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Anansesɛm Yɛ Asisie: Book 2 (Asante Twi)
This book is a collection of folktales with illustrations
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The Bad Friends
Age Range: 8 – 10 years
The Adaex Reader in Moral Series uses everyday incidents in the community, the school, the home, the market place, the playing field and other places to encourage young readers to develop good manners, courtesy, health, and good habits and to grow into good respectable civic-minded students.
₵26.00The Bad Friends
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Karim’s Story
Age Range: 8 – 10 years
Karim teaches his friends how to be courteous and have good habits.
₵26.00Karim’s Story
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A Bad Day for Martha
Age Range: 8 – 10 years
In this short book, young readers explore the importance of integrity and the repercussions for acting immorally.
₵26.00A Bad Day for Martha
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A Football Match
Age Range: 8 – 10 years
This early reader from Adaex focuses on character development with a story about taking responsibility for your own actions.Football can unite people but it can also be nasty if players and supporters are not courteous and do not see it as a unifying game.₵26.00A Football Match
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Duma Nee Mgbayelɛ (Nzema)
Covers some aspects on cultural heritage in Nzema; how a child is named and how some names are obtained. Also deals with some Nzema names and their appellations, the seven clans of the Nzemas and their characteristics.
₵25.00Duma Nee Mgbayelɛ (Nzema)
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Adventurous Dentaa: A Travel Journal
From class trips, to exchange programmes, to concerts, to fully sponsored tours, this piece of nonfiction spans about 7 years in my life where I had the opportunity to visit 3 different countries; Burkina Faso, Canada and South Africa.
I believe there is a lesson to be learnt from every experience one goes through and that is what I share in this book; my experiences on these trips and the lessons I learnt from each.
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The Creative Potential of African Art Music in Ghana: A Personal Testimony (Companion Booklet to ICAMD CD Recordings)
This booklet on the Creative Potential of African Music in Ghana: A Personal Testimony is dedicated to the memory of Professor Albert Mawere Opoku for his unique contribution to Dance Theatre in Ghana, his close collaboration with colleagues in artistic research projects, and his enthusiastic and encouraging interest in the creative work of artists in cognate fields. Nothing would have pleased him more than to be part of the launch of the four volumes of CD recordings of a selection of my musical works, for he was always making cassette dubbings of my music for his friends. I believe that this Companion Booklet will be of interest not only to his circle of friends but also to other music lovers, students and the general public.
With this readership in mind, the scope of the booklet has been limited to a few personal observations. It does not tell the complete story of African Art Music in Ghana or Africa in general, something I hope our younger scholars will work on as scores and other sources of data become available. It is simply the story of an individual composer and his works, his reflections and comments on his experience as an African composer, which he presents in conjunction with the CD recordings of his works as testimonies of the creative potential of African art music. For a fuller and more objective account of my life and work, I would like to refer readers to Eric Akrofi: Sharing Knowledge and Experience: A Profile of J. H. Kwabena Nketia (Afram Publications 2003) and Akin Euba: Creative Musicology: A Study of J. H. Kwabena Nketia, Centre for Intercultural Studies, Berkeley.
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Peter Dagadu: Man of God
Usually we know those men who have influenced church and nation only by reputation, as it were from the outside. In this book we have the rare privilege of seeing such a man at close quarters his childhood and schooling, how he came to Christ, the struggles and problems he went through in short, what made him the man of God he was.
Though Peter Dagadu died so many years ago, there are thousands who knew him and who will find in this account the secret of a man they admired but did not always understand: To many others, both lay and ordained, the story of Peter Dagadu will prove a challenge to climb the upward path following in his footsteps.
Peter Barker came to Ghana in 1956, after studying history and theology at Oxford, to work on the magazine New Nation, of which Peter Dagadu was a member of the advisory board. He later taught French and history at Okuapemman and La Bone secondary schools, and in 1961 began a two-year course of study for the London BD at Trinity College (then in Kumasi). After three years as pastor of Kaneshie Presbyterian Church and editor of Christian Messenger, he was seconded to the Christian Council as secretary of the Literature Committee and later manager of Asempa Publishers.
₵25.00Peter Dagadu: Man of God
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How Big is the Sun
Age range: 6-10 years
Little Kukua’s curiosity takes her on an adventure into space, where she lands on the moon and learns about the various elements in the sky.
₵25.00How Big is the Sun
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Asɛnta, Oba! Vol 3 (Folktales in Cartoons, Ga)
“Asenta, Oba!” mli adesai lɛ jeee nɔ hee ha mɛi fɛɛ ni fɔ adafitswaawolo ni ji “Maŋsaralɔ” lɛ kanemɔ lɛ.
Adesai lɛ ateŋ eko fɛɛ eko eje kpo be ko pɛŋ, aloo nyɛsɛɛ ko, yɛ Maŋsaralɔ mli, ni kanelɔi enya amɛhe jogbaŋŋ.
Nikanelɔi abimɔnaa lɛ abua adesai nɛɛ sɔŋŋ anaa akɛfee woji muji, koni nikanelɔi krokomɛi hu ana amɛhe sɛɛ.
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Asɛnta, Oba! Vol 2 (Folktales in Cartoons, Ga)
“Asenta, Oba!” mli adesai lɛ jeee nɔ hee ha mɛi fɛɛ ni fɔ adafitswaawolo ni ji “Maŋsaralɔ” lɛ kanemɔ lɛ.
Adesai lɛ ateŋ eko fɛɛ eko eje kpo be ko pɛŋ, aloo nyɛsɛɛ ko, yɛ Maŋsaralɔ mli, ni kanelɔi enya amɛhe jogbaŋŋ.
Nikanelɔi abimɔnaa lɛ abua adesai nɛɛ sɔŋŋ anaa akɛfee woji muji, koni nikanelɔi krokomɛi hu ana amɛhe sɛɛ.
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Naa Luro Mini O Bihi (Dagbani)
This book tells about the life history of Naa Luro, a renowned Chief of Dagbong and his four sons who also became chiefs in succession after his death.
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Kagbeniwushi Be Laŋto 3 (Gonja)
The Gonja language which is spoken by the Gonjas is quite distinct from all the languages in the Northern and Upper Regions. It is rather akin to some languages in the South, particularly, the Guang languages.
Gonja-speaking area covers more than one third of the Northern Region. It shares boundaries with the Brong-Ahafo and Volta Region in the South, and the Dagombas, the Mamprussis and the Walas in the North.
Gonja is a tonal language and changes in meaning are brought about by tonal differences. It is to be noted that most questions end on a falling tone.
All persons learning Gonja will find that the Gonjas have the tendency to elide vowels and slur consonants. Final vowels are always elided before other vowels, and often before words beginning with consonants.
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Kagbeniwushi Be Laŋto 2 (Gonja)
The Gonja language which is spoken by the Gonjas is quite distinct from all the languages in the Northern and Upper Regions. It is rather akin to some languages in the South, particularly, the Guang languages.
Gonja-speaking area covers more than one third of the Northern Region. It shares boundaries with the Brong-Ahafo and Volta Region in the South, and the Dagombas, the Mamprussis and the Walas in the North.
Gonja is a tonal language and changes in meaning are brought about by tonal differences. It is to be noted that most questions end on a falling tone.
All persons learning Gonja will find that the Gonjas have the tendency to elide vowels and slur consonants. Final vowels are always elided before other vowels, and often before words beginning with consonants.
₵25.00