Creative pedagogy in educational institutions has been the mainstay of sustainable development globally as it ensures high standard human capital with a high level of imagination and problem-solving potentials. However, there are several drivers of creative pedagogy. This exploratory study employed the embedded mixed methods design with qualitative and quantitative approaches aimed at exploring the perspectives of teachers in selected pre-tertiary institutions in Ghana on the teaching strategies, school environment, and culture as drivers of creative pedagogy, using Lin’s creative pedagogy theory. The findings have shown that teaching strategies, school environment, and culture that promotes flexible and independent thinking, problem-solving and collaborative skills ensure students’ creativity development. The study recommends the implementation of learner-centered teaching strategies, a flexible teaching curriculum that encourages creativity development, smaller class sizes, semi-circular seating arrangements, and an introduction of a permissive culture that allows students to think and explore outside the box in Ghanaian schools.
Design and production of trophies for games and sports particularly in a form of metal art has been in existence for so many years. Presently they are practiced with much improvement and modern technology as compared to the ancient times where leaves, horns and other objects were used as trophies to award warriors and those who excelled in other sporting disciplines. Trophies are said to be prizes or cups which are given to an individual, a group of people or a nation for performing excellently in any sporting activity such as tennis, football, volley ball, basket ball and horse racing etc. Today, trophies serve so many purposes, such as, a souvenir of remembrance; as a stool for one to look at and strive for excellence in life as well as financial gains. KNUST does not have its own trophies for the Sports and Games they engage in. This publication seeks to display the design and subsequent production of four trophies for Kwame Nkrumah University of Science and Technology (KNUST) to enhance the prestige of its awards and solve some related problems. The technique for production is the lost wax. Metal scraps such as brass and copper were the main materials used for the production. Especially the lost wax technique of production was very efficient and effective in the production of the trophies. Experimental and Descriptive Research methods based on the quantitative and qualitative research approaches were employed. It is recommended that Metalsmiths and other Metal Artists as well as students experiment with other materials and techniques in the production of trophies to bring variety in the field of trophy production.
Artists in Ghana who produce sculptural busts or portraits mostly limit their production materials to clay, P.O.P., cement, and metal cast. These materials may have defects and could be potentially affected by environmental conditions for lifelong periods. Aluminium welding is not practiced by artists in the fabrication of photorealistic portraits. The techniques used by artists in Ghana is the clay and cement model, which can further be used in the creation of a cast resin or metal. The researchers investigated the most used materials for creating realistic busts. The pros and cons of the materials as well as their techniques were rigorously analyzed in comparison with the aluminium forming and welding technique. Welders are constrained as far as what they can create. Mostly welders produce iron gates, burglar-proof and security locks. There is the need to diversify the technique to be able to produce portraits as a step in experimenting and diversifying the material and technique.
The study analyses cross-border experiences of international graduate students in two universities, one in Australia and the other in the United States of America, during the COVID-19 pandemic to understand how this impacted their learning and wellbeing. COVID-19 crisis led to dramatic changes in higher education institutions worldwide, affecting the academic and social life of international students, and as well opening windows of opportunities for them. International students of African and Asian backgrounds were purposely selected for the study. Data were collected with an open-ended qualitative questionnaire and analysed thematically. Findings indicate international students had mixed experiences, including stress and hardship, isolation, fear and insecurity, frustration and helplessness that affected their academic and social lives and wellbeing. Other students however developed strong connections, resilience, confidence, and optimism for the future. The shared cross-border experiences raise awareness to the global impact of COVID-19 in higher education. Findings have implications for how universities could respond to the needs of international students, which must be inclusive, equitable, and human-centric, during unforeseen crises.
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