Advancing epistemology in creative arts research in the Global South: A critical review of Ghana

Abstract

Background: Studies showed that epistemological ways of knowing in artworks has continued in two-fold dimensions between the global north and global south. Despite centuries of local artworks, scholarly works in the field are predominantly Euro-American, with only a few works on Africa. This phenomenon constitutes both knowledge and theory gaps that this article seeks to bridge.

Objectives: This article joined the wider conversation on creative art scholarship questioning the predominance of Euro-American authorship, and examining the phenomena of minimal creative art scholarship in the Global South, Ghana specifically. The discussion of creative arts scholarship on Global South perspectives is not only a contribution to strengthen objectives of this journal but also resonates well with the journal’s readership.

Method: In working towards achieving the aim of the study, a desk review was done, and extant literature was reviewed using various databases and search engines to maximise information.

Results: Results point at minimal art scholarship in Ghana, which is in line with trends across Africa. Reasons include creative art curricula and implementation challenges, the lack of Ghanaian scholars’ interest in creative art scholarship in Ghana and minimal local participation in creative arts discourse. Also, art scholarship is awash with epistemological perceptions which project the proponents of Western creative art as the compelling archetype of ‘global’ creativity.

Conclusion: The study seeks a creative art epistemic change through the creation of more creative art-based local platforms for the practice and promotion of the industry. Also, the article seeks constant creative artistic engagement among academia and creative art practitioners for balance. For promotion, the organisation of annual creative art conferences could lead to special issues on art.

Contribution: The study is of high scientific and art scholarship interest and frame them theoretically. These theoretical models on artistic scholarship, constitute a useful tool for practitioners.