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My Picture Became a National Symbol, but I Never Knew Its Worth – Akwaaba Photo Model Recounts

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For decades, Ghana has welcomed the world with a single powerful image, the Akwaaba photograph. Displayed at airports, hotels, embassies, tourism fairs, textbooks, billboards, and international events, the image has become one of the country’s most recognisable cultural symbols. Yet, behind this celebrated photograph is a woman whose name, story, and rights were long overlooked: Angelina Nana Akua Oduro.

In a rare and emotional recount, Angelina has revealed that she never knew the commercial value or the amount of money her image generated after it was commercialised and widely distributed.

The Akwaaba image was taken during a period when Ghana was actively branding itself as a hospitable and culturally rich destination. Dressed in traditional attire, with a calabash and a clay pot, gracefully holding a calabash and a clay pot, pouring palm wine in a gesture of warmth and welcome, the young woman in the photo embodied warmth, pride, and identity.

What appeared to be a simple photo session at the time later transformed into a national tourism emblem. The image was reproduced endlessly, printed, digitised, sold, licensed, and displayed without the subject ever being informed of its growing economic and symbolic value.

“I never knew my picture had been commercialised to that extent,” Angelina recounts. “I didn’t know how much it was worth or how much money it was generating.”

As the image gained prominence, Angelina lived her life quietly, unaware that her likeness had become part of Ghana’s global branding machinery. She was never consulted when the image was reused, never credited in most publications, and never compensated for its continuous commercial exploitation.

In some cases, copies of the photograph were sold by third parties, including one Mr Joseph Osae, the photographer who took the picture without her consent or knowledge. For years, she watched as an image of her younger self appeared in public and private spaces, detached from her identity as a living person.

Her story reflects a wider systemic issue within Ghana’s creative and cultural ecosystem, the lack of protection for image rights, models, and contributors to cultural heritage.

Like many creatives and models of her time, Angelina entered the photo session without contracts, legal explanations, or discussions around intellectual property. She trusted the process, unaware of how photography, licensing, and commercial reproduction worked.

“I didn’t understand commercialisation, image rights, or royalties back then,” she explains. “Nobody explained it to me.”

Her experience exposes the imbalance of power between creatives and institutions, where contributors often give value without understanding the long-term implications of their participation.

After many years of quiet observation, Angelina Nana Akua Oduro has finally chosen to tell her story, not driven by anger, but by a desire for recognition, fairness, and reform.

Her testimony has sparked renewed conversations across the creative industry, tourism sector, and policy circles about:

  • Image rights and consent
  • Ethical use of cultural symbols
  • Fair compensation for contributors
  • The need for stronger legal frameworks

By speaking out, she has humanised an image that many Ghanaians had come to see as anonymous and institutional.

 

Angelina is more than the Akwaaba image. She is a woman whose contribution helped shape Ghana’s international identity, even if that contribution went unacknowledged for years.

Her story now stands as a cautionary tale and a call to action for photographers, institutions, brands, and policymakers to protect the rights of individuals whose faces, bodies, and identities are used to tell national stories.

 

Today, the Akwaaba image carries a deeper meaning. It is no longer just a symbol of welcome; it is a reminder that behind every powerful cultural icon is a human being who deserves recognition, respect, and equity.

As Ghana continues to promote its creative economy and cultural heritage, Angelina Nana Akua Oduro’s story urges the nation to do better to ensure that no contributor to its identity is ever left unseen again.

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Shatta Wale hints at contesting Ablekuma South seat as independent candidate in 2028

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Musician Shatta Wale

Ghanaian dancehall star Shatta Wale has opened up about the possibility of venturing into politics, revealing that he may consider running for office as an independent parliamentary candidate if there is significant public demand ahead of the 2028 elections.

 

He said this during an interview on Asempa FM’s Ekosii Sen talk show with OB. Government name, Charles Nii Armah Jnr., said he does not intend to affiliate with any political party should he decide to enter the political arena.

 

According to him, his interest in politics would be driven by a desire to serve the people rather than by personal wealth. He disclosed that if the opportunity arises, he would consider contesting the parliamentary seat for Ablekuma South as an independent candidate.

 

“If the people push me to go into politics, I will consider it. I won’t do it because I’m rich, but because I want to serve the people. I would contest the Ablekuma South seat, but I won’t join any political party. I would prefer to run as an independent candidate if the calls become stronger by 2028,” he said.

 

Shatta Wale also spoke about his strong attachment to Ghana, explaining that his love for the country is one of the reasons he continues to live here despite opportunities to travel or relocate abroad.

He noted that traveling outside the country can be quite costly for him, which makes him more comfortable staying in Ghana.

“I love Ghana so much. Anytime someone asks me to travel abroad, I feel a bit uneasy because I end up spending more money there. Life outside is expensive,” he explained.

The musician added that living in Ghana allows him to enjoy a level of freedom that he values.

“In Ghana, I feel free. Sometimes I go to certain places and I’m able to walk around without any problem,” he said.

He also urged Ghanaians to cultivate a positive mindset, emphasizing that a constructive outlook can drive meaningful change in society.

“If you keep a positive mindset, you can influence change in many ways,” he added.

 

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Legendary musician Sloppy Mike Gyamfi Accuses Kuami Eugene of Song Theft

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Legendary Highlife musician Sloppy Mike Gyamfi has accused fellow Highlife artiste Kuami Eugene of using his song without authorization.

According to the veteran musician, Kuami Eugene performed his song word for word and uploaded it on YouTube without seeking permission from him. He explained that although the younger artiste sang the song well and added some flavour to it, he did not contact him beforehand to seek clearance.

Speaking on the flagship Ekwanso Dwoodwoo drive time show on Okay FM with host Nana Romeo, Sloppy Mike Gyamfi said he was surprised when he heard the rendition of his song Asem Kakra Bi online.

“Kuami Eugene has taken my song. Visit his YouTube platform; he did it very well.

He sang the song so nicely, and I was awed when I heard it. Just Google Asem Kakra Bi and you’ll find it. He did a very good job on the song though. But Kuami never spoke to me about the song. It’s not like he sampled it or took some parts of it; he sang it word for word,” he said.

When asked by Nana Romeo whether Kuami Eugene was supposed to seek permission before using the song, the veteran musician responded that the right procedure would have been to request clearance.

However, Sloppy Mike Gyamfi indicated that he does not hold any personal grudge against the Angela hitmaker, describing him as someone he sees as a son.

“I won’t fault him that much. He’s like my son, so if he admires my work and uses it, I have no problem with it,” he noted.

Despite his forgiving stance, the veteran musician maintained that proper respect and due process should have been followed.

He added that although Kuami Eugene may know his work, the artiste has never personally introduced himself to him.

“I have forgiven him, but if someday he introduces himself to me, I will be happy. He should bring me my portion of the earnings. Not giving me even a penny is not right,” he added.

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Police Arrest Counsellor Lutterodt Over Alleged Incitement in Viral Video About Late Highlife Star Daddy Lumba

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Marriage counsellor and public commentator Cyril George Carstensen Lutterodt, popularly known as Counsellor Lutterodt, has been arrested by the Ghana Police Service over remarks made in a viral video that allegedly incited youth to storm the residence of late highlife legend Daddy Lumba.

The arrest was carried out by the Criminal Investigations Department (CID) following investigations into comments authorities say were offensive and capable of disturbing public peace.

In a press release issued on March 10, 2026, and signed by Chief Inspector Brigitte Babanawoo, Public Relations Officer of the CID, police indicated that Lutterodt’s remarks were linked to issues surrounding the late musician.

“Police investigations indicate that the suspect made some comments in relation to issues surrounding the late musician which are considered offensive and capable of causing a breach of the peace,” the statement said.

Although the police did not disclose the exact content of the viral video, reports suggest the remarks targeted the memory of Daddy Lumba and circulated widely on social media, sparking public outrage. Lutterodt is alleged to have encouraged some youth to exhume the musician’s body from his residence in East Legon.

Counsellor Lutterodt is a well-known figure in Ghana’s media landscape, frequently appearing on radio and television programmes to provide relationship advice and commentary on social issues. His outspoken style has often generated both support and controversy.

Police confirmed that he has since been granted bail but will be arraigned before court on Wednesday, March 11, 2026.

According to the CID, Lutterodt will face charges of offensive conduct conducive to the breach of the peace under Section 207 of the Criminal Offences Act, 1960 (Act 29), as well as inciting violence under provisions of the Public Order Act, 1994 (Act 491).

The offences relate to behaviour or speech that could provoke violence, public disorder, or actions likely to disturb societal peace.

Daddy Lumba, widely regarded as one of Ghana’s most influential highlife musicians, died on July 26, 2025, leaving behind a celebrated musical legacy and a large fan base across the country and beyond.

Lutterodt is expected to appear before an Accra court on Wednesday, where the charges will be formally read and his legal team will respond.

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