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As contemporary theatre and new production models are now being evaluated with more regard to community empowerment, the importance of proper tools for evaluation of the process has increased. The article explored the community youth theatre practices of the Community Youth Cultural Centre (CYCC) of the National Commission on Culture (NCC) in Ghana. We examined the role of the youth theatre at CYCC in the light of community empowerment. Using the qualitative case study design, six artists with a minimum of five years and a maximum of thirty years of work experience with the CYCC were interviewed. Performance activities and documents of the CYCC were also observed and analysed. The findings revealed four themes: Objectives of the centre; Youth theatre practices; Abibigoro/puppetry theatre models; and non-formal and cultural education. It was found that staff and artists at the CYCC employed diverse theatrical modes to facilitate community empowerment processes. The study recommends that cultural and creative centres in Ghana should harness the potentials of the community youth theatre, develop community-specific and context-driven performance models to support artistic- aesthetic-cultural and non-formal education processes to enhance our collective strive for community empowerment in Ghana.

The increasing environmental concerns of the 20th and 21st centuries have given rise to the term ecocriticism, a field of literary theory and criticism. In this paper, we examined two plays of Victor Yankah using some concepts from ecocriticism as an analytical framework. The paper is premised on the basis that the playwright shares a symbiotic relationship which has become a significant feature of the selected plays. Drawing from the eco-critical theory of ecocriticism and using two of his nature plays: The Pretty Trees of Gakwana and Sikaman, we intend to demonstrate Yankah‟s view and preoccupations about the mutual relationship between the human other and nature (the nonhuman other)-the natural world of environment with the view to prove the playwright‟s concern about the interference of human beings into the world of nature. This situation adversely results in the disruption of the symbiotic (human-nature) relationship. Yankah has presented both the epistemic and retributive forces of nature as well as raised concerns about the environment, ecological consciousness in advocating for ecological sustainability in modern African theatre and dramatic literature scholarship. Thus, the reading of Victor Yanka‟s selected plays adds to the relatively new and developing interest in environmental discourses on the African continent. To the extent that intrinsic features of nature are exhibited in his selected plays, we argue that Yankah provokes environmental debate and a rethinking in African playwrights concerning environmental issues to raise awareness and inspire environmental consciousness and ecological sustainability among people in Africa, and Ghana in particular.