1. 5. Working drawings

Having decided on the final drawing to work with, it is necessary to draw it to scale to guide the final manufacturer. Beside, working drawings will make it possible for mass production of a particular item whenever necessary.

1. 6. Sketch model

With the aid of card board a sketch model is made of the final drawings of some Artifacts  to evaluate the designs and make necessary corrections.

1. 7. Making Templates/Patterns

The working drawings are transferred onto card board or lighter sheets of metals and cutout as templates, these are later used to trace and cut out parts of leather articles from sheets of leather to achieve accuracy.

1. 8. Prototype

This is a full-scale working model of an article produced for study or testing or display(such item could be considered as a fully finished artifact where it is the only item required) The production of a prototype become necessary in a situation where more of the leather item is demanded in large quantities

1. 9. Production

This is the stage where the final product is produced using all the identified materials,  tools and techniques.

10. Evaluation

A test of the finished art  products is always necessary to find out its suitability, beauty, finished level (identification of defects and corrections)

References:

1.”Industrial Design.” Microsoft® Student 2007 [DVD]. Redmond, WA: Microsoft Corporation, 2006.

2. Shinn, Deborah S. “Decorative Arts.” Microsoft® Student 2007 [DVD]. Redmond, WA: Microsoft Corporation, 2006.

3. De Sausmarez, Maurice, Basic Design: The Dynamics Of Visual Form Studio Vista Ltd, London, 1970.

4. McGuire, S.H., Keys to Colour, American Greetings Corporation,. Cleveland

Presented by:

Dr. John Osei Bobie Boahin

The above presentation was meant to enrich the design base of the participant. And since there was the need to keep them abreast with time the role of the computer in modern technology and more specifically designing and production was the next subject.  After the lunch break that took place after the first session all participants were seated for the second half presented by Mr. Kafui Kwesi Agyeman. This is shown in the slides below:

INTRODUCTION TO COMPUTER AIDED TECHNOLOGY IN THE CRAFT INDUSTRY

DELIVERED BY

Mr. Kafui Kwesi Agyeman

DEPARTMENT OF INTEGRATED RURAL ART AND INDUSTRY,

KNUST KUMASI,

COLLEGE OF ART AND SOCIAL SCIENCES

CISP- TRAINING WORKSHOP FOR CRAFTSMEN – BOLGATANGA – 7^TH – 12^THNOVEMBER, 2009.

Introduction:

However, whether noun or verb, a design is always an intention of solution to a predefined problem. And the problem that is identified prior to designing always affect(s) a person or a particular group of people in one way or the order.

Who patronizes design?

Since a design is a solution to a problem, those who patronize a design are definitely those who are confronted by the problem the design is suppose/intended to solve. It is therefore necessary for the craftsman to also identify the sufferer of any problem identified to be able to apart from solving the problem, also bring maximum satisfaction to the design benefactor.

What is designing?

Designing is a creative activity that approaches a problems by organizing relevant information into a unified solution. Some writers on design advocate that the information necessary for a design are based on range of experiences, knowledge and skill; and the problems they solve are always well defined and within certain constraints. Therefore designing is a process of design.

Who is a designer?

A designer is a person who is able to identify a problem, organize available relevant resources base on the problem and is able to come up with a creative solution. The creativity of the solution is base on the knowledge, skills and experience of the designer. It also means that a designer is simply a person who does designing.

Why designs changes

Since the patrons or benefactors of design are always part of the society that is not static but always changing. Their demands also changes according to the changes that occur. Example the increasing population of a society may bring increase demand on product that may influence its design to suit mass production; the expansion of society that may call for mass transportation of a product to other location may in its design for easy packing and convenience in for the process.

Secondly, technological revolutions that has to do diverse ways of organizing a design and also its execution in terms of machine and electronic devices also calls for the change in design to suit the workability of the technology being employed. Therefore if the technology in our handicraft sector is experiencing changes, then there is the need to also train the craftsmen to feed the technology with the relevant information it terms of design.

Since the taste of the society and increasing day in and day out, precision, accuracy, higher demands, good finish and mechanized production are catching up in the Ghanaian craft industry, there also the need for the local designer to improve of his knowledge to meet these demands. This calls for the need to improve on the design base of the craft practitioners in order to design faster and better to meet current demand.

One of the areas is computer aided design. This technology of designing arrives in Ghana more than a decade but enough attention has not been given to it and for that matter our craft industry still lack the necessary skill required to revolutionize the sector. However an improvement on the computer aided design (CAM) – computer aided manufacture technology (CAM) has also come and if nothing is done the Ghanaian craft industry may be one of the victims to lose their business to foreigners who are abreast with time and for that matter change.

Computer Aided Design (CAD)

Instead of the normal drawing and modeling, there are improved electronic systems that has virtual drawing and modeling tools that makes the process faster and easier. The executed design is actualized through the use of other machines design to communicate with the computer that does the actual product.

Moreover these programmes come under two big categories. These are:

• 2-D (two dimensional) programme which deals with only length and breath
• 3-D (three dimensional) programme which has a third dimension known as the height, comprising length, breath and height

CAD enables designers to use computers to analyze and manipulate design data. Using a graphics workstation or computer terminal to display three-dimensional figures, the designer can examine a proposed design from different angles, in various cross sections, and in many sizes.  Since the 2-D computer aided design is not far from what is normally done by our craftsmen on paper, the text is concentrating on 3-D designing in relative terms with 2-D.

WHAT 3-D DESIGNING IS

3-D designing simply means three dimensional designing.  Unlike two dimensional design using two dimensional software that has only two dimensions-length and breath, three dimensional designs have a third dimension which is height. These are executed using th3-D design software such that the design can be seen from all angles. 3-D designs are noted for this fact that, they can be viewed from all angles. So instead of only referring to them as three dimensional designs, they are also referred to as models thus three dimensional models.

Three dimensional software or programmes are therefore designed to provide an avenue for the designer to apart from viewing the designs from all angles, is also able to apply all kinds of finishes to the model including other thing that are discussed in this paper. These help designers to communicate better to their client with regards to the final outcome of the intended work to be manufactured or produced.

Considering the possibilities with 3-D design software, I define 3-D designing as a complete design which is a pre-organisation of lines, shapes, texture, materials, effects, techniques and environmental conditions into a predefined form or composition THAT CAN BE VIEWED FROM ALL ANGLES for a specific purpose.

ELEMENTS OF DESIGN IN 3-D

Normally in designing we use elements like Lines, Shapes and Textures that we get from various design tools and materials to achieve the final design. However in three dimensional modelling these elements go beyond the normally used, mentioned above. These elements are as follows:

Curves

Curves in general are describes as a moving point whether it is seem to be moving in a straight direction or not. Scientifically it is not possible for one to draw a straight line. This is why all forms of line are being described here as curves. Curves in 3-D software unlike in 2-D drawings are not limited by surface, thus instead of surface, 3-D software

Line in the models of some models (a stool and drum) demonstrated during the workshop

deals with open space which makes the direction of curves endless, example, curves are able to move in directions like towards the viewer and away from the viewer which facilitates the endless success in 3-D drawings and modelling.

Shapes (Geometric and Amorphous shapes)

Unlike 2-D software that deal with curves and plan figures, 3-D software in addition to curves and planes figures also deals with surfaces and solids. Examples are:  2-D ellipse is to 3-D ellipsoid; 2-D circle is to 3-D sphere; 2-D parabola is to 3-D paraboloid and many more. And the added advantage is that one can convert from one state to the other-from curve to surface and from surface to solids and vice versa.

Textures

3-D software provides an avenue to create textures in terms of appearance of objects and material. These help to render objects to look like in real life.

Materials

3-D software also works with supporting programmes known as plug-ins that has material libraries of variety of materials eg. Clay, wood, metals and many more.  It also makes it possible for one to create other materials and effects that improve the model which sometimes makes it difficult to differentiate between the pictures of the real work from the model.

Atmosphere

3-D software also comes with various atmospheric conditions that help to enhance the finish of models. Moreover, it also supports the creation of environmental conditions such as light effects, shades, sunny conditions etc. which helps to make the appearance of a model real.

Placement

3-D software apart from capturing reality it is also able to allow the designer to preview the model in terms of how it will look and its positioning in the real environment. This is used to predetermine whether the job will fit the intended environment in terms of colour agreement, size and others.

PROCESSES IN THREE DIMENSIONAL DESIGNING

The 3-D design process can be compared to that of 2-D in the idea conception and development stages. However the difference is the third dimension. 3-D designing as process basically includes:

• Drawing of curves, surfaces and solids
• Converting or rebuilding of curves, surfaces and solids into other forms
• Composition of curves, surfaces and solids into desired forms
• Editing of forms or models
• Application of textures, colours, materials, light effects, environmental effects and background effects.
• Virtual placement of the object in the intended environment
• Rendering of the model
• The finial work is animated or converted into a video file; converted into pictures that may be used for other designs like communication design; printed or converted into outlines with dimensions for production.

ADVANTAGES OF THREE DIMENSIONAL (3-D) DESIGNING OVER TWO DIMENTIONAL (2-D) DESIDNING

3-D designing has much advantage over 2-D designing because, apart from being able to do all 2-D works, it is also able to:

• Provide turning angles beyond clockwise and anticlockwise direction
• To turn and edit object at all angle to ensure reality
• Produce limitless shapes and forms
• Explode the model to reveal its anatomy or details exhibiting all the techniques involve in the construction.
• Communicate better to a customer who is interested in seeing a sample before commissioning a job
• Make animation from only one drawing unlike 2-D that goes with series of drawing
• Exhibit variety in terms of colour, material, texture but to mention a few.

Artist and craftsmen are therefore advised to master at least one 3-D software to enhance their business.

THE ESSENCE OF THREE DIMENSIONAL (3-D) DESIGNING

With regards to the above the essence of 3-D designing seems to be obvious. However it is very essential for the achievement of limitless results. It is also very important in the following areas:

• Material management
• Time management
• Creative thinking
• Business communication
• Sample exhibitions etc

SOME THREE DIMENSIONAL DESIGN MODELS by: Kafui Kwesi Agyeman

This is to communicate to the reader, the reality in 3-D designing. The models below are all fruits of 3-D design software called Rhinoceros which is adopted and used by the Department of Integrated Rural Art and Industry in the Kwame Nkrumah University of Science and Technology.

Proposed dinning chair in white wood showing two views

The models above are proposed dining hall chair showing two views. This is in two versions of wood variation and design. The next and others are shown below:

Another proposed dinning chair in red wood showing two views

Proposed knock down stool in white wood showing three views: on tiled background, exploded view and another perspective view respectively.

Above is a stool baring an adinkra symbol (ntesie) showing three views

Below are other models executed during the AIC (Aburi Industrail Centre) workshop.

the above is the model of the gyembe drum common among the traditional carvers in Ghana

A sample bribi wo wiem stool rendered in metal

Above is earthenware modeled during the workshop which includes those below.

This is a synthesis of 2-D and 3-D design and below is a kente in 2-D

CONCLUSION

The endless capabilities of 3-D design software in designing cannot be overemphasize. Therefore artist and craftsmen would be well advised to seek and master at least one of them for good planning and effective material management to enhance their business. Examples include:

• Rhinoceros
• AutoCAD
• Light wave
• Alias Maya

1. Bates, Jane K., (2000). Becoming An Art Teacher. Belmont, Unites States of America: Wadsworth/Thompson Learning.
2. Clement, Robert, (1987). The Art Teacher’s Handbook. London: Century Hutchinson Limited.
3. Gilbert, Rita, (1992). Living With Art. 3^rd ed. New York: McGraw-Hill, Inc.
4. Malcolm, Dorothea C., (1972). Design: Elements and Principles. Worcester, Massachusetts: Davis Publications, Inc.
5. Ocvirk, Otto G. et al, (1998). Art Fundamentals: Theory and Practice. 8^th ed. Unites States of America: The McGraw-Hill Companies, Inc.
6. Corel Corporation, (2002). Corel tutor, CorelDraw 12. Windows. United States of America.
7. Eshun, Eric F. K., (2005). Foundation In CorelDraw. Computer Graphics 1. 3^rd ed. Kumasi: High Calling Publishers.
8. www.corel.com
9. Clement, Frederick K. A. (2007) Computer-adied Three-dimensional Modeling with Rhinoceros. Vol. 1. Kumasi, Ghana: CA Oxford Publishers.

10.  www.rhino3d.com

11.  www.flamingo3d.com

The essence of the above presentation was to communicate to the participants, the state of design and production technology that has to do with the role of computer in designing and production.  Using some of their products as a case study, the presentation covered how the design and production could be made easier without and at the same time being cost effective.

The presentation also cleared the notion of some people who though computer could only be learnt and understood by literates to understand the computer is now user friendly to an extent that can be understood by everybody who wish to be trained in it.

TEXTILES

THE DISCOVERY OF CLOTH

INTRODUCTION

The Paleolithic or the early man depended on animals’ skins, broad leaves and tree barks in covering himself. As time went on however, man realised that animal skins were not very comfortable on the skin, as they became stiff when dry. The leaves were not durable either.

Man therefore began to look for something that could be comfortable on the skin and at the same time be durable. He realized, that the long thin fibres produced by both animals and plants could be twisted to form a thread and when interlaced could produce a kind of material that could be flexible, warm and comfortable when put on and be durable as well. Thus, man discovered cloth.

Since those early days, man began experimenting with natural fibres from both animals and plants for cloth. The types of cloth produced varied a great deal according to the type of fibre used.

As textiles developed over the years, the most suitable natural fibres have been selected and have become the basis for textile industries of the world. These are known as the “Big Four” namely, Cotton, Wool, Flax/Linen and Silk.

SPINNING:

The first basic process in producing cloth is spinning: Spinning turns a mass of fibre into thread or yarn, making it suitable for being woven into cloth.

There are two methods of spinning; that is, either by hand or by mechanical means. Hand–spinning was practised for years all over the world before mechanical or conventional spinning was invented.

Hand–spinning is still practised in rural areas; especially in parts of Ghana. A simple spinning gadget is used and it is known as a “spindle”. The spindle is about foot long, made out of either a rounded piece of wood, bamboo or palm fronds.

It tapers at the two ends and it is weighted with a small disc of either wood, baked clay or calabash at the lower end to keep the spun yarn in position.

Before the spinning takes place, the fibre must be “combed” and made into a fluffy mass. In the case of cotton, the cotton is first ginned to remove the seeds. This is done by putting the seed cotton on a block of wood and an iron rod used in carefully removing the seeds from the cotton fibre.

Foreign matter is then removed from the cotton by a method referred to as “teasing”. The cotton is placed on the twine-side of a bow-like gadget made specially for the purpose of “combing”.

“COMBING” / TEASING”

One hand is used in holding the bow-like gadget firmly, while the other hand does the pulling at the string, turning the fibre into a fluffy mass.

WEAVING

The yarns obtained from the hand-operated spinning gadgets are woven on traditional looms. The woven pieces produced are rather thick and heavy. They are mostly used in producing “Batakari” or “Fugu”.

THE VASTNESS OF TEXTILES

Textiles is a wide subject, covering quite a number of areas. For example, it covers, the preparation of the yarn, weaving techniques, dyeing, printing and others.

For this work-shop however, we shall concern ourselves with the ways cotton products can be enhanced through proper dyeing techniques and the use of other types of yarns, such as metallic yarn to attract customers either locally or those of the world market. “Also oke” a Nigerian weave, Table mats, Book-marks and Chair-backs could also be produced with dye finer cotton yarn materials, hence more money.

It is therefore better to use dyed finer cotton yarn materials for the cotton products or cotton items. The “Fugu” or the “Batakari” could be produced from fast dyed cotton yarns to earn more money.

THE USE OF VAT DYES

Vat Dyes give brilliant shades on cellulose fibres such as cotton and they are fast when properly mixed.

PROCEDURE ON THE USE OF VAT DYE

1. Heat water
2. Remove the hot water from the fire.
3. For three yards materials, prepare a dye liquor this way-
   1. Add a dessert – spoonful of caustic soda to a small quantity of the hot water
   2. Add two dessert-spoonfuls of dye to the Caustic soda solution.
   3. Add three dessert-spoonfuls of Sodium hydrosulphite to the solution.
   4. Stand the dye liquor for about ten minutes before entering the wet material.
   5. Turn the material every ten minutes to avoid parchiness
   6. To ensure proper penetration of the dye, dye for about one hour.
   7. Remove the material and expose it to the atmosphere.
   8. Oxidation takes place.
   9. After oxidation, rinse in clear water.
   10. Dry in the shade.
   11. Iron when half-dry.
   12. Stamp your “Logo”
   13. The material is ready for the market.

INFORMATION ON SOME LOCAL AND SYNTHETIC DYES IN GHANA

1.         SOME LOCAL DYES IN GHANA

Introduction

Ghana is blessed with a number of local dyes and as Ghana is currently passing through a socio-economic change which demands that every able and progressive Ghanaian contributes towards the economic recovery programme of the country, we need to “sit up”.

This ‘paper’ is geared towards this goal. The ‘paper’ seeks to bring into focus the way some local dyestuffs in Ghana could be processed, preserved and made fast for dyeing and printing cloth.

When the ideas at this work-shop are embraced by the Ghanaian society, the importation of synthetic dyestuffs could be minimized, if not completely stopped.

Fresh and processed local dyestuffs could also be exported to earn foreign exchange for the country. The money which would otherwise be spent on the importation of synthetic dyestuffs could be used in buying essential items which are not presently produced in the country.

SOURCES OF LOCAL DYESTUFFS

Dyes can be extracted from four (4) main parts of plants in the country, namely:-

1. Nuts or Seeds
2. Leaves
3. Barks or Stems
4. Roots

TWO EXAMPLES FROM EACH PART MENTIONED ABOVE.

1.         SEEDS/NUTS

a)         Cola nuts (Cola nitida)

b)         Pear seeds (Persea americana)

Cola-nut dye and pear seed dye and their rests shown respectively

(sample demostrated by Dr. Glimeh during the workshoip)

2.         LEAVES

a)         Teak leaves (Tectona grandis)

b)         Pawpaw leaves (Carica papaya)

3.         BARK / STEM

a)         Mango Tree bark (Mangifera indica)

b)         Plantain Stem (Musa paradisiaca)

4.         ROOTS

a)         Acacia roots (Acacia nilotica)

b)         Guava roots (Psidium guava)

THE SEASON TO COLLECT RAW MATERIALS FROM PLANTS

In Ghana, it is advisable to collect the raw materials for dyestuffs during the rainy season in order to have a lot of sap.

Leaves could be plucked just before they mature. Seeds and Nuts should be gathered when ripe. Stems or Barks and Roots should be taken from mature plants for good results.

THE ACTUAL EXTRACTION

Roots and barks could be chopped into pieces, ground and boiled for about 6 hours after being steeped in water for between 10 – 24 hours.

Nuts and berries have to be crushed and ground well before boiling. The time of boiling varies. Some may not even be boiled.

When satisfied that the extraction is completed, strain off the dye liquor and boil it till it becomes thick . What remains is the dye-bath or dye. This could be dried to turn the paste formed into powder.

THE pH OF A DYE – BATH

This is the acidity or the alkalinity of a dye-bath. This affects the colour intensity of most dye-baths. At times, the pH of a dye-bath can affect the quality of the dyed yarn or fabric.

Ammonia may be added to a dye-bath to increase its pH. A piece of blue litmus paper is commonly used to find out the pH of a particular dye-bath.

THE TYPE OF WATER WHICH SHOULD BE USED FOR DYEING

Only soft water should be used during dyeing. Rain-water is therefore most suitable for dyeing. Tap-water could be treated with 1 teaspoonful of borax powder to a gallon of tap-water.

Vinegar could also be used. Two tablespoonfuls of vinegar can be added to a gallon of Tap-water.

SYNTHETIC DYE-STUFFS

The following are some synthetic dyes in use today:

1.         Direct Cotton Dyes:

These are among the first man-made dye-stuffs produced. They were developed in the late 19^th century for dyeing cotton and other cellulose goods.

Most of these dyes are reasonably fast to either sunlight or to washing. Only very few of them are fast to both washing and to sunlight.

2.         Acid Dyes:

These are dyes used in dyeing woollen goods and silk. They are fast dyes.

3.         Vat Dyes:

These are of two types, the soluble Vat dyes and the insoluble Vat dyes. The soluble vat dyes are soluble in ordinary water. They can be used either hot or cold. They will dye cotton, silk and wool.

The insoluble vat dyes are those which are not soluble in ordinary water. They need to be treated first. In this case, Ammonia or Stale urine could be used. The material is then immersed in the solution. The second stage is to expose the material to air.

Oxidation takes place, bringing out the actual colour or shade. For example, the Indigo Vat dyed material looks yellowish when it is in the solution but when it is exposed to air, it suddenly becomes green and in a matter of seconds becomes deep blue.

Vat dyes are mostly used on Cellulosic goods, wool and silk.

4.         Mordant Dyes:

A chemical such as Acetic acid is needed to mordant the dye-stuff. e.g. Chrome dyes. Such dyes can dye wool, silk and with an addition of alum can be used in dyeing cotton goods.

5.         Basic Dyes:

Basic dyes are able to give very bright shades, but unfortunately, they are poor in fastness, both to washing and light. They will dye silk and wool and when thickened will print silk and wool, but for cotton goods, Acetic acid is required. They can be used on goods for stage costumes, hangings and for interior decoration pieces.

6.         Re – Active Dyes:

These are a wide range of newly developed dye-stuffs –developed in the 1950s.

They have been developed in such a way, that the dye-stuffs form a direct chemical linkage with cellulosic fibres to produce brilliant shades with maximum all round fastness.

They are suitable for cold dyeing, usually,  wax or batik works as well as for block and screen printing when thickened. Procion dyes are in this range and they are easy to use and fix. They are particularly good on mercerized cotton goods, cotton, linen, silk and chlorinated wool.

More examples are Cibacron, Reactone, Levafix, Drimarene and Remazol. They all require steam treatment after printing. When used for dyeing, thorough washing should be done after fixing, to avoid “bleeding”.

Procion dyes are however not suitable for printing with starchy items like potato, since starch or size prevents procion dyes from bonding with the fabric.

Great care must be taken when using Procion dyes as they are very fast and can stain things.

7.         Pigment Dyes:

These are not soluble in water and can be fixed by ironing or baking. They are suitable for printing and spraying.

8.         Inks / Paste

These are pigment dyes mixed with oils. They are best purchased in tubes and used mostly for lino printing. When completely dry, ink-printed fabrics have good fastness to light and washing. Ironing should however be done on the reverse or on the wrong side when dry. Clean up with paraffin and hot water.

DYES FOR THE BEGINNER

Dylon is a very easy-to-use type of dye-stuff. Dylon can be used in cold or hot form. Sodium chloride is used in fixing the dye. Very brilliant shades can be obtained on mercerized cotton goods. The shades on ordinary cotton goods are somehow dull but the dye is very fast to both washing and to light. Jute and other cellulosic materials have great affinity for the Dylon dye.

THICKNERS

The Dye solution by itself is too thin to be used in printing. A thickner is therefore needed. Usually, a kind of starch or gum is used in thickening the dye for use in its right consistency.

A thickner should however, be soluble in water, should not clog the screen or the surface of a block and should be easily removed from the material after printing.

There are a number of thickners which could be used. These are:

1. Manutex / Keltex
2. Gum Arabic
3. British Gum
4. Gum Senegal
5. Nafka Crystal Gum
6. Gum Dragon
7. Gum Tragacanth
8. Starch Tragacanth

CHEMICALS

Some dye-stuffs need to be used in combination with certain chemicals e.g.

1. Sodium carbonate – Washing Soda.
2. Sodium chloride – Common Salt.
3. Sodium sulphate – Glauber’s salt.
4. Anhydrous potassium carbonate – Potash
5. Anhydrous Sodium –carbonate – Soda Ash.
6. Copper sulphate – Blue Stone.

DYEING PROCESSES

The shade of a dyed fabric depends on 3 factors:-

a)                  The type of the dye-stuff used

b)                  The mordant used

c)                  The type of fibre and the fabric composition.

For example, if woollen and cotton fabrics are dyed in the same dye-bath, they will exhibit different shades. Dye stuffs are generally classified as follows:

a)                  SUBSTANTIVE

b)                  ADJECTIVE

Substantive dyes are permanent to some degree when heated or dyed alone with fibres or fabric.

Adjective dyes on the other hand, require a mordant before the fabric could take the dye.

FASTNESS OF DYES

Dyes cannot be said to be absolutely permanent. They fade with time either when washed several times or when exposed to sunlight over a period of time. Their rates of fading differ however from dye to dye and from fibre to fibre.

The only dyes which can be said to be permanent are those blended with the solution for a synthetic fibre during its production. In general dyed synthetic fibres are faster. Natural dyes can also be fast when adequately mordanted.

CONCLUSION

Local dyes give brilliant shades. For example, Cola nuts give a very deep shade of yellow ochre. There are two problems to contend with. These are the problems of getting the dyestuffs in large quantities and also the right fixatives for the dyestuffs.

It is for these reasons that we are having this work-shop. More research has to be carried out for these problems to be solved. If these two problems are solved, Ghana will be in the fore-front of local dye production and this will help boost the country’s Economic Recovery Programme.  Synthetic dyes such as vat dyes can also be used to enhance the quality of cotton products or items

Written by

Dr. Olivier Aku Glimeh

Presented by

K. Agyeman

REFERENCES

1)         A “Beginner’s Guide to Fabric Dyeing & Printing”. By Stuart & Patricia Robinson.

2)         “African Fabric           Crafts” By Esther Warner Dendel.

3)         “Into Indigo” By Claire Polakoff

4)         “The Use of Vegetable Dyes” By Violetta Thurstan

5)         The Art of African Textiles By Duncan Clarke

6)         Handbook of Textile Fibres  By Gordon Cook

INNOVATIVE APPROACH TO INDIGENOUS BASKETRY

The art and craft of making interwoven objects. Usually containers, from flexible vegetable fibers, such as twigs, grasses, osiers, bamboo, and rushes, or from plastic or other synthetic materials. The containers made by this method are called baskets.

Thus earliest Mesopotamian myth describes the creation of the earth using a reed mat. Many other creation myths place basketry among the first of the arts given to humans. The Dogon of West Africa tell how their first ancestor received a square-bottomed basket with a round mouth like those still used there in the 20th century. This basket, upended, served him as a model on which to erect a world system with a circular base representing the sun and a square terrace representing the sky.

Like the decorative motifs of any other art form, the geometric, stylized shapes may represent natural or supernatural objects, such as the snakes and pigeon eyes of Borneo, and the kachina (deified ancestral spirit), clouds, and rainbows of the Hopi Indians of Arizona. The fact that these motifs are given a name, however, does not always mean that they have symbolic significance or express religious ideas.

Sometimes symbolism is associated with the basket itself. Among the Guayaki Indians of eastern Paraguay, for example, it is identified with the female.  When a woman dies, and her last burden basket is ritually burned and thus dies with her.

Though it would appear that basketry might best be defined as the art or craft of making baskets, the fact is that the name is one of those the limits of which seem increasingly imprecise the more one tries to grasp it. Baskets may include receptacles made of interwoven, rather rigid material, but it may also include pliant sacks made of a mesh indistinguishable from netting—or garments or pieces of furniture made of the same materials and using the same processes as classical basket making. In fact, neither function nor appearance nor material nor modes of construction are of themselves sufficient to delimit the field of what common sense nevertheless recognizes as basketry.

In this discussion the word is taken to mean a handmade assemblage of vegetable fibres that is relatively large and rigid, so as to make a continuous surface, usually (but not exclusively) a receptacle. The consistency of the materials used distinguishes basketry, which is handmade, from weaving, in which the flexibility of the threads requires the use of an apparatus to put tension on the warp, the lengthwise threads. What basketry has in common with weaving is that both are means of assembling separate fibers by twisting them together in various ways.

Materials and techniques

There are two types of baskets, the soft and hard. The soft are those made out of grasses, leaves, roots etc. the hard material require special preparation to make it soft and pliable.  There are four basic basket-making methods, and these are weaving, twining, plaiting and coiling. Weaving, twining, plaiting and coiling

There is no region in the world, except in the northernmost and southernmost parts, where people do not have at their disposal materials—such as twigs, roots, canes, and grasses—that lend themselves to the construction of baskets. The variety and quality of materials available in a particular region bears on the relative importance of basketry in a culture and on the types of basketry produced by the culture. Rainy, tropical zones, for example, have palms and large leaves that require plaiting techniques different from those required for the grass stalks that predominate in the dry, subtropical savanna regions or for the roots and stalks found in cold temperate zones. The interrelationship between materials and methods of construction might in part explain why the principal types of basketry are distributed in large areas that perhaps correspond to climatic zones as much as to cultural groups: the predominance of sewed coiling, for example, in the African savannas and in the arid zones of southern Eurasia and of North America; of spiral coiling and twining in temperate regions; and of various forms of plaiting in hot regions. There is also a connection between the materials used and the function of the basket, which determines whether rigid or soft materials—either as found in nature or specially prepared—are used. In East Asia, for example, twined basketry fashioned out of thin, narrow strips (called laths) of bamboo is effective for such objects as cages and fish traps that require solid partitions with openings at regular intervals. Soft and rigid fibres are often used together: the rigid fibres provide the shape of the object and soft ones act as a binder to hold the shape.

Finishing

Finally, materials are chosen with a view toward achieving certain aesthetic goals; conversely, these aesthetic goals are limited by the materials available to the basket maker. The effects most commonly sought in a finished product are delicacy and regularity of the threads; a smooth, glossy surface or a dull, rough surface; and colour, whether natural or dyed. Striking effects can be achieved from the contrast between threads that are light and dark, broad and narrow, dull and shiny—contrasts that complement either the regularity or the decorative motifs obtained by the intricate work of plaiting.

Despite an appearance of almost infinite variety, the techniques of basketry can be grouped into several general types according to how the elements making up the foundation (the standards, which are analogous to the warp of cloth) are arranged and how the moving element (the thread) holds the standards by intertwining among them.

Presented by

Dr. Rudolf Steiner

In the presentation the participant were taught not to disregard their materials due to its abundance. There were educated of effective material management, storage and utilization. That not withstanding they were also edged to generate or cultivation their own materials to reduce the pressure on the environment. This raised other relevant environmental issues that are vital to the development of the craft industry like recycling and development of other products from their waste.

On Wednesday 14^th February, was the third day on which finishing treatment and preservation and also adaptation of healthy and save measures were presented by Dr. Steiner and Mr. Osei Bobie Boahin respectively. These are as follows:

Morning section

Prior to the workshop it was also found out that problem with finishing and preservation was with their leather sector than any other. Therefore the recourse person tackled it from the area of leather technology as follows:

MANAGING BASIC PROBLEMS AFFECTING THE QUALITY OF INDIGENOUS TANNED LEATHERS

Leather, is animal skin that has been chemically modified to produce a strong, flexible material that resists decay. Almost all the world output of leather is produced from cattle hides and calfskins, goatskins and kidskins, and sheepskins and lambskins. Other hides and skins used include those of the horse, pig, kangaroo, deer, reptile, seal, and walrus.

Leatherwork is one of the oldest and important indigenous industries in Ghana; it is the source of employment for many people. This is in two forms, processing of leather i.e. ‘tanning’ and processing of leather articles e.g. ‘foot wear, bags etc’.

The industry, however, is faced with three major challenges, these are:

1. Offensive odour
2. Development of moulds
3. Limited colour range

1. OFFENSIVE ODOUR.

This challenge of offensive odour affect the value of leather extensively, although many people show interest in indigenous leather articles yet this is curtailed because of the offensive odour. This problem has come about as a result of the following:

1. The nature of the tanning vessel
2. Duration of tannins and the usage of old tanning liquor.
3. Persistent usage of already used water for washing and soaking.
4. Lack of post tanning effort to remove excess flesh left after tanning.

To help solve this problem the following technologies are recommended for use by leatherworkers.

Tannins and water used for washing must not be maintained extensively since they are affected by decaying substances that are left after tanning. It is necessary therefore to use tanning vessels that can easily be moved around so that their contents can be offloaded.  Tanners may find the use of plastic containers of varied sizes useful as vats for tanning, soaking and washing, these containers are easily available and moderately priced. The nature of the vessels makes it easier to offload their contents.
Sample tanning vessels.

Sanding and washing

Sanding and washing of the fleshy side will help to remove the remaining fleshy and fatty substances left after tanning, and by so doing, there will be nothing left to cause continuous decay.

2 CONTROLLING DEVELOPMENT OF MOULDS:

Development of moulds on leather has been one of the worrying problems that affect the development of the tanning industry, particularly finished products. Patrons of vegetable tanned leather articles from indigenous sources often find them to have become mouldy whenever they are kept unused for a longer time.

This problem is largely due to the existence of excess flesh and fatty substances left after tanning, fungus therefore attack the leather and live on these organic substances in the form of moulds.

To solve this problem leatherworkers engage in the thorough activities of sanding, soaking and washing.   Sanding off the fleshy side help to remove the remaining fleshy and fatty substances left after tanning, and by so doing, fungus will have nothing to live on for moulds to develop.

How To How to Clean Mold From Leather Items

Mold is one of leather’s number one enemies, but it’s not difficult to fix. To make your vintage leather mold free, simply follow the few steps listed below.

Here’s How:

1. Dry out leather item in warm room until completely dry.
2. Remove surface mold with damp cloth (mold will wipe off if the leather has been dried out completely).
3. Allow leather to dry completely for a second time.
4. Clean dried leather thoroughly with leather cleaner or a VERY mild soap like baby shampoo.
5. Keep leather clean, conditioned, and properly stored to prevent mold from returning.

Tips:

1. Clean entire leather item to ensure an even color and texture result.
2. When using anything other than a specialized leather cleaner, do a spot test and allow it to dry prior to cleaning the entire item.
3. Always follow manufacturer’s instructions when using a cleaner specifically for leather.
4. Never use detergent to clean leather.
5. If home methods do not work, contact professional leather cleaner in your area.

What You Need:

• A soft cloth
• A warm, dry environment
• Leather cleaner or mild soap

Leather can be virtually indestructible if treated properly. With a little bit of care and attention, your new leather will last well into vintage age and your vintage leather will continue to have a long happy life.

The most important things to remember about leather is not to get it soiled, soaked, or let it dry out. Despite the fact that all of these things can be rectified to some extent, it is helpful to not let leather get into such a condition in the first place. Proper storage, cleaning, and conditioning will keep leather looking as good as new no matter how old it is.

Storing Leather

Storing leather properly when it is not being used is the most important thing you can do to keep it in its best condition. When leather is stored it should not be in extreme hot or cold, or in excessive dryness or humidity.

Clean/Condition Leather

Keeping leather clean and conditioned only takes a few minutes, but it will make a big difference in how good it looks. If a leather item lasted 30 years of abuse before getting to you, a little soap and water won’t hurt it.

Stains on Leather

Even leather isn’t adverse to stains, especially if it’s vintage and lived a previous lifetime before finding its way into your closet. However, you’re not required to live with the stains of its past; most leather stains will come out easily with a little soap and water. It is even possible to remove blood, oil, and wax in some cases.

Leather Odors Leather

Leather can be stubborn about holding on to odors. You may be able to locate a leather specialist or dry cleaner in your area that can remove the odor, but it won’t come cheap. Instead try removing unwanted odors at home. There are many safe and gentle methods of removing odors like using baking soda.

What To Avoid

Although leather is very durable, it is not indestructible. Improper care or cleaning can crack and dry leather skin, remove finishes and colors, or make it too stiff to wear. Keeping leather away from chemicals, heat, and humidity are key. If leather is like skin, think of its care as anti-aging; if you wouldn’t put it on your own skin, it probably isn’t very good for the leather either.

3. LIMITED RANGE OF COLOUR:

The dyes used by indigenous tanners are vegetable based and the most common colour is red.  The other common colour is cream; this is obtained after vegetable tanning. To obtain the red colour craftsmen cut dried guinea cornhusk into pieces and these are then put into a mortar and then pounded. The dyes easily turn pale after a while particularly when they are exposed to sunlight. Beside they also turn dark after they have been used over a period of time.  The dyes are also limited in colour range and this restricts the choice of colours to achieve variety to enhance the value of leather articles both in aesthetic and pricing. The problem with vegetable based dyes is again compounded by the seasonal nature of the plant sources and their distant locations.

It is therefore necessary to explore the use of alternate available colourants which will help in the teaching and production of leather goods.

The problems encountered in the use of vegetable-based dyes on leather affect the indigenous leather industry in Ghana; it is in the light of this that the following colourants are commended for use, Dyes and Pigments

1. Dyes (a.vat dye and b.suede dye)

a. Vat dye, (a popular dye that are made insoluble and fixed by oxidation after being absorbed by the fibres) common to the textile industry in Ghana, particularly craftsmen and women who are in the small scale tie dye, and batik fabric industry.

b. Suede dye a local dyestuff that is easily available and can be found in almost every market in Ghana

2.  Pigment is described as any intensely coloured compound used to coluor other materials. Unlike dyes, pigments do not dissolve and they are applied as fine solid particles mixed with a liquid. The following pigments are recommended for use; (a) acrylic, (b) enamel paint and (c) printing paste.

3.   Persistent usage of already used water for washing and soaking. Indigenous tanners often do not change their water regularly therefore the residue left in them decay and thus led to the development of bad odour that affect the leather.

Reference:

1. Khan Impex Co. Leather processing Technique, 2004. Kanpur City Web  (www.Inkanpur.com)

2. Blackstock, History of Leather, Blackstock Resource Centre History of Leather.htm

3. R. Reed, Ancient Skins, Parchments and Leather, http://www. braintan.com/ page   2

Presented by

Dr. John Osei Bobie Boahin.

From the above presentation the participants learnt got to know how the offensive odor common with their leather come about. They were taught proper preservation methods and well as finishing techniques to enhance the product to meat international standards to boost their export market.

Afternoon section

Among the good things that participants had learnt so far. It was also necessary they protect themselves and their workers. This is because the health of the craftsman is most paramount so far as productivity of concerned. This was presented by Mr. John Osei Bobie as follows:

SAFETY MEASURES FOR CRAFTSMEN

Introduction

Craftsmen sometimes fail to realise the danger associated with the use of materials and chemicals they employ in their work

Types of Health Hazards and their Prevention

Chemical hazards

Biological hazards

Physical hazards

Chemical hazards

Chemical hazards can arise from the presence of poisonous or irritating gas, mist, or dust in the workplace. Hazard elimination may require the use of alternative and less toxic materials, improved ventilation, leakage control, or protective clothing. Dyes, paints, vanish and chemicals can pose serious long and short term hazards to the health of craftsmen because they use these on regular bases. The great majority of dyes, paints, vanish and special products are harmless when they are handled with care and common sense. Such practices include reasonable standards of working, storage and cleanliness and the used of protective clothing.

Biological hazards

Biological hazards arise from bacteria or viruses transmitted by animals or unclean equipment and tend to occur primarily in the food-processing industry. The source of the contamination must be eliminated or, when that is not possible, protective equipment must be worn.

Common physical hazards

Common physical hazards include ambient heat, burns, noise, vibration, sudden pressure changes. Industrial safety engineers attempt to eliminate hazards at their source or to reduce their intensity. If this is impossible, craftsmen are required to wear protective equipment. Depending on the hazard one faces, the equipment  for protection may include safety glasses, earplugs or earmuffs face masks, heat or radiation protection suits, boots, gloves, and helmets. To be effective, however, the protective equipment must be appropriate, properly maintained, and worn by the worker.

Physical, Psychological, or Environmental demands

If the physical, psychological, or environmental demands on workers exceed their capabilities, ergonomic hazards arise. This type of hazard frequently occurs in the area of materials handling, where carvers must lift or carry heavy loads. Poor working posture or improper design of the workplace often results in muscle strains, sprains, fractures, bruises, and back pain. These injuries account for 25 percent of all occupational injuries, and their control requires designing the job so that craftsmen can perform it without overexerting themselves.

Safety Committees

The forming of safety committee is essential for the communication of safety measures

The following are some suggestions craftsmen must observe;

Workshop environment

Do not work off balance or reach over a tool, and always keep your work area clean to minimise chances of tripping over a power flex or piece of scrap.

Any liquids or powders that are split should be wiped up immediately, especially on hard surfaces. (It is therefore advisable to work on the soil, surfaces for certain type of work.)

All objects in walkways must be removed completely to avoid the risk of accidents.

If you have long hair then tie it back and make sure cuffs and other pieces of cloth are fastened out of the way.

Good ventilation should be provided where emission of gases are unavoidable. In such case dyeing should preferably be done outdoors rather than indoors.

Toxic materials

Some woods are toxic-to touch, to breath in as dust, when they are in contact with some foods, when the are in con tact with eye and nose membranes, and so on

Always use a respirator or dust mask as a necessity to reduce inhalation of incidental dust or fumes.

Putting on a pair of goggle before you start work should become second nature.

If you are working indoors, or in any kind of enclosed space, make sure that there is adequate ventilation.

If you are unsure about the toxicity of the wood you are working with check it first before starting work. It is not worth the risk.

Chemical Preservatives and Colorants

Never allow chemicals and adhesives to come directly into contact with your skin or eyes. Always wear protective gloves and goggles when working with them.

If you do accidentally splash any toxic substance on you skin, or get any in your eyes, wash off immediately with plenty of cold water and seek medical assistance if necessary.

Avoid strong detergent since it can damage the skin tissue if used unadvisedly.

Chemicals and dyes, paints, vanish must be clearly labelled as dangerous and carefully stored in a cool, safe place.

In the event of molten wax or hot fluids accidentally coming into contact with the skin immediately apply ice blocks or lots of cold water on affected part for a long time and then get medical help.

Tools and equipments

Always exercise extreme caution when using power tool or any other tool-any tool designed to cut wood can quickly sever a nerve or tendon

Read safety instruction manuals supplied on any tool and carefully adhered to it.

Always keep your hand tools sharp, as they will then be easier to control, and therefore safer.

Cuts must always be made away from the body. Remember this rule and never take risk.

Store chisels at low level- never high up on shelf where they are hard to reach and might fall.

Protect the razor-sharp bevel edge with a plastic guard, in a leather wallet.

Personal hygiene

Remove rings and other jewellery.

Food and drink should not be consumed in areas where dyes and chemicals are being used, because of the frames they emit when being mixed with hot water or other chemicals to avoid the risk of taking toxic fumes emitted by the dyes paints, vanish and other chemicals along with the food and drink.

Personal hygiene during chemical preparation and immediately after dyeing paints, vanish operations must be observed.

Wash hands thoroughly before eating and also before using the toilet. Use of gloves during working is essential.

Avoid touching the face while working with dye-stuffs paints, vanish and chemicals.

It is important for a carver or any other woodworker to pay critical attention to safety measures in the working environment; this will not only protect the worker and his tools but also help to increase productivity.

Presented by

Mr. John Osei Bobie Boahin

This brought the participant to a realization that in production, nothing should be takes for granted and that material and tools that they handle including the environment could have both long and short tern effects on production. There safety rules are as important as the production and must go hand in hand since lack of safety rules can recoup all the money that might come from production. This ended the day proceedings on time table, however. There was an evening section of slide show of improve works to awaken participant on some of the things they are capable of doing.

Samples of a leather bag and a leather sculpture in relief

These were also on the show as evidence of how our local materials are capable of meeting modern needs like in the case of the chandeliers made from calabash and bamboo.

The show really helped the participant to better understand some of the things that were discussed earlier that were not clear to them. It was not over until it was over, the participant

PACKAGING AND MARKETING OF FINISHED PRODUCTS

Introduction

—  Management of products and services is one of the keys to a successful business since it run through the entire business process- from planning of the product to getting the product to the intended user. However there are certain aspects of the management that crowns the entire management processes by preparing good grounds for the products to do well on the market. They are those aspects that determine the success of the entire process by turning the finished products into good dividend for the development of the organization. This is the management and marketing of the finished products.

—  To achieve this, a synthesis of the following headlines should be employed.

—  Production based on  marketing trend and consumer interest

—  Costing, pricing and book  keeping

—  Product labelling  and Packaging

—  Product Display and Set up

—  Customer care

Production based on marketing trend and consumer interest

According to the marketing theories the following four questions should be considered in the setting of objectives:

—  Where are we going?

—  How will we get there?

—  When will we get there?

—  How will we know when we have arrived?

—  Stakeholders include:

—  Environmental protections agencies – both governmental and non-governmental (NGO)

—  The standard board

—  The export council

—  The destination country

—  The origination country

—  The dealer

—  The end users

Costing

Costing covers two main areas:

—  Production costing

—  selling costing

Production costing

—  Production costing involves the putting together of several factors which are:

—  Materials used

—  The labour employed

—  The fixed overhead charges-example, tools, electricity etc.

—  Any other expenses such as promotional activities and labelling

Selling costing

—  This is arrived at by analysing:

—  The cost of production

—  The demand for the item

—  The quantity and quality of the items produce

—  The expected profit margin

Product labelling and Packaging

—  The word package denotes some meanings;

—  A number of items put together firmly such as a parcel or hamper

—  A set of related items sold or offered as a unit

—  A special container in which one or more items are put into for presentation or sale.

The paramount point to be recognised is the labelling, which should give a clear precise and concise description of the product.

—  Title

—  Size

—  Weight

—  Height

—  Primary materials

Product Display and Set up

To position a product, there are some questions that need to be asked:

—  Who is selling?

—  What is being sold?

—  To whom will it be sold?

Customer care

—  Present a cheerful face and environment since the conditions  and atmosphere  will sell itself.

—  Always be prepared to listen to the customer before attempting to explain or convince him or her.

—  Make sure to learn about all the processes that go into the production of the commodity.

—  Learn about the history and all the folklore in relation to the commodity being produced and displayed.

This entailed how the finished product should be carried and presented to the end user.  This was another area where the resource persons made impact by teaching and alerting the participants on proper storage and exhibition of finished products to attract buyers. There were also issues raised that lead to the information of the participants to be sure of the target market in order to meet the exact demands.

Excursion

There was also a trip to Sirigu –SWOPA, where participant and resource persons  had the opportunity to witness the women trying to brighten the corner where they are. At Sirigu was a wonderful experience of how great things happen.

Picture from SWOPA

At SWOPA participants had the opportunity to know Sirigu and to experience their unique earthenware and painting they do with traditional color combination as shown in the pictures.

Evaluation Forms

It was necessary to ascertain to participants’ impression about the workshop. So prior to the session an evaluation form ad been prepared that was distributed to the participant to deliver their impression on general matters regarding the workshop they had attended  for proper planning a subsequent workshop. A copy is shown below:

Evaluation questionnaire

Training workshop for art and craft practitioners

Extee Crstal Hotel, Bolgantaga -November, 2009.

Sex…………………………………………………………………………………..

Age ……………………………………………………………….……………….

Region……………………………………….……………………………………

Craft Area/Occupation………………………………………………..….

1. Of what interest do you have in a workshop such as this?

…………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………….

1. 2. Under which of the topics did you experience the most impact? Thick as appropriate.

a)      Design

b)      Material management

c)      Finishing treatment and preservation

d)     Packaging and marketing of finished artifacts

e)      Adoption of safety measures in the industry

1. Mention the aspect of the chosen discipline that you most benefited. …………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………Other comments ……………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………

1. Was there any expected area that was not catered for?

a)      Yes

b)      No

If yes, mention the area. …………………………………………………………………………………………………………………………..

1. Was there any problem with the presentations or any of the presentation?

a)      Yes

b)      No

1. If yes what was the problem? ………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………….

1. What is your opinion on the duration of the workshop?

…………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………

1. Has this workshop change anything in the way go about producing your art?

a)      Yes

b)      No

1. If yes, what is the change? …………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………

10.  General comment, if any?

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Vital issues discussed as affecting the craft industry

This session was included in the workshop to promote the sharing of views, ideas and problems. And interestingly enough the came up with valuable information that are relevant to the development of craft in Ghana. These are as follows:

Challenges of the art and craft industry

Participants discussed the numerous challenges militating against the operations of the art and craft industry. Among these were the following:

1. Depletion of the forest

It was made known that, the forest which serves as the source of material for the industry is fast being depleted or degraded and may lead to the extinction of many species of the material used for art and craftsmen as wood, rattan and cane, bamboo, straw and even clay or dyes.

Causes of degradation included bush fires or bush burning for farming and hunting, wanton destruction of plant species like cane for corporal punishment in schools and colleges.

It was realized that if measures were not taking it could lead to the shortage of material and its resultant price increases, there by affecting the cause of the material and the product and its marketing.

For this reason, the following measures were suggested as possible solution.

1. Afforestation

Afforestation was seen as one of the solutions, for causing the depletion of the forest. In this respect, craftsmen were encouraged to undertake planting of the species of the materials as its source on individual bases as well as through their various trade associations.

Education

Public education is to be embarked upon at village, town, district, regional and national levels, to sensitize and orientate the minds of the general public about the dangers and effects of the forest degradation.

Education should take the farm of for, exhibitions, petitions and discussions at the various levels enumerated above. This is hope to influence the preservation of the forest and the environment. Art and Craft practitioners were also encouraged to pay regular visit to the source of their material to interact with the local authorities and dealers.

School teachers should be encouraged to give alternative means of reprimanding pupils and students other than using the cane. It is estimated that several thousands of bundles of cane are cut and transported to town, cities centre and market which end up in schools and homes as reprimanding tools. This certainly destroys the cane stock and must be discouraged.

Craftsmen were also urged to venture into the acquisition of materials, as well as marketing to help reduce the rate of depletion, since the could ensure that only mature materials are secured.

Formation of trade associations/ guilds

One way of sustaining the trade was to form trade associations which would serve as a protective agent for its members. Benefits from the formation of such associations include:

1. Control of purchase and sale of materials and products.
2. Securing of land and finding for replanting and management of material farms.
3. Elimination of middlemen as well as fake products.
4. Bulk acquisition of materials from the right sources.
5. Secure permit etc for its member from appropriate agencies for material acquisition.
6. Dealing with government and forestry officials in matters relating to their materials.
7. Give technical assistance to their members through workshop and seminars and the blend of local technology with foreign and modern trench to improve the production and products.

Marketing

This was seen as one of the major obstacles of the craft industry. The influx of inferior and cheaply priced foods which makes it difficult for practitioners to sell quality products could be overcome by the use of labels as well as registration of products and the use of logo pasted on works. This will ensure that prospective buyers and customers look for the right producer to deal with .The standard board was seen as useful in the monitoring of products and for certification.

To keep craftsmen in business it was necessary for them to add value to their products by integrating different materials into their production as well as the use of 2D and 3D designing in the process of production. This will certainly keep them ahead of other competitors

This was a vital discursion with the participant. Apart from testing their knowledge of what they had learnt, they also came to many construction conclusions that are relevant to their personal development, the development of the craft industry and the country a large. Soon after the satisfactory results from the discursion the dignitaries arrived the ground were prepared for the commencement of the closing ceremony.

Award of certificates

There was a general assembly of all stakeholders of the workshop who gave all forms of address as well as comments based on the observations they made and also on their past experiences. Most of these were geared toward how the participant could make the best out of the information they have acquired. The participant was also given the chance to make general comment. Most of the comments the made were basically showing appreciation of the opportunity they had as well as promising to make maximum use of the knowledge they had acquired among other interactions. This was crown with the award of certificates.

Excerpt from the workshop

Participant receiving certificates

Excerpts from the opening ceremony

Excerpts from the training ceremony