This paper attempts to make an in-depth visual analysis of the monumental freestanding sculptures at the Kwame Nkrumah Memorial Park (KNMP) and the frieze that clothes the museum next to his figurative sepulchre to establish its symbiotically symbolic relationship with the coalesced adinkralization (using adinkra motif designs) and Egyptology in promoting the African nationality and unification agenda. Again, it addresses some wider politico-cultural metaphorism and rhetorical issues emerging from the freestanding sculptural arrangements in the entire park resulting from the intercourse of Egypto-Ghana artistic cultural exegesis. It also examines the costuming of the sculptures in blending Egyto-Ghana dress culture in projecting the ideologies of Nkrumah’s proposed common continental African unitary government
The basis of this paper lies in the seeming misconception that clothing the actor is the sole responsibility of the costume designer. There are two components associated in the performing arts especially in the theatrical circle; the text and performance. In the text, the playwright puts his ideas together in the literal form and combines, among other things, dramatic elements and spectacle, logically applied to provide a more analytical coordination and also enable the text become intellectually appealing. Though, the onus of interpreting the text to create a character in a performance rests with the director, actor/performer, and designers (costume, make-up, set and light) it is envisaged to be the exclusive duty of the costumier. Using some theories, analysis and interpretation this paper shows how the costumier who, though directly associated with the clothes of performers, achieves this in conjunction with other personnel, especially the light and set designer. Ultimately the study contributes to our understanding of the critical examination for the aesthetic and intellectual intent of a text and the needed collaboration of theatre personnel in creating a believable character. It also makes a contribution to the on-going debates on why some characters are often (mis)represented in some stage/video/film productions.