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Montessori Bookset: Numeracy, Writing, Reading, Environmental Studies and Natural Science Skills – Nursery 2 (5 books)
Suitable for children between 2 and 6 years.
Montessori Skills provides a comprehensive and interesting exercises through the ‘Do it Yourself guides, providing learners with step by step instructions to help them develop new practical skills in writing, numeracy, literacy, environmental studies and nature science skills.
₵250.00 -
From Britain to Bokoor: The Ghanaian Musical Journey of John Collins
Highlife, a popular West African genre, is easily the soundtrack to the life journey of the nation Ghana. And if there is one personality who has contributed the most to documenting it, it is Professor John Collins, a naturalized Ghanaian of British descent and a professor of music at the University of Ghana, Legon. Collins originally accompanied his parents to Ghana in 1952, when his father was setting up the philosophy department at the University of Ghana. Returning to Britain with his mother, Collins was educated in Bristol, Manchester and London, earning a science degree. He was also playing music and then he returned to Ghana in 1969 to study archaeology and sociology at the University of Ghana.
Eventually he himself became an academic teaching and researching popular music. This book captures the life and music career of Collins. What makes him an enigma is his personal involvement on the road as a guitar playing member of concert party bands. His working relations with Fela, E.T. Mensah, Kofi Ghanaba, Victor Uwaifo, Prof. J. H. Kwabena Nketia and many legendary names in the music space of West Africa make him a legend in his own right. This is the story of a “white man” man who came to Africa to legitimize the place of highlife as consequential to world music
₵250.00 -
The Property Law of Ghana
This book consists of six related but separate parts combined in thirteen continuous chapters of land law. The thirteen chapters are fundamentally concerned with the development of the customary land law through the Ghanaian courts. In the first part, the main concepts underlying land law as well as the general characteristics of land are traced and analysed. The second segment deals with the law relating to interests in land, including modes of acquisition and loss of title. Tenancies and pledges are examined in their own right. Part 3 considers the nature of the customary law family, focusing on the composition of the family, the rights of members and the role of the head of family. In Part 4, rules regarding transfer of interests are considered within the general body of case law. This is followed logically by a consideration of the applicable doctrines of English law in Part 5. The final segment directs analysis at the impact of state legislative activity on customary law.
The rules of customary law were developed from pre-colonial times. It might be thought that the rules might be full of hoary anachronisms. The continuous decisions of the courts and the full impact of legislative activity have been the guiding hand in steering the customary land law in consonance with social and economic developments. No one argues that the customary law is in need of purgation. Principles derived from English equity jurisprudence have steadily worked their way into customary notions, particularly in the form of acquiescence, introducing equity’s peculiar element of fairness into the relevant customary law rules. Some of the perceived harshness or inadequacy of the customary land law have also been cured by legislation.
The present work is not a mere rearrangement of emphasis of the land law. I have attempted to bring into one coherent view the ideas expressed by the established jurists. The law we work with is constantly changing. It is constantly between the hammer and the anvil, changed and reshaped by judicial and statutory intervention. New answers are found as problems without judicial precedent press for statutory solution. Where authoritative answers cannot be found for such problems, I have relied on the evidence of actual social practice. Overall this book captures the restlessness of the indigenous law and the constant push for change. Several of the topics that dominated the old texts are receding. Statute law now overshadows many areas of the customary law.
There is considerable imbalance in the rendering of the customary land law of Ghana. Although this is a book on the customary land law of Ghana, a disproportionate number of both actual examples and case-law are drawn from southern Ghana. It reflects the general lacuna in current literature. This deficiency points to the urgent necessity of prosecuting a similar task in relation to the customary law of northern Ghana.
₵250.00The Property Law of Ghana
₵250.00 -
Representation of People (Parliamentary Constituencies) Instrument, 2016 (C.I. 95)
Republic of the People (Parliament Constitutional Instruments) (C. I. 95)
₵251.88 -
High Court (Civil Procedure) Rules, 2004 (C.I. 47): With Amendments (C.I. 87, 2014; C.I. 101, 2016; C.I. 102, 2016)
High Court (Civil Procedure) Rules 2004 (C.I. 87,101,102) (C.I. 47)
₵260.00 -
Representation of the People (Parliamentary Constituencies) Instrument, 2020 (C.I. 128)
Representation of the People (Parliamentary Constituents) 2020(C. I. 128)
₵260.00 -
Local Government (Creation of New District Electoral Areas and Designation of Units) Instrument, 2010 (L.I. 1983)
Local Government (Creation of New Districts, Electoral Areas and Designation of Units) Instrument 2010 (L.I. 1983)
₵265.00 -
Income Tax Act, 2015: With Amendments Act 902, 907, 924, 941, 956, 973, 979 (Act 896)
Incorporated Private Partnerships Amendments Act (Act 836)
₵270.00 -
Ghana Deposit Protection Act, 2016 (Act 931)
Ghana Deposit Protection Act, 2016 (Act 931)
₵270.40 -
Insurance Act, 2021 (Act 1061)
Insurance Act, 2021 (Act 1061)
₵292.50Insurance Act, 2021 (Act 1061)
₵292.50 -
See What They’ve Done To Our SunRise : New Poems from an Old Loom
In See What They’ve Done to Our SunRise, Anyidoho continues to push the boundaries of poetic expression, crafting a unique voice that is both personal and universal. The title of the collection is itself a powerful statement, suggesting the disillusionment that has befallen Africa, while also hinting at the possibility of renewal and rebirth. Through the poems, Anyidoho invites readers to reflect on the past, engage with the present, and imagine a future that is both uncertain and full of promise. Thus, the “sunrise” in the title is both a symbol and a metaphor, hinting at seed time (a muted echo of his recent compilation titled SeedTIME) and the truncation of the hope and aspirations birthed by the sunrise. The sorrow and pain inflicted by malevolent forces who have stolen the people’s laughter are expressed in the title poem “See What They’ve Done to Our SunRise”: “They brought in Clouds from Foreign Skies / Filled Our Air with Acid Rain /that / Chokes the Breath with Blood / Blinds the Eye with Cobra’s Spit.” However, there is a window of redemption in “Rebirth of Our Land”, a testament to the poet’s ability to balance sorrow and hope. Thus, as in his earlier collections, the poems in See What They’ve Done to Our SunRise express a deep sense of sadness and loss, but they also affirm the resilience of the human spirit. For instance, in this collection, nostalgia, or distance, is not necessarily loss, but a disconnection from relationships, places and landmarks, tempered by time and circumstances, now and again reclaimed from the mist of memory and celebrated through poems on the theme of love: “I Must Learn to Let Go SomeTimes / Though So Strong So Deep My Love… / Knowing the Winds and the Trains / Will Bring Them Back Again and Again/ Though Just for a While Each Time” (“They Will Be Gone”). This balance is reflected in the poet’s use of imagery, where the darkness of suffering is illuminated by the light of hope and laughter; a testament to Anyidoho’s skill as a poet and his commitment to exploring the complexities of the human experience.
One significant thing about the collection is its arrangement in “movements”—not an entirely new format in the Anyidoho repertoire. It is a deliberate structural choice, similar to a musical composition, lending further weight to the poet’s immersion in Anlo musical traditions which have defined him as a poet-cantor straddling both tradition and modernity, as well as the page and the stage. This structure conveys various meanings and symbolism. It reflects thematic development and narrative progression in which the poems tell a story or explore a theme in a progressive manner. It also creates an emotional arc, with each movement evoking a specific mood or atmosphere. Also, the movements’ musical analogies insinuate a sense of rhythmic flow, with each movement building upon the previous one. In this way, harmony and discord are arranged to reflect the complexities of life and further enhance the import of the journey motif that undergirds the entire collection—the movements representing a journey or pilgrimage, with each poem marking a stage or milestone; also reflecting the cycles of life, death, and rebirth, or the cyclical nature of human experience. There are four movements in all: Movement One: Nostalgia; Movement Two: Blues for the Land; Movement Three: A Bouquet for Ancestral Souls; and Movement Four: Husago.₵300.00 -
The Report on the Commission of Inquiry into Matters Relating to the Participation of the Black Stars Team in the World Cup Tournament in Brazil 2014
The Report on the Commission of Inquiry into Matters Relating to the Participation of the Black Stars Team in the World Cup Tournament in Brazil 2014
₵300.63 -
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Maritime Pollution Act, 2016 (Act 932)
Maritime Pollution Act, 2016 (Act 932)
₵338.00 -
Highlife Time 3
Highlife is Ghana’s most important modern home grown dance-music that has its roots in traditional music infused with outside influences coming from Europe and the Americas. Although the word ‘highlife’ was not coined until the 1920s, its origins can be traced back to the regimental brass bands, elite-dance orchestras and maritime guitar and accordion groups of the late 19th and very early 20th centuries. Highlife is, therefore, one of Africa’s earliest popular music genres.
The book traces the origins of highlife music to the present – and include information on palmwine music, adaha brass bands, concert party guitar bands and dance bands, right up to off-shoots such as Afro-rock, Afrobeat, burger highlife, gospel highlife, hiphop highlife (i.e. hiplife) and contemporary highlife.
The book also includes chapters on the traditional background or roots of highlife, the entrance of women into the Ghanaian highlife profession and the biographies of numerous Ghanaian (and some Nigerian) highlife musicians, composers and producers. It also touches on the way highlife played a role in Ghana’s independence struggle and the country’s quest for a national – and indeed Pan-African – identity.The book also provides information on music styles that are related to highlife, or can be treated as cousins of highlife, such as the maringa of Sierra Leone, the early guitar styles of Liberia, the juju music of Nigeria the makossa of the Cameroon/ It also touches on the popular music of Ghana’s Francophone neighbours.
There is also a section on the Black Diasporic input into highlife, through to the impact of African American and Caribbean popular music styles like calypsos, jazz, soul, reggae, disco, hiphop and rap and dancehall. that have been integrated into the highlife fold. Thus, highlife has not only influenced other African countries but is also an important cultural bridge uniting the peoples of Africa and its Diaspora.
₵400.00Highlife Time 3
₵400.00