The wanton destruction of the biodiversity methods of nature has been a resurfacing menace to the world. Thus, many techniques have already been mapped up and continue to emerge to charge this sour negative global knowledge that destroys lives and properties. It is in that gentle that the Western government chose to adopt a powerful strategy for ingraining the beliefs of conservation and sustainable utilization of biodiversity via their well-known traditional craft named Origami. The success of the COP 10 Origami challenge encapsulates the truly amazing significance that the traditional arts of a state can play in the strategy from the abuse of the biodiversity assets in character that rotates the life of all humans. This information enlightens visitors of the effective lessons that may be discovered from the COP 10 Origami task in the mild of utilising the original arts of a nation to beef up the campaign for biodiversity conservation using Ghana as a case.
The Origami project was inspired’Biodiversity: All Lives are Joined’and it prompted all members to make visually satisfying creative expressions in paper flower. The piece made was to show the message that the artist who produces the part is unveiling on the pragmatic way s/he or the planet might adjust to repair the biodiversity menace and resort to conservation and sustainability measures. The imaginative geniuses were to be shown across the COP 10 place and their related services to boost the biodiversity conservation campaign. This helped the Japanese nationals to think on a regular basis about the future and ways of conserving the wealthy biodiversity assets in their environment. Fortuitously, many Japanese participated in the task and it became a success.
Ghana is among the African places with rich conventional arts that are embedded with wealthy philosophical feelings and could possibly be harnessed for the biodiversity conservation attention campaign. For example, the Ghanaian people participate in the production of Adinkra towels, Kente fabrics, sculptural and metal arts like Akuaba toy, drums, goggles, silver loads and so forth. Also, the others take part in landscape paintings with styles that reveal the beliefs of the forebears on the need to save the flora and fauna species in the environment. Potters produce pottery products with symbolic designs that espouse strong ethical lessons on residing in harmony with character and their resources.
Therefore, the public and individual agencies in charge of environmental protection and biodiversity conservation should think of organising biodiversity conservation sensitization tasks using the original arts in Ghana. The artefacts that will occur from the project could then be exhibited in practices of personal and government institutions and at vantage factors in the Ghanaian society. This could function as a consistent memory of the necessity to save the biodiversity methods in the environment. It’d slowly foster the values of conservation and sustainability in the hearts and brains of the Ghanaian people.
Learning from the strong classes from Japan on the utilisation of the traditional arts of one’s state for biodiversity conservation would be successful and assistance reverses the damaging attitudes of some Ghanaians toward the precious biodiversity sources in Ghana. Art is, actually, a powerful tool that could influence attitudinal change. Thus, the Ministries responsible for the Environment, Places and Natural Reference, along with Non-Governmental agencies such as the Friends for River Bodies and the Conservation International, must fund and spearhead the organisation of biodiversity conservation jobs using Ghanaian conventional arts as having been done by Japan with effective outcomes. That liaison between Artwork and the Environment would have been a positive synergistic approach to save the wanton depletion of the biodiversity resources in Ghana and save your self the lives of hundreds, if not millions of Ghanaians alive and those yet unborn.