Veteran Ghanaian actor Kofi Adjorlolo has explained why he will not appear in LilWin’s upcoming movie, A Journey to Africa (Nzulezu), citing health challenges as the reason for his absence.

Adjorlolo disclosed that he had been approached to feature in the production but was still recovering from an illness after returning from Nigeria, where he had been working on another film project.

Speaking in an interview with Max TV, the actor said he informed LilWin and his production team about his health condition, stressing that his decision not to participate had nothing to do with any disagreement between them.

He explained that he maintained a cordial relationship with LilWin and had supported several of the filmmaker’s previous productions without turning down opportunities to work with him.

According to Adjorlolo, there is no misunderstanding between the two, adding that his inability to join the upcoming movie was solely due to his health.

Beyond clarifying his absence, the veteran actor also shared his concerns about the challenges facing Ghana’s film industry, calling for increased investment to improve the quality of local productions.

He argued that filmmakers need adequate financial support to produce high-quality movies capable of competing with productions from other countries and helping the Ghanaian film industry grow.

LilWin’s A Journey to Africa (Nzulezu) features a blend of Ghanaian and Nigerian actors, including Nollywood stars Kanayo O. Kanayo, Patience Ozokwor, Mike Ezuruonye, Charles Awurum, Zubby Michael and Destiny Etiko.

The project forms part of LilWin’s efforts to bring actors and other talents from across the African film industry together to create a production that showcases the continent’s cinematic talent.

Northern Ghanaian music star Fancy Gadam has announced a change of venue for this year’s Gadam Nation Concert, moving the event from the Legon Sports Stadium to the Bukom Boxing Arena.

The announcement was made by the 5M Music team, which is organising the concert.

According to the organisers, the decision followed challenges associated with the cost of organising the event, production requirements and other arrangements at the Legon venue.

The concert will now return to the Bukom Boxing Arena, a venue that has hosted previous editions of the event.

The organisers apologised to fans who had anticipated attending the concert at Legon but stressed that the relocation was temporary and did not mean the plans to expand the event had been abandoned.

They said they remained committed to taking the Gadam Nation Concert to the Legon Sports Stadium in 2027.

Fancy Gadam has built a strong following, particularly in northern Ghana, where his music and performances have helped him maintain a prominent position in the regional entertainment scene.

The Gadam Nation Concert is an important platform for connecting the musician with his supporters, and the venue change is likely to be relevant to fans making travel and attendance arrangements.

Patrons should follow official announcements from Fancy Gadam and the organising team for confirmed dates, ticketing information and any further changes.

Source: Adomonline

Ghanaian-British singer Stephanie Benson has encouraged couples to make deliberate efforts to keep their relationships exciting, arguing that romance requires attention and participation from both partners.

In comments reported on October 8, the singer offered advice on ways couples can strengthen their relationships and prevent them from becoming routine.

Her message centred on the idea that partners should not assume affection and intimacy will remain strong without effort. Instead, she encouraged couples to be intentional about how they treat each other and maintain their connection.

The advice included the suggestion that partners may sometimes need to make an effort even when they are not naturally in the mood, as part of keeping a relationship engaging.

The comments have the potential to spark debate about the difference between making an effort in a relationship and feeling pressured to behave in a way that does not reflect one’s emotions.

Healthy relationships require communication, mutual respect and consent. Effort should be shared by both partners rather than becoming the responsibility of only one person.

Benson is known for speaking openly about relationships and personal experiences, alongside her career as a singer. Her public comments on romance often prompt discussion among audiences with different views about marriage and long-term partnerships.

Source: Adomonline

Ghanaian dancehall star Stonebwoy and members of his Burniton Music Group team have paid a courtesy call on the British High Commissioner to Ghana, H.E. Dr Christian Rogg, following the successful debut of BHIM FEST London 2026.

In a post shared on X, the visit follows the staging of the festival in London, marking a new milestone in Stonebwoy’s efforts to expand his musical reach and strengthen his international presence.

Stonebwoy, born Livingstone Etse Satekla, has consistently used his music and live performances to promote Ghanaian culture to audiences beyond the country.

The meeting with Dr Rogg comes as the artiste and his team reflect on the London festival and its significance for the continued growth of the BHIM brand internationally.

BHIM FEST has become an important platform for celebrating Stonebwoy’s music and connecting with his fan base, while also providing opportunities to showcase Ghanaian music and culture to international audiences.

The debut London edition represents another step in the expansion of the festival beyond Ghana.

Ghana’s Ministry responsible for tourism, culture and the creative arts has undergone several changes in name and institutional focus since its establishment in 1993, reflecting successive governments’ approaches to tourism development, cultural preservation and the promotion of the country’s creative industries.

In a historical account titled “Ghana: History of the Ministry of Tourism, Culture and Creative Arts,” veteran cultural figure Ras Caleb Appiah-Levi traces the evolution of the ministry, highlighting its establishment, subsequent transformations and the individuals who have led it over the years.

According to him, tourism in Ghana extends beyond travel and leisure, serving as a means of projecting the country’s identity, heritage and cultural values to the international community.

Ministry of Tourism established in 1993

Ras Caleb Appiah-Levi identifies March 23, 1993, as the date the Ministry of Tourism was formally established under Ghana’s Fourth Republic.

He explains that the ministry was carved out of the then Ministry of Trade and Tourism, marking an important step towards treating tourism as a distinct sector capable of contributing to national development, foreign exchange earnings and cultural promotion.

The separation, he argues, reflected a growing recognition that tourism deserved dedicated attention rather than being managed primarily as an extension of trade.

The ministry’s establishment created an institutional framework for developing Ghana’s tourism potential and promoting the country’s attractions, heritage sites and cultural experiences.

Changes in name reflect shifting priorities

Over the years, the ministry has undergone several changes in name and mandate, reflecting different governments’ priorities and their approaches to tourism, culture and national development.

One of the designations was the Ministry of Tourism and Modernisation of the Capital City, under which tourism promotion was linked to the beautification and modernisation of Accra.

Appiah-Levi notes that the approach recognised the importance of the capital as a major point of entry for international visitors, making its appearance and development relevant to Ghana’s tourism image.

The ministry later became known as the Ministry of Tourism and Diaspora Relations, reflecting efforts to strengthen Ghana’s relationship with people of African descent and Ghanaians living abroad.

According to Appiah-Levi, this period helped advance initiatives such as the Joseph Project and laid part of the groundwork for subsequent diaspora-focused programmes, including the Year of Return.

The initiative represented a broader understanding of the diaspora not merely as a source of visitors but as a community with historical, cultural and economic connections to Ghana.

Another significant transition came with the adoption of the name Ministry of Tourism, Culture and Creative Arts.

This change brought tourism, cultural heritage and the creative industries together under one institutional framework. It also reinforced the idea that Ghana’s music, traditional dances, films, fashion and other artistic expressions could serve as tourism products while creating opportunities for employment and investment.

The ministry subsequently operated under the name Ministry of Tourism, Arts and Culture, before the designation Ministry of Tourism, Culture and Creative Arts was restored, according to the historical account.

Appiah-Levi argues that the inclusion of these sectors reflects their interconnected roles in promoting Ghana internationally.

He maintains that the country’s tourism appeal cannot be separated from its cultural heritage, including its castles, traditional textiles, festivals, music and other forms of artistic expression.

Twelve leaders who have headed the ministry

In his account, Appiah-Levi identifies 12 individuals who have led the ministry since its establishment, highlighting their contributions to the development of Ghana’s tourism sector.

The individuals listed are:

1. Dr Stephen Ayidiya – Described as a pioneer who helped establish the ministry’s foundations.
2. Mrs Vida Amaadi Yeboah – Credited with bringing cultural depth to the ministry’s work.
3. Mr. Mike Gizo.
4. Mr Jake Obetsebi-Lamptey – Recognised for his role in marketing Ghana as a tourism destination.
5. Mr Stephen Asamoah Boateng.
6. Mrs Oboshie Sai-Cofie.
7. Mrs Elizabeth Ofosu-Adjare.
8. Mrs Catherine Ablema Afeku.
9. Mrs Barbara Oteng Gyasi.
10. Dr Mohammed Awal – Associated with efforts to position tourism as a contributor to economic growth.
11. Mr Andrew Egyapa Mercer.
12. Ms Abla Dzifa Gomashie – Identified in the account as the current minister responsible for the portfolio.

Appiah-Levi says each administration has contributed to the ministry’s development, with its leadership shaping policies and approaches to tourism promotion, cultural preservation and the creative arts.

The list, however, reflects the author’s account and would require further verification against official ministerial records to establish the precise dates of each person’s tenure and the institutional arrangements during their respective periods in office.

Tourism, culture and creative arts as economic assets

Beyond the ministry’s administrative history, Appiah-Levi argues that tourism, culture and the creative arts should be treated as central components of Ghana’s economic and diplomatic strategy.

He maintains that the sectors offer opportunities to generate foreign exchange, create jobs, attract investment and strengthen the country’s international image.

Ghana’s cultural heritage, traditional festivals, historical landmarks, music, fashion and film industry provide a range of experiences that can attract visitors while creating markets for local businesses and creative professionals.

The integration of tourism and the creative arts also offers opportunities for communities to benefit economically from their cultural resources, provided those resources are protected and promoted sustainably.

For Appiah-Levi, the ministry’s evolution demonstrates a gradual recognition of the relationship between tourism and Ghana’s broader cultural identity.

He argues that the country must move beyond viewing tourism as a seasonal activity and instead develop it as a sustainable contributor to national development.

Call to preserve and promote Ghana’s heritage

Concluding his historical account, Appiah-Levi emphasises the importance of preserving Ghana’s cultural assets, promoting them internationally and ensuring that their economic benefits reach Ghanaians.

He argues that tourism, culture and the creative arts are not peripheral sectors but important instruments of economic development, cultural diplomacy and national identity.

He therefore calls for sustained efforts to protect Ghana’s heritage, strengthen the creative industries and develop tourism opportunities for future generations.

The history of the ministry, as presented in his account, reflects the changing recognition of tourism and culture in national development planning, as well as the continuing challenge of translating Ghana’s rich heritage and creative potential into sustainable economic benefits.