Suma Journal First Edition

SUMA JOURNAL

Suma Journal - Chronicles of women in the arts inAfrica

©April- June 2023 Edition. VOLUME S091

Edited by Mardey Ohui Ofoe

Proof Reader:Akwele Suma Glory

AWomen'sArts InstituteAfrica Publication.

Cover painting by VictoriaAdoe@2007

Designed by Foundation for Female Photojournalists (FFP)

Back painting by OHUI@2023

Africa Office

Women'sArts InstituteAfrica (wAiA)

P.O. BOX 1826 OSU

ACCRAGHANA

TEL: +233-244658900, 244985629, 209090773

E-mail: whyafrica@gmail.com

Website: www.waianetwork.art

Motto: Connecting Our Energies

Challenges for performers in social distance, social media, and copyright law.

Virtual learning, virtual space and positioning creative work for value.

The disconnection from creative work, the storage of art works, and the rediscovery of creative energy.

Self-reection, inter-generational partnerships and representation

Finding the groove by returning to painting and hosting birthday art exhibition.

Self, time, space, and creative self-growth.

Experimenting with creative ideas and supporting artists to make a living.

Art production, advocacy, and human rights.

Creative fatigue and overcoming virtual training challenges.

Women Artists: Hindsight on Play and Pause Mode.

Black and white photo documentary, archival systems, and social media.

38 41 43 SUMA JOURNAL CHRONICLES OFWOMEN INTHE ARTS APRIL-JUNE 2023

The Women's Arts Instute Africa (wAiA) celebrated 2023 Internaonal Women's Day (IWD) under the theme, "Women Arsts, ICT and COVID-19 Experiences." A presentaon session organized for the celebraon explored the experiences of women arsts and the relevance of ICT within the COVID-19 context.

The meeng was the first major acvity by wAiA since the easing of COVID-19 lockdown restricons. 12 women arsts from Ghana and Nigeria were invited to present their experiences on the topic, "Women Arsts, ICT and COVID-19 Experiences".

The meeng was coordinated by Akwele Suma Glory and Adwowa Ammah- Tagoe and hosted by Anque Lemonade Art Space in Accra. The April edion of the Suma Journal publishes the Presentaons, Brief Biography of the Arst, Five Significant Acvies Undertaken by the Arst and Sample of Work.

Led by the United Naons, Internaonal Women's Day is celebrated in many countries around the world. It is a day when all women are recognized for their contribuons to upholding life on earth. This is irrespecve of their naonality, ethnic background, language, culture, economic or polical identy

Key outcomes of the experience shared with women in the arts in Africa were:

I. Copyright training for women arsts and NFT (Non Fungible Token) systems of ownership and payment.

II. Training workshop on procurement, contracng, and payment for creave works.

III. Development of inter-generaonal projects among women in the arts

IV. Hosng virtual art exhibions on social media plaorms

V. Documenng the works of women in the arts

Challenges for the Performer in Social Distancing,

Social Media, and Copyright Law

In her presentaon, Edinam Atatsi noted that performing arsts were the hardest hit by the COVID-19 lockdown in Ghana. According to Edinam, this was because performers needed to rehearse, and when the producon was ready, they needed to perform for an audience. Thus, the COVID19 lockdown restricons made it impossible for performingarstslikeherselftowork.

As an employee of the state, Edinam said she sustained her livelihood during the lockdown restricons. She noted that receiving her monthly income was not the same because COVID-19 restricons took away the pleasure of work. Although Edinam's monthly income during the lockdown wassupporve,shesllneededmore. However, working when the COVID-19 lockdown restricons were relaxed was very challenging. For instance, she noted that at rehearsals, while some had their nose mask on, others were not wearing nose masks. That experience brought discomfort to rehearsals because it was difficult to track where one had been. It was also difficult to trust their commitment to Coronavirus-free pracces,especiallyiftheywerenotwearingnosemasks.

To connue to work, performers like her decided to reach the public through social media. They rehearsed a couple of set plays, but unfortunately, the producon had to be canceledbecauseofcopyrightcomplicaons.

One key aspect of Edinam's performances includes the producon of set books for school children for basic and senior secondary schools apart from the general public producons,includingcommunitytheater

Madam Edinam said all the plays needed a direct audience and it was impossible to do any producons especially when the plays had copyrightconcernsforsocialmediaproducons.

Madam Edinam Atatsi said she was featured in a music video by some of her colleagues who did other creave work since their main producons were on hold. Other colleagues worked hard to produce a music album during the COVID-19 lockdown

Edinam Atatsi , Performer

women in the arts share experiences on “digitall: innovaon and technology for gender equality” within the COVID-19 context.

Edinam Atatsi , performing in the play, HARRIET TUBMAN at the National Theater in Accra (2019).

She also created an Instagram account with over 10,000 followers. On her account, she has posted some of her performances and she is working on sharing more of her producons to entertain her followers and hopefully connue discussionsontopicsrelatedtotheplaysormovies.

Madam Edinam said that she is working on partnering with Franka, a writer to produce short content for her social media plaorms. A previous collaboraon between Edinam and Franka has been successful, and she hopes to explore their creaveinterestsinthefuture.

PROFILE

Multiple award winning performer

Edinam Atatsi is a proud Ghanaian, an actress and a philanthropist. She believes a successful acng career requires equal parts gi or talent, the right me, the right place and pracce. She is blessed to have portrayed characters from the past that have impacted history, and characters that were desned to impact her culture.

She dabbled in stage acng, using her voice to create new worlds. She has contributed immensely to the performance industry's development over the years. She has been one of the actresses that helped reshape the Ghana Movie Industry Being a trendseer, her first movie was Abibigromma and she connued to star in variousmovies.

FiveSignicances

Public Relaons/ Markeng Head, The Naonal Theatre of Ghana

Performed in over 100 local and internaonal producons.

Over 30 years' experience in the Arts; Stage, Television, Radio Film and Community Theater

Volunteer mentor for new and emerging industry talent

Philanthropist skills training for street children

Virtual Learning, Virtual Space and Positioning Creative Work for Value.

In her presentaon, Gladys Adinyira Wuaku spoke about the crical need to use ICT when the COVID -19 lockdown was announced. As a teacher, she had to migrate all her teachings onto a virtual learning app. It was verytechnicalbecausesheneededtoupholdtheintegrityofthecourse.

In order to teach a praccal subject like art, Gladys Adinyira produced a video with a sequenal guide aer doing several researches, she said. The students somemes did paper art, clay work among others. The process was very thorough, the me investment was huge but it gave her the opportunity to connue teaching students during theCOVID-19lockdown.

Gladys said that she has realized that you don't need physical space as an arst to exhibit. She recounted an experience where along with other arsts, they went from hotel to hotel to idenfy spaceforexhibions.

Madam Gladys said that ICT provides virtual space for arsts to exhibit and sell their works. Nevertheless, nothing can compare with the touch le interacon the arst experiences with an audienceinrealme.

She noted that the arst would have to strike a balance between the number of virtual exhibions to hold and the physical exhibion, this is , considering available resources. Gladys posits a queson about the bargaining journey arsts experiencewhensellingtheirworks.

What does it mean when a buyer negoates with an arst to reduce the price of a creave work? If she reduces the price of her work, what does it say about her creavity? How can an arst put value on a creave work if the price of a painng is comparedtofoodprices?

GladysAdinyira, sculptor and researcher

women in the arts share experiences on “digitall: innovaon and technology for gender equality” within the COVID-19 context.

SUMA JOURNAL CHRONICLES OFWOMEN INTHE ARTS APRIL-JUNE

Gladys Adinyira

2003 – OHENE DJAN SPORTS STADIUM

Cement – 1 – ‘Gbomo nyemii dzi gbomo’ (I am my brother’s keeper).

Heroic-size figure (8) on a 4 pedestal. In memory of the 127 souls that perished in the May 9 th stadium tragedy

She appealed to fellow arsts to find ways of valuing their works because nobody will do it for the arst. Gladys explained that the answer to the queson, what is value? Is an individual enquiry, and it can manifest in different ways.

She said that as a sculptor, it was difficult for her to get clay during the COVID-19 lockdown, so she pracced painng. She worked in watercolor, acrylic and

PROFILE

returnedtooilpainng.

Madam Gladys Adinyira Wuaku noted that social media has come to stay, and millions of people are using the plaorm. She added that arsts must find ways of keeping their presence online despite thedifficules.

An award winning sculptor and researcher

Gladys Adinyira is an arst at heart. She is a sculptor and painter. Her artworks span media such as cement, wood, terra-coa and in recent mes, fiber glass and calcium. She has a couple of naonal monuments credited to her. Gladys has effecve listening and counseling skills. She can work under pressure and respond to compeng priories.Heraenontodetailisevidentinherwork andaddstoherprofessionalcompetence. She has prepared herself to handle adventurous

projects and test her response to difficult and somemes dangerous condions. She has been in different leadership posions and can work as part of a team in any capacity. Her appreciaon of diversity is rooted in her belief that it enriches a person's perspecve on life. Over the years she has worked in a mulcultural environment and can deliver on key outcomes.

1986 – NATIONAL MUSEUM

Yaa Asantewaa statue – Life-size

2003 – OHENE DJAN SPORTS STADIUM

Cement – 1 – 'Gbomo nyemii dzi gbomo' (I am my brother's keeper).

Heroic-size figure (8) on a 4 pedestal. In memory of the 127 souls that perished in the May 9th stadium tragedy.

PhD (SCULPTURE), FIELD OF SPECIALISATION: Studio-based research in Monuments to honour Ghanaian women, Kwame Nkrumah University of Science and Technology, Kumasi (KNUST) – 2014– to date

MPHIL, (EDUCATION), FIELD OF SPECIALISATION: Educaonal theories and Applicaon, Norwegian Teachers' Academy - 1999

CULTURAL ORIENTATION INSTRUCTOR & PROGRAMME ASSISTANT: 1990 – 1992: ABURI GIRLS' SENIOR HIGH SCHOOL. ART TEACHER

The Disconnection from Creative Work, the Storage of Art works, and the Rediscovery of Creative Energy.

In her remarks, Akwele Suma Glory said she was transioning to her living space when the COVID-19 lockdown was announced. She packed all her work to a remote space with no electricity, so she decided to go and stay with her work. She used the opportunity to wait before God and occasionally fasted. The pracce was a wayforhertobespirituallyintunewithGod.

According to Madam Glory, about some days into the lockdown, not quite sure whether out of depression or fear of the world ending, she gave away and disposed of a hugenumberofherpainngsandinstallaons.

Somehow, she was not feeling good relang to the work. In the process of disposing of the works, the scavenger asked, how about this painng, how about that painng? ThiswasjusttogetAkweletokeepsomeofthework.

Along the line,Dr. Aah Kwame from the Kwame Nkrumah University of Science and Technology of blessed memory recommended her for an online challenge In this challenge, parcipang arsts posted three works a day for seven days without a text and recommended one arst tojointhecompeon.

Akwele said she took up the challenge on Facebook and it wasagreatreliefforher.

Aer the first round of the challenge, she was invited to submitanotherthreeworkseachdayforsevendays.

She parcipated in the second round of the challenge and got her works collected by other arsts for catalogs and promoons in other circles. Akwele's parcipaonintheonlinechallengeexposedherwork to other art instuons like the Namibia Arst Associaonamongothers.

Prior to this experience, Akwele prepared for a collectors' exhibion at the former Golden Tulip Hotel in April 2019. A show she considered her most important show in years. But the lockdown came in March,anditwascanceled.

Akwele Suma Glory, Multimedia Artist

women in the arts share experiences on “digitall: innovaon and technology for gender equality” within the COVID-19 context.

Painting by Akwele Suma Glory, title: Akwaaba I, II, III Medium: mixed media (construction paper, canvas, acrylics on raffia straw frame) Size: variable (41 x41cm) (2023)

Akwele Suma Glory lives and works in Accra, Ghana. Glory's arsc career covers a wide range of paths from strategic consulng (training, organising, coordinang and developing brand identy), to mul genre art (painng, installaons, performances, sculpture), to bead cra (manufacturing,designandarrangements),andtoArt and health (communicaon in health and wellbeing) a recentaddiontoherartpracce.

Throughout her childhood Glory handled beads as cultural objects and later as an art form by applying wet and dry media such as natural pigments, glues, and pastels, as well as burlap, fabric, paper, metal, wood,canvas.

Glory's creaons embody her cultural intake from birth to present day. This accounts for why she expresses her ideas in material culture to suit her

environment. Her work is a connuous process of research, experimentaon and development By interrogang socio-cultural, environmental, economic, and somemes polical issues, it encourages us to examine life from an enrely differentperspecve.

Since 2007, she has been researching texles in Ghana, exploring its history, stories and significance (value as a trade commodity, tool of communicaon and aesthecs), from the eleventh (11) century to the presentme.

Bridging the gap between art and humanity by connecngittoeconomicdevelopmentatlarge.Asan acvist, Glory is concerned about acvies that push for women and arsts' development and empowerment.

1st Prize Winner.

"Expression by Ghanaian Arsts "

An Art Compeon - Aorney General's Choice. (2003)

Hosted and coordinated "Overcoming Maps 4" , a study tour across Africa, organised by the Pan African Circle of Arsts. Accra, Ghana (2004)

Gold Star Category Award Winner. by Quality Commitment Convenon, Geneva, Switzerland. (2007)

Contributed a paper to the wring of the book "Art is Everywhere." Abuja, Nigeria. (2009)

Contributed a paper to the BIBCo Journal "Borneo Internaonal Beads Conference." Borneo, Malaysia. (2013)

Resource Person -Africa; World Cra Council (2011)

Multi disciplinary artist, trainer and study tour facilitator

Self-reflection, inter-generational partnerships and representation

As a writer the COVID-19 lockdown was a period of rest. Madam Franka-Maria Andoh said she spent themealonewithherselfanddidsomewring.

It was a me of deep reflecon, a very quiet me. She reflected on what she wanted to do with her life andhowshecouldusehercreavegi.

For the last ten years social media has been a powerful tool for her to share her ideas and build a community She said somemes the response loop for social media engagement might be slow, but people pay aenon. She noted that somemes you meet someone, and they know everything about yourlife.

Madam Franka said that she is also because she is fairly honest with her experiences when engaging with her community Somemes as a writer, you havetobearyoursoul,hopingitwouldencouragean unknown person and to let them know that they are not alone in whatever situaons they might be experiencing.

ICT plays a role in how she brands herself. For Madam Franka-Maria Andoh we are all brands and social media becomes a space for markeng that brand.

For 2023, Madam Franka is following her intuion to engagewithyoung creaveprofessionals.Asaresult of the engagement, she hopes that it will develop intoaproducverelaonshipforbothpares. She implored parcipants at the dialogue to consider forging an alliance with young people who

are willing to invest me. The combinaon of experience,knowledge,vigor,andfunconalskillsof social media plaorms would catapult women's arscworkbeyondexpectaons.

Addionally, Madam Franka-Maria Andoh noted that despite virtual space provided by social media plaorms, physical space is also crucial. Parcipang inthecommunitypersonallyisalsoverysignificant.

Franka-Maria Andoh, Author/Filmmaker

women in the arts share experiences on “digitall: innovaon and technology for gender equality” within the COVID-19 context.

Books written by Franka-Maria Andoh

PROFILE

An award winning Business owner of a leading cafe in Africa

Franka-Maria Andoh is a writer, serial entrepreneur and creave, passionate about telling her story and using her gi to inspire future generaons. One of her greatest achievements is her café, Josie's Cuppa Cappuccino, which was listed as one of the leading cafés in Africa (Ventures Africa, 2014).

Aer operang for twenty-five years, Josie's Cuppa Cappuccino has become a haven where families, millennialsandtheelderlyenjoythefinestsandwiches and hot meals. The café has always been a hub for writers, arsts and creaves and the essence of the spaceistopromoteGhanaianart.

In February 2017, Franka-Maria founded a sister company, Anque Lemonade Art Space. The art space has further evolved into an arsc, Afrocentric concept store known as the Anque Lemonade Concept Store. This is where unique, curated local artefactsaresold.

FiveSignicances

Josie's Cuppa Cappuccino, listed as one of the leading cafés in Africa (Ventures Africa, 2014).

Establishment of an NGO- Most Def Foundaon, commied to empowering deaf youth to live fulfilled lives.

Operang Josie's Cuppa Cappuccino for twenty-five years.

XWAC 2019 Honoree Award for Arts and the GAW Ama Ata Aidoo award for her collecon of short stories 'I Have Time'

Published a couple of books including 'Koku the Cockerel', 'Dokono the Donkey' and a collecon of short stories and 'I Have Time and Other Short Stories’

Adwowa Ammah-Tagoe in her presentaon on 2023 Internaonal Women's Day On the 12th of March 2020, she completed the producon of artwork for a client who waslaunchingaprogram.

Unfortunately, the COVID-19 lockdown took effect on the same date. To this date, the artwork is in her house, she revealed.

In her presentaon she said office closures also affected her day-to-day job. She menoned that aer several check-ins with her supervisor, she realized that work was notcommencinganymesoon.

Madam Ammah-Tagoe said that to get her life moving, she gradually warmed up to her second job as a painter Once she got into the feeling of painng, she produced several works for her birthday celebraon with friends the following year in November 2021. This was a novelty forher.

Since there was a lockdown ICT helped her connect with herfriendstoaendherexhibion. She menoned that at the me of her birthday art exhibion, Ghana has relaxed the COVID-19 restricons onsocialgatheringssoshetookadvantage.

Her art exhibion was very successful because she made several sales and received a number of compliments fromhercircleofinmatefriends.Theexperiencehelped her find fulfillment in her painng. Though the exhibion was in person, ICT helped her organize the event, the speaker explained. Before the COVID-19 lockdown, she wasnotsocialmediafriendly.

However, she had to connect with her community, so social media became a relevant tool. Adwowa said she also mastered using Zoom to hold meengs and conduct Bible studies. In retrospect, she has become very skillful at WhatsApp for example which is also assisng her in publishing her creave work. Adwowa said she realized a lot could be done with ICT, especially training videos. In Adowa's opinion, this could help provide skills training for womeninterestedinprofessionalskillacquision.

Finding the Groove by Returning to Painting and Hosting Private Art Exhibition.

Adwowa Ammah-Tagoe, Art Educationist/ Painter

women in the arts share experiences on “digitall: innovaon and technology for gender equality” within the COVID-19 context.

st Painting by Adwowa Ammah-Tagoe, title: Mask-up1(1 in series) Medium: acrylics on canvas. Size: 30X40cm (2020)

A multi linguist and an international art fair facilitator

As a child, Adwowa Ammah-Tagoe nee SpioGarbrah, always drew She studied Art at the University of Science and Technology, graduangwithBAHonoursinTexleTechnology.

As a self-taught painter, Art Educaonist and Environmentalist. Adwowa took advantage of the COVID-19 lockdown period in Ghana to dedicate more me to drawing and painng. Her inspiraon comes from the environment, people, everyday occurrences,nature,andculturalacvies.

Adwowa has exhibited in Ghana and Germany in Group and Solo Exhibions. She is collected in USA, Togo,Denmark.Germany,Coted'IvoireandItaly.

FiveSignicances

Mullingual; English, French and German

IFCD Hybrid Regional Capacity Building Workshop for Nigeria and Ghana (11th-12th October, 2023). This workshop was sponsored by UNESCO.

Innovaon Course held in Haifa, Israel at the Golda Meir Mount Carmel Internaonal Training Center (December 2015 to January 2016).

Business French Training Project (October 2010 - December 2010).This was organized by the Ministry of Trade & Industry and sponsored by the Agence Francaise de Development.

Cerficate of Parcipaon in the Export Markeng & Management module of the Ghana Export Promoon Council BSO Development Programme. This was held from May to December 2009 in Accra, Ghana and Roerdam, the Netherlands.

Self, time, space, and creative growth

As part of her presentaon, Nana Adwoa Frema Amoabeng stated that she wished the COVID-19 lockdowncouldconnuewithoutCoronavirus.

Frema noted that, during the COVID-19 lockdown she spentmewithherfamilyandlearnedalotaboutherself. She also used the period to explore her creave skills and produced a lot of work. She developed her porolio and became more visible by taking advantage of the me and spaceCOVID-19offered.

She parcipated in a Facebook challenge where arsts posted one work a day without accompanying it with a text. Thearstwasalsorequiredto suggestanotherarst to parcipate in the challenge. Frema said she was recommended by Akwele to parcipate in the Facebook challenge.

Frema tried portrait painng when she submied her work to the Facebook challenge. She said her usual subjects for painng are landscapes and abstracts. But she was happy to have explored portraiture. She noted that she received numerous compliments, which movatedher.

For the 7-day online challenge, she submied four portraits and painted a dog. She got one of the painngs purchased aer showing it on her Instagram page. Frema expressed her excitement about the interest in her work andthepurchase.

Frema also spoke about her symbioc relaonship with younger arsts, where they support her when she is working and she helps them out with difficules in their work.

Nana Adwoa Frema Amoabeng, Painter

women in the arts share experiences on “digitall: innovaon and technology for gender equality” within the COVID-19 context.

Painting by Nana Frema, title: my true self ( queen). Medium: acrylics on canvas, paper, mirror, jewellery, gold leaf. Dimensions: 86X79 inches. (2022)

Nana Frema is an arst working in

Accra, Ghana. She graduated from the Ghanaa College of Art and Design. She uses painng as a point of entry into larger conversaons about the human body and especiallythefemalebody.

Her interest is in how boundaries of containment are set to control and produce what is perceived as an “acceptable” female body in today's contemporary sociees through mass media and parcularly social media.

Frema's careful manipulaon of human body parts using thick vibrant acrylic paints on canvas produces textures and surreal images. Frema is an alumnus of CritLab, a professional development programme. This aims to build a networkofartprofessionalswhodesiretopush

A Vivacious and bold artist

the boundaries of global art thought, producon,cricism,andexhibion-making.

In addion, she has collaborated with the French Embassy in Ghana on an art project aimed at combang violence against women throughart.

Currently, her body of work, 'Hand Statement', is based on an accident that nearly led to the loss of her hand and the grueling surgery she hadtoundergotorestoreherhand'sfuncon.

She is currently serving as Coordinator for Women's Arts Instute Africa, an organizaon dedicated to supporng and nurturing women creavesinAfrica.

FiveSignicances

First and second solo exhibion (the hand statement) Anque Lemonade Art Space and Goethe Instute Accra, (2022)

Parcipang arst, Critlab educaon and history on art residency by blaxTARLINES (2020)

Teacher and Assistant Director, Most Def Foundaon. (2021)

Parcipang arst, exhibion, live painng and mural at Chale Wote Art Fesval.(2020)

Coordinator for a painng workshop organized by the Women's Arts Instute Africa (WAiA), ( 2017)

Experimenting with Creative Ideas and Supporting Artists to Make a Living.

In her presentaon, Adwoa Amoah menoned that the COVID-19 lockdown gave her downme. As is her normal roune, she runs around between her studio pracce and managing the Foundaon for ContemporaryArt(FCA)-Ghana,respondingtoarsts'needs.Becauselifewasatastandsll,shecouldspend me with herself. This was a big break; no deadlines, no reports,shenoted.

With an interest in texles and fashion, she decided to make nose masks for her friends and family. She took inspiraon from FDA approved sewing requirements. Among the many videos on nose masks available online, she found one easy to follow. She used available fabric and cut paerns. Without a sewing machine, she handstched several nose masks during this lockdown period forherselfandherfriends.

In spite of the many blisters, she did not give up. Adwoa said she bought a sewing machine hoping she would connue to sew However, once COVID-19 lockdown restricons were relaxed, and more nose masks became commerciallyavailable,herinterestwaned.

One interesng experience during the COVID-19 lockdown was that resources were made available for arsts and art organizaons to support their work and livingexpenses.

FCA-Ghana fortunately benefited from such resources which made it possible to work with many arsts throughpedagogicprogramssuchasCritlab2020.

Social media was useful in keeping the FCA membership acve with project planning, research support for arsts and general sharing of informaon. Social media plaorms also facilitated the discussion of arst ideas and design concepts for proposed projects. Thus, online communicaonwasverystrategicforFCA.

Adwoa Amoah, Painter/Curator

women in the arts share experiences on “digitall: innovaon and technology for gender equality” within the COVID-19 context.

Installation by Adwoa Amoah, titled: 'the evidence of my absence is not the absence of my presence', installation: glass, light, wood, spray paint. Varied size (2011)

A Strategic partnership facilitator

Adwoa Amoah is a Ghanaian arst and co-Director of the Foundaon for Contemporary Art – Ghana. She has facilitated and co-curated several local and internaonal collaborave art and pedagogical projects. Her arsc pracce and curatorial interest revolve around a crical approach towards organizing “spaces”, using events and happenings as tools to democraze access to contemporary art as well as unlatching potenal shisthatmayemergefromsuchinteracons.

She has served as a facilitator on pedagogical iniaves including CritLab, in partnership with the Foundaon for Contemporary Art – Ghana, Exit Frame, blaxTARLINES and Savanna Centre for Contemporary Art, Tamale. She is a member of the Exit Frame Collecve based in Accra, Ghana and an Execuve member of the Ghana Culture Forum (GCF), a network of cultural praconers, acvists and organizaons united around a common vision of affirmingculturalfoundaonsofdevelopment.

Nominator, The Norval Sovereign African Art Prize, 2021

Co-Curator of "Of Materials and Things” at La Condion Publique.

Roubaix, France as part of the Africa 2020 Season. (Exit Frame Collecve) Public Commission - Buddy Bear “Borga”, German Embassy, 2016

Postage stamp design Award, 24th Universal Postal Union Congress (Nairobi, Kenya) Ghana Post Philately. 2007

BFA (Painng) Kwame Nkrumah University of Science and Technology, 19992003

Art Production, Advocacy, and Human Rights

Madam Kjers Augland noted that the COVID-19 lockdown was an interesng experience. She was confined to her home. She observed that whereas she could draw movaon from her arst friends by aending art exhibionsandmeengs,thismeshewashome.

In her presentaon, Madam Kjers, who is an art collector and into beads arrangement, stated that to bridge the gapbetweenherisolaonfromarstsandartworks,shebeganbuyingmoreartworksforprivateuse.Kjerssaid that she became very acve in different online arst spaces where she contributed to content or expressed her viewsaboutatopic.

Kjers said that one key lesson she learned during the COVID19 lockdown is that she cannot live without physical touch. There is simply no replacement she added. Kjers recounted the back and forth and back travel she experienced between Ghana and Norway within three weeks when COVID- 19 restriconswereannounced.

Kjerssaidsheenjoysworkingwithpeopledirectlysofromthe beginningtheonlinelifewasdifficultforher.Kjersmenoned that through her work as human rights advocates for many years, she has observed with admiraon how South African women use art to self-produce Informaon Educaon and Communicaon (IEC) materials for advocacy on women's rightsissues.

Kjers noted that the producon of art and the emergence of creave processes by women who experience social injusces such as gender-based and sexual violence, offers an authenc narraveofwomen'sexperiences.

Women approved the public advocacy messages that were presented. Moreover, the women worked as a collecve, idenfied the challenge, idenfied the soluon and produced messagesforpublicadvocacy

Kjers added that women using their art to produce IEC materials for advocacy on social issues that directly affect them,canalsobeahealingexperiencefortheparcipants. Furthermore, it could be catharc and pave the way for answers to a number of quesons that have been lurking aboutthechallengeswomenface.

Kjersti Augland, Human Rights Advocate/Art Collector

women in the arts share experiences on “digitall: innovaon and technology for gender equality” within the COVID-19 context.

Works of interest to Kjersti collection.

An initiator of distributing art and craft from Ghana

Kjers Augland works as a deputy director and programme manager with over 20 years' experience in human rights, advocacy and development in Norway and internaonally. Proven leadership skills in managing strategic planning and implementaon to unlock innovaon, creavity and efficiency in teams and non-governmental organisaons.

Specialisaon in gender equality, sexual and reproducve health, and rights (SRHR), sexual orientaon & Gender identy (SOGIE), health, educaon, and youth. She has worked extensively on normave and policy processes both globally, within the UN, and at the naonal level.

FiveSignicances

Coordinator, Windhoek, Namibia of 150 women producing embroidery interior texles.

Master s Degree, Social Anthropology, University of Oslo, 09/1999 – 12/2002

Board Chair, Norwegian Council for Africa, Oslo, 2006 – 2008

Board Chair, Akwaaba dance group, Oslo, 2009 – 2020

Founder, Asase Beads & Baskets, distribung arts and cras from Ghana, 2022

Creative Fatigue, and Overcoming Virtual Training Challenges

Madam PeaceEnyonamBaku in her presentaon said that she had prepared for an exhibion in the United States of America prior to the COVID-19 announcement. . According to Madam Peace she has worked so hard for the exhibion, producingawiderangeofwearableartproducts.

When COVID-19 lockdown restricons were announced, she could not aend the exhibion. Madam Peace said that the experiencewas an an-climax, so she didn't create anymore.

Before her presentaon, she welcomed everyone back into communion with each other as arsts aer over three years apart. COVID-19 lockdown restricons were very ght in Accra, she noted. However, for people in the regions for example, she could visit her farms to harvest foodtocookforherfamily.

Madam Peace said that she received another invitaon to training at a drug rehabilitaon center in the United States of America. Before she could prepare, she realized that the host had contracted Coronavirus, then her husband. Moreover, she was planning to do in-person training and had concerns about contracng Coronavirus, so she declinedtheinvitaon.

Fortunately, she had an opportunity to offer another trainingonZoomandthechallengewastolearnhowtouse the Zoom app for the training. Madam Baku said her Zoom teachers were not friendly to adult students, so she stoppedusingZoom.

Aer several discussions with her host about how to use ICT to share her skills, another opportunity came for her to develop training videos on her bak e and die producon. Aer several trial and error and eding, she produced the trainingvideos.

According to Madam Peace, the training videos really served its purpose. The children enjoyed the skills training process. They gave feedback on the training and always saidcome,Ghanacome.

Peace Enyonam Baku, Multimedia

women in the arts share experiences on “digitall: innovaon and technology for gender equality” within the COVID-19 context.

Work by Peace Enyonam Baku, title: African pot, medium: fabric, Size: variable12X16inches(unknown)

An honourable member of a local government.

Peace Enyonam Baku formed her own company in 1980 to commercialize her talents. She opened a workshop adjacent to the El-Wak Military Sports Stadium. It was a very popular locaon in the El-Wak military sports stadium area as the only female “sign and banner writer” for adversing and promoons. This was before she moved to Kwame Nkrumah University of Science and Technology to expand her horizons. Enedas Art & Cras has since widened its scope of acviesto includeGraphic DesignTexles – Weaving,Dyeing,Prinng,Painng, Sculptures,Poery&Ceramics,Landscape&DecoDesignandGeneralArtWorks.

In order to take advantage of the primary economic acvity of women in her tradional area which is rice farming and also assist the local women to improve on their producon, Madam Peace Baku established Enedas Farms & Foods for her own rice farming acvies, processing and distribuon of Mountain Brown Rice grown. As one of the founding members of the Avame Women's Associaon, she facilitatedtheacquisionoftwopowerllersandaricemillfortheassociaon.

FiveSignicances

Honourable elected Assembly Member for the Avame-Vane Electorate, Ho Municipal Assembly (2006 to 2010).

Specialist, Extracon of Dyes from Natural Sources and Producon of Color and Pastes.

Honorary Cizenship Atlanta, Georgia – USA, in Appreciaon of Meritorious Work in the City in the Field of the Arts (2003).

Excellence Award for Meritorious Contribuon to the Fine Arts. 45th anniversary celebraon of Accra Girls Secondary School (2005).

Cerficate (Disncon) Rural Art & Industry. College of Art, Kwame Nkrumah University of Science and Technology (KNUST), 1986.

Women Artist: Hindsight on the Play and Pause Mode

According to Madam Ngozi-Omeje Ezema, different authors posit that women when compared with men, are taking a frayed and nonlinear career path in which career interrupons are expected to happen at certain points in their life (Xinyi Bian and Jia Wang). In this paper, play and pause simply refer to careerinterruponsfor women arsts. The wily and unwingly decision of not praccing for a while has potenal negave consequences. Thisfostersdisconneconfromtheprofessionalmainstreamandisolaonfromexperiencedpraconers.

It has been observed that aer marriage, women put families above all while grinning through challenges and difficules. Thus, most women arsts are compelled by circumstances to pause their careers at certainpointsbecauseofashiincareerfocusorfamily responsibilies. Sylvia A. Hewle and Carolyn B. Luce state that when women feel hammered by difficult situaons, they are much more likely to respond to familypull.

Oenmes, when a woman decides to pracce again, she becomes estranged from the tools, materials, medium and the art community. During the COVID-19 pandemic, most women arsts became acve using Informaon and Communicaon Technology (ICT). ICT offered an open window for women arsts to keep some level of presence in their profession despite societalresponsibilies.

To illuminate how ICT has helped women arsts during the COVID-19 pandemic. Omeje researched women arsts' acvies during the Covid-19 pandemic. she was exposed to the proliferaon of women parcipaon in online art challenges. This was more vibrantduringthepandemic,sheobserved.

Understandably, before COVID-19, praccing art involved physical parcipaon more than virtual reality. Madam Omeje said Covid 19 cracked open the virtual world for many professions including women arsts.

According to Omeje, women arsts in her community who were mostly inacve (on pause mode) created

online studio pages during the pandemic. They also engaged in online art challenges through the produconofnewartworks.

The opportunies social media created, and the insight gained were progressive and beneficial at a mewhendespairanduncertaintypredominated.

Ezema Ngozi-Omeje, Ceramist

women in the arts share experiences on “digitall: innovaon and technology for gender equality” within the COVID-19 context.

Sculptor by Ezema Ngozi-Omeje, titled: Growth, medium: ceramics, plexiglass, monofliament and metal, dimensions: 3ft in diameter, 6ft high (2022)

An experienced ceramist and educator

Ngozi-Omeje Ezema graduated from the University of Nigeria, Nsukka in 2005, Department of Fine Applied Arts. She also obtained her Master of Fine Arts from the same departmentandinstuon.

Aer her MFA, she was retained as a lecturer in her Alma Mata to teach Ceramics since May 2009. Ngozi-Omeje has parcipated in several naonal and internaonal workshops, exhibions, and biennales.

FiveSignicances

The Fire Made Me” OFF of the 14th Edion of the Biennial of Contemporary African Art, Dakar, Senegal, 2022

Ambiguous Adventure” Biennale of Sculpture Ouagadougou Burkina Faso, 2021

AF!R!KA ARTFEST (Africa 2020)” Chambery, France, 2021

Peace through Clay" Korea Internaonal Ceramics Biennale, Icheon World Ceramics Centre, South Korea, 2019

Ceramics Now” 60th Contemporary Ceramic Biennale - Premio Faenza, Italy, 2017

Black and White Photo Documentary, Archival Systems and Social Media

To work effecvely, Mardey Ohui Ofoe, who works with the Foundaon for Female Photojournalists (FFP) as photojournalist and documentary filmmaker, said that you need the outside world. Mardey asked the queson, what are you documenng if life is at a standsll?

When the COVID-19 lockdown was announced, Mardey was supervised because she could not comprehend that all her family members were together all the me That rarely happens, she observed. Mardey noted that her mum and relaves were also with her. Nothing moved.She had many quesons. Was the COVID-19 lockdown long term? Whatwouldbetheimpactoflockdownrestriconson daily life and livelihood? Was the world ending?

Mardey explained that COVID-19 experiences coincided with her own life changing situaons and struggles.

To reset her life, and ease the burden of life she felt, Mardey gave away her video documentary produconequipment.

Mardey has been acve on social media and has seen the proliferaon of digital photography and audiovisual producons. This makes her queson the relevance of her creave pracce. Addionally, the kind of quality and longevity you get with prinng from film is compromised when you print digital images from everyday ink for long-term documentary purposes.

She posits the queson of what is there to create that has not been done, when it comes to audio visuals and documentary photography. Besides, Mardey noted that the taste of audio visual and meconsuming photo documentary content for consumers in the age of TikTok is comparable to the moon of a fast train. Documentary photography does not have a place in the fast-moving world of socialmedia,andshequesonswhethersuchcontent wouldbetrulyappreciatedbyanaudience.

Mardey is seeking answers to many quesons about her professional pracce and the challenges of documentary photography. In retrospect, Mardey is refocusingherworktowardsmuseumsbecauseofthe vintageapproachsheuses.

She menoned that archival is a big challenge and the digitalspaceisnotsecure.

According to her, ICT has made archival material more accessible, but it is also costly with monthly fees if the materialishostedonaserver.

Mardey Ohui Ofoe, Photojournalist /Documentary Filmmaker

women in the arts share experiences on “digitall: innovaon and technology for gender equality” within the COVID-19 context.

women in the arts share experiences on “digitall: innovaon and technology for gender equality” within the COVID-19 context.

A Knowledge production facilitator

Mardey Ohui Ofoe is concerned about improving the livelihoods of the crical mass of Africancizens.Sheisinterestedindevelopmentiniavesthatwork.

Her leadership focuses on sustainability and transformaon. She is interested in providing opportuniestomakelifebeerforvulnerablegroupsandkeenongengthejobdone.

She is movated by creang opportunies for women and minority groups to explore their potenal. She thrives on mutual partnership and can work with anyone liable for a cause regardlessofageorothersocialstatus.

Mardey provides clear communicaon to her teammates because it forms the bedrock of producvity She is intrigued by the following slogan in the context of work. “THERE ARE NO IFS, THERE ARE NO BUTS, THERE ARE NO HOWEVERS”. “HEAR NO EVIL, SEE NO EVIL, TALK NO EVIL. MINDYOURBUSINESS.”

FiveSignicances

Execuve produced and directed a video documentary that culminated in the passage of the domesc violence legislaon in Ghana, 2007 (Act 732). Real Men video documentary (2005) and Taking Acon; Protecng Lives video documentary. (2006).

Cerficate in Arts and Culture Management; UNCESO and Spanish Embassy Ghana (2011)

Master of Arts Degree: Governance, Law and Development, University of Cape Coast, Ghana (2005/2006).

Team leader for £100,000.00 grant by DFID awarded to the Foundaon for Female Photojournalists (FFP) for an electorate meet elected project. (2007)

Set up Specialist; 23 years of experience in organizaonal development and sustenance

http://www.waianetwork.art/p/sumajournal.html?m=1

Maximizing Media Coverage and Social Media Opportunities for Artists’ Visibility

Victoria Sophia Adoe in her presentaon said the COVID-19 lockdown proceeded with the mural contract she completed.Duringthatcontract,shereportedthatmanypeopleinquiredaboutcollaborangwithher.However, the COVID-19 lockdown halted any follow-ups with art projects. Ms. Adoe said she bought materials to paint, usingherfreeme.

She started painng and within months created a colleconofworks.Oneoftheplacesshevisitsto see the world is social media. According to her she saw a post by a friend on Facebook asking arsts to post one work a day for seven days. Hitherto she was trying to determine how to publish her work in a COVID-19 lockdown. Therefore, she took up the challenge and posted her works every day. Addionally, she started publishingherpainngsonWhatsAppstatus.

Madam Victoria said, when she stopped posng, people called and asked about the works. She then realized that the works therapeucally helped her audience. According to Madam Victoria, people were somehow depressed during the COVID 19 lockdown, and they wanted to see some innovave works. Madam Victoria said the response enabled her to be semi-acve duringtheCOVID-19lockdown.

On a follow up queson, on the pressure arsts experience when it comes to exhibion space, Madam Victoria said some social media plaorms with the appropriate digital tools can really offer a cheaper digital space for women arststopublishandexhibittheirworksonline.

As a result of social media posngs, she was interviewed by a television staon about her work as a painter. The broadcast of the interview generated more interest in her work and led to otherbusinessopportunies.

Victoria Sophia Adoe, Painter

women in the arts share experiences on “digitall: innovaon and technology for gender equality” within the COVID-19 context.

Like many sectors of the economy that suffered a lack of patronage during the COVID-19 lockdown, Madam Victoria Sophia Adoe said she offeredherpainngsatverylowpriceswhenshe got a contract. She explained that the lower prices of her work were influenced by her assumpon that the world was ending because ofCOVID-19.

Madam Victoria believes that art works communicate with the soul and social media plaorms can expand that quality by reaching a wideraudience.

Painting by Victoria Adoe, titled: African Princesses, Medium: acrylics on canvas (2020).

PROFILE

An award winning painter and art sensitizer

Being inspired by nature, Victoria does not make an exact representaon of them in her painngs but createsanimpressionofwhatsheseesinthem.

Through her emoons, she creates her own world, exclusive to her With her brush, acrylics, oils, and pencil, she creates impressions of the world on canvas. Her passion for teaching came to the fore at Queenstown Private High School in South Africa,whereshetaughtFineArt.

She has collaborated with other arsts in numerous exhibions and is a proud winner of the art compeon organized by the Women Arts Instute Africa in 2007 during InternaonalWomen'sDay.

FiveSignicances

Master of Fine Arts degree in Painng from Kwame Nkrumah University of Science and Technology. (2010)

Award winner of Internaonal Women's Day painng challenge organized by Women Arts Instute Africa (2007)

Women's Voice Exhibion, Showcasing what women go through in Life, Kumasi. (2004)

Parcipang arsts, Ako -Adjei Mural , Accra Beauficaon Project.

Happy and grateful arst