Paari-gbiele is an annual post-harvest festival celebrated by the Sisaala indigenes of Tumu Traditional Area in the Sissala East Municipality of the Upper West Region of northern Ghana. It is celebrated annually to mark the end of successful farming season. It also serves as a momentous occasion for the glorification of the almighty God and the revered agriculturally related deities of the indigenes of Tumu Traditional Area for their protection and blessings of seasonal bumper harvests to the farmers. Paari-gbiele equally provides suitable platform for indigenous education, communal interaction and cohesion which significantly contributes to the revitalisation and promotion of the rich cultural ideals of the Sissala people of Tumu Traditional Area. In spite of the aforementioned sociocultural relevance of Paari-gbiele for which reason it is celebrated annually, there exists scanty or no documentary account on the ethnographic and costume regalia of the festival. The study therefore examined Paari-gbiele festival to establish its ethnographic foundation and the costume regalia utilised during its celebration. Guided by qualitative ethnographic design, the study collected data from thirteen (13) purposively sampled respondents (Chiefs and elders) in Tumu Traditional Area through the use of focus group discussion, unstructured observation and photography. The findings of the study were discussed using visual, descriptive and thematic analytical tools. The study concludes that the celebration of Paari-gbiele festival has a long-standing ethnographic background whereby its annual celebration is characterised by the adornment of glamorous traditional costume regalia with codified cultural connotations and relevance to the people of the Tumu Traditional Area. It is therefore recommended that the chiefs and elders of Tumu Traditional Area should endeavour to continuously deploy such unique traditional costume regalia during the annual celebration of Paari-gbiele to preserve their culture and harness the associated tourism and educational values of the festival.

In contributing to the debate on presidential dress fashion politics and diplomacy in Ghana, the study investigated the views of Ghanaian audience (respondents) on the dress fashion choice of Nana AddoDankwaAkufo-Addo for his 2021 presidential inaugural ceremony. Adopting qualitative enquiry design, interviews and opinionnaires, the study elicited the views of seventeen (17) respondents comprising; fashion and textiles enthusiasts, Ghanaian cultural experts and the general public. The study found that Nana AddoDankwaAkufo-Addo adopted Eurocentric suit for his 2021 presidential investiture. Since Eurocentric suit is culturally alien to Ghanaian dress cultural identity, its choice was described as non-nationalistic and a disservice to the textiles and fashion industry in Ghana. It is recommended that succeeding Ghanaian presidents-elect should endeavour to source their dress fashions from the rich Ghanaian traditional textiles and fashion products in order to visually communicate their Ghanaian nationalistic identity as well as promote the unique Ghanaian textiles and fashion industry to the patronage of both local and international community.

IntroductionDaŋi, corrupted as Dane or Dangi, is a Sisaala (Sissala) community located in the Sissala East Municipality in the Upper West Region of northern Ghana. The people of Daŋi belong to the Hanvia clan which consists of communities such as; Sakai, Nankpawie, Kong, Daŋi, Lilixia, Bichembelle, Gwosi, Santijan and Funsi all found in the Sissala enclave. Hanvia is a clan that encapsulates Sisaala people of the same ancestral lineage who revere the earthen bowl as their totem. Daŋi is about 7.6 Kilometres and 12-13 minutes' drive/ride from Tumu, the capital town of the Sissala East Municipal (Google Map, 2021). Geographically, Daŋi is situated between Kong and Nankpawie but 2 kilometers extreme west of the Tumu -Bugubele -Wellembele to Wa main road. Farming is the major occupation of the indigenes of Daŋi. Besides farming, the people of Daŋi resort to traditional arts such as; pottery, basketry, carving, blacksmithing, spinning and hand weaving of cotton into fabrics for fashioning into smocks and other garments. Although some of the aforementioned traditional arts are in the decline, pottery art is one area that has over the years received the needed attention by the rural women of Daŋi. This makes Daŋi one of the leading traditional pottery production hubs in the Sissala East Municipality. In this era of globalisation and its associated negative impacts on African indigenous arts, the rural women of Daŋi are still engrossed in the production of traditional pottery wares of various types, decorative designs, cultural semiotics and relevanceto meet their sociocultural, socioreligious, sociopolitical needs while making economic gains from the art through the sale of some of the receptacles to other communities within the Upper West Region and Ghana at large. Although, similar traditional pottery centres in Ghana such as Sirigu traditional pottery and art has metamorphosed into a well-reputed global tourism and research destination in the