Entertainment
Daddy Lumba: The Complete Story of the Highlife Legend, From Nsuta to Global Fame
For more than four decades, Charles Kwadwo Fosu, popularly known as Daddy Lumba, occupied a unique place in Ghanaian music.
He was a singer, songwriter, composer, producer, instrumentalist and mentor whose career stretched from school choirs and church music to Germany’s Burgher Highlife scene, Ghana’s mainstream highlife industry and, eventually, a catalogue spanning more than 30 albums.
His songs dealt with love, heartbreak, marriage, poverty, faith, family, death, hope, money, betrayal, social life and personal experiences.
He also became one of the most influential musicians to emerge from Ghana’s highlife tradition, inspiring artists across several generations.
Daddy Lumba died on July 26, 2025, at the age of 60, after a short illness. His death ended one of the longest and most influential careers in modern Ghanaian popular music.
His real name and where he was born
Daddy Lumba was born Charles Kwadwo Fosu on September 29, 1964, at Nsuta, near Mampong in Ghana’s Ashanti Region.
His parents were Johnson Kwadwo Fosu and Comfort Gyamfi, popularly known as Ama Saah.
Both his parents were teachers, and he was the second of three siblings. His father died while he was still young, while his mother remained an important influence throughout his life.
The official Daddy Lumba biography identifies his father as Johnson Kwadwo Fosuh and his mother as Comfort Gyamfi, also known as Ama Saah.
His mother’s influence would later become particularly visible in his music. After she died in 2001, Lumba dedicated several songs to her and reflected on the impact she had on his life.
His childhood and education
Daddy Lumba began his education in the Nsuta area before moving to Kumasi.
He attended Suame Methodist School, completing his junior high education in 1979.
He subsequently attended Adu Gyamfi Senior High School in Jamasi before transferring to Juaben Senior High School, where he completed his secondary education in 1984.
He studied Agricultural Science at Juaben, where former teachers later remembered him as a bright student.
But while education was important to him, music was already becoming the force that would determine the direction of his life.
The boy who discovered music at 16
Daddy Lumba’s professional journey began while he was still a teenager.
At around 16, he became deeply involved in music.
At Juaben Senior High School, he became a member and later leader of the school choir.
He also became associated with a group known as the Nkwanta Wesley Singers, which gained attention through performances at the Anokye Krom Cultural Centre.
It was during this period that the young musician began writing and performing his own songs.
One of the songs he composed during his school days was Lumba Lumba.
The song was reportedly dedicated to freedom fighters in South Africa.
Its popularity helped give him the nickname Daddy Lumba, a name that eventually became his permanent stage identity.
The first Lumba Brothers
Before becoming the solo star known across Ghana, Daddy Lumba was already experimenting with a group called the Lumba Brothers.
During his school years, he formed the group with friends including Yaw and Kwabena, as well as his then-girlfriend Theresa Abebrese.
This early group laid the foundation for the name that would later become famous when he teamed up with Nana Acheampong in Germany.
Theresa Abebrese and the journey to Germany
One of the most important people in Daddy Lumba’s early story was Theresa Abebrese, his school sweetheart.
After completing secondary school, Lumba travelled to Germany with support from Theresa as he pursued opportunities outside Ghana.
His move happened during a period when a number of Ghanaian musicians were travelling to Germany in search of better economic opportunities.
Germany, particularly Hamburg, had become an important centre for Ghanaian musicians and the development of what became known as Burger/Burgher Highlife. Academic research on the genre identifies Daddy Lumba and Nana Acheampong among the Ghanaian musicians who developed their careers within that German-based musical environment.
Meeting Nana Acheampong
Germany changed Daddy Lumba’s musical direction.
There, he met Ernest Nana Acheampong, another Ghanaian musician.
Nana Acheampong had already been involved in music and became an important influence on Lumba, particularly in introducing him to highlife beyond the gospel music he had primarily known.
The two eventually revived the Lumba Brothers name and began working together.
Their partnership would become one of the defining collaborations of the early Burgher Highlife movement.
The historic Lumba Brothers album
Daddy Lumba and Nana Acheampong recorded their first major album together, Yɛɛyɛ Aka Akwantuo Mu.
There are differing accounts over the exact recording and release timeline. Daddy Lumba’s official biography states that the album was recorded in 1986, while financial difficulties delayed its release until 1989.
The album became a breakthrough for the duo and helped bring the emerging German-based highlife sound to Ghanaian audiences.
It also established Daddy Lumba as a serious recording artiste.
Burgher Highlife
Daddy Lumba became one of the most recognised names associated with Burgher Highlife, a style that developed among Ghanaian musicians in Germany.
The genre combined elements of traditional Ghanaian highlife with European production technology, electronic instruments and other contemporary musical influences.
Researchers have identified Hamburg as a major centre for this development, with Ghanaian musicians using studios and new technology to create music that reflected both their African roots and their European surroundings.
Daddy Lumba would eventually become one of the genre’s biggest stars.
The Lumba Brothers split.
Although the Lumba Brothers achieved major success, the partnership did not last forever.
The two eventually went their separate ways.
Nana Acheampong continued his own successful career, while Daddy Lumba began building what would become one of Ghana’s most extensive solo careers.
The separation did not erase their contribution as a duo.
Their work remains an important chapter in the development of Ghanaian music in Europe.
Daddy Lumba becomes a solo artiste.
In 1990, Daddy Lumba released his first major solo album, Obi Ate Meso Buo.
The album featured the song Theresa, which became one of the most recognisable songs associated with his early solo career.
The song was linked to his former sweetheart and the woman who had played an important role in his journey to Germany.
His solo career immediately established him as more than just the former member of the Lumba Brothers.
He had become a star in his own right.
The 1990s: The rise of a highlife giant
The 1990s were crucial to Daddy Lumba’s development.
He released album after album and demonstrated an unusual ability to combine traditional highlife with contemporary sounds.
Among the albums associated with this period are:
- Obi Ate Meso Buo
- Sika Asem
- Playboy
- Odo Foforo
- Biribi Gyegye Wo
- Sesee Wo Se
- Mesom Jesus
- Hwan Na Otene
- Back For Good
- Ebi Se Eye Aduro
- Aben Wo Ha
Contemporary catalogues and historical accounts document his enormous output during this period.
Sika Asem
One of Daddy Lumba’s important early solo albums was “Sika Asem.”
The title and songs around it reflected his tendency to use music to discuss everyday Ghanaian concerns.
Money, relationships, social expectations and human behaviour repeatedly appeared in his songwriting.
This became one of the reasons his songs connected with listeners beyond the dance floor.
He was not simply singing for entertainment.
He was telling stories about people.
Playboy and controversy
Daddy Lumba’s music also generated controversy.
His lyrics sometimes dealt openly with relationships, romance and sexuality in ways that were considered provocative.
His “Playboy” era contributed to his image as an artiste who was not afraid to tackle subjects that other musicians might avoid.
Academic research into Ghanaian popular music has noted that his controversial and sometimes sexually suggestive themes contributed to his popularity, particularly during the 1990s.
Biribi Gyegye Wo
Another important record was Biribi Gyegye Wo, released in the early 1990s.
One of its memorable songs, Makra Mo, later became especially significant after his death.
The song deals with mortality and saying goodbye.
During his funeral in December 2025, the playing of “Makra Mo” became one of the most emotional moments as mourners confronted the reality that the musician they had listened to for decades was gone.
His relationship with religion
Although Daddy Lumba became known for romantic and socially provocative songs, gospel music remained part of his musical identity.
His early musical upbringing was heavily influenced by church and gospel music.
He later released projects such as Mesom Jesus, demonstrating that his catalogue was not limited to romance and secular highlife.
His songs often returned to God, faith, hope, death and the uncertainties of life.
This mixture of secular highlife and spiritual themes became one of the distinctive features of his catalogue.
Sesee Wo Se
In the mid-1990s, Daddy Lumba continued his run with albums such as “Sesee Wo Se.”
The album included Children of the Future, another example of his ability to move beyond romantic themes and address broader issues.
His songwriting frequently shifted between personal relationships and wider observations about society.
Back For Good
In 1997, Daddy Lumba released “Back For Good.”
The project added another chapter to a rapidly expanding discography.
By this point, he had established himself as one of Ghana’s most recognisable recording artistes.
His music was being consumed by Ghanaians at home and in the diaspora.
Aben Wo Ha — one of his biggest songs
Then came “Aben Wo Ha.”
Released in 1998, the song became one of the defining records of Daddy Lumba’s career.
Its title and lyrics became part of Ghanaian popular culture, and the song’s popularity extended well beyond the country’s borders.
Years later, “Aben Wo Ha” would experience renewed attention when Ghanaian footballers and international celebrities were seen using the song in social-media content.
The song remains one of the most recognisable records in his catalogue.
The 1999 Ghana Music Awards
Daddy Lumba’s achievements were formally recognised at the 1999 Ghana Music Awards.
Contemporary accounts record him winning major honours including Artist of the Year, Best Album and Most Popular Song.
The awards reinforced his position as one of the dominant forces in Ghanaian music at the time.
Daddy Lumba, the producer
His influence was not limited to his own recordings.
Daddy Lumba also became an important producer and mentor.
His official biography identifies a number of musicians whose careers he helped develop, including Felix Owusu, Afia Ampofowaa, Kwabena Sunkwa, Ofori Amponsah, Selina Orleans, Akua Serwaa Bonsu, Borax and Ateaa Tina.
One of the best-known examples was Ofori Amponsah.
Lumba was involved in Ofori Amponsah’s Wo Ho Kyere project in 1999, helping launch a career that would later become significant in Ghanaian highlife.
Daddy Lumba and Ofori Amponsah
Their collaboration became particularly memorable because of songs that combined Daddy Lumba’s established style with Ofori Amponsah’s younger voice.
The relationship demonstrated another side of Lumba’s career.
He was not only competing for space in the music industry.
He was also creating opportunities for younger musicians.
His influence on Sarkodie and a younger generation
Daddy Lumba’s influence extended far beyond highlife musicians.
The official Daddy Lumba website identifies musicians including Sarkodie, Kuami Eugene, KiDi and Oheneba Kissi among artistes who have regarded him as a major inspiration.
That influence is important because it shows how his music crossed generational boundaries.
He belonged to the era of cassette tapes, CDs and live bands, yet his work remained relevant to musicians who emerged during the digital era.
His songwriting
One of Daddy Lumba’s greatest strengths was his songwriting.
He wrote about ordinary human experiences: Love, Heartbreak, Marriage, Money, Family.Faith.Poverty.Hope.Death.Betrayal, Friendship.Success.Failure.
His songs often sounded personal, but their themes were broad enough for listeners to see themselves in them.
That ability to turn everyday Ghanaian experiences into songs helped him maintain a loyal audience.
His voice and musical style
Daddy Lumba’s sound changed repeatedly throughout his career.
He moved from the German-based Burgher Highlife of the Lumba Brothers period to more polished Ghanaian highlife productions.
He incorporated keyboards, electronic production and other modern sounds while maintaining the melodic and rhythmic foundations of highlife.
He also occasionally incorporated English and other languages.
His song Homeless, for example, has been noted for incorporating Twi, English and German, reflecting his experiences in Germany.
His fashion and changing appearance
Daddy Lumba also became known for his changing appearance.
Over the years, he experimented with different hairstyles and fashions.
His image changed alongside his music, allowing him to remain visually relevant as Ghanaian popular culture evolved.
His confidence, stage presence and distinctive personal style became part of his public identity.
His mother, Ama Saah
Daddy Lumba’s relationship with his mother was one of the most important personal themes in his music.
Comfort Gyamfi, popularly known as Ama Saah, died in 2001.
Her death affected him deeply.
Several of his songs, including Anidasoɔ Wɔhɔ Ma Obiara, Ohia Asɛm, Ɛmmere Pa Bɛba, and Agya Bi Wua Agya Bi Tease, have been associated with his reflections on his parents and the pain of losing his mother.
His music therefore became a place where he processed grief as well as celebrated life.
His family life
Daddy Lumba’s private life attracted considerable public interest throughout his career.
He had relationships and marriages that became part of public discussion, particularly after his death.
His first wife was Akosua Serwaa, with whom he had children.
He was later married to Priscilla Ofori, popularly known as Odo Broni.
Because of legal disputes following his death, questions surrounding the status of the marriages became matters before the courts.
In November 2025, the Kumasi High Court recognised both women as legitimate spouses for purposes connected to the dispute and widowhood rites, while the matter remained subject to further legal proceedings.
For a historical biography, it is important to distinguish those court proceedings from unverified claims circulating on social media.
His children
Daddy Lumba was a father to several children.
His children have largely remained outside the centre of his musical career, although some became publicly visible after his death, particularly during the funeral ceremonies.
They later received the Lifetime Achievement Award presented to their father posthumously at the 2026 Telecel Ghana Music Awards.
His later musical years
Daddy Lumba never completely withdrew from music.
Even after decades in the industry, he continued recording and releasing songs.
Among his later works were:
- Awosoo
- Asee Ho
- Ko Hye Po
- Sika
- Ahenfo Kyiniye
- Awarepa Ye Anibre
- Agenda
- Ofon Na Edi Asem Fo
His official discography continues to list these works alongside many of his earlier releases.
Ofon Na Edi Asem Fo
In December 2022, Daddy Lumba released “Ofon Na Edi Asem Fo.”
The project marked a reunion with longtime collaborator Kweku Mensah, according to his official biography.
It showed that even after more than three decades in the industry, Lumba was still producing new material.
His final releases
Daddy Lumba remained active in the years immediately before his death.
His official website lists “Gyama Abɔ Woso”, released on March 29, 2024, as a single written, composed, arranged and produced by him.
This was another demonstration of how involved he remained in the creative process.
He was not simply a singer interpreting somebody else’s work.
He was consistently involved as a songwriter, composer, arranger and producer.
His enormous catalogue
Daddy Lumba’s catalogue is one of the biggest associated with a Ghanaian highlife musician.
His official biography says he released 33 albums, while other discography databases classify his output differently depending on whether collaborative projects, compilations and reissues are counted.
Among the best-known projects associated with his career are:
Lumba Brothers period
- Yɛɛyɛ Aka Akwantuo Mu
Solo era
- Obi Ate Meso Buo
- Sika Asem
- Playboy
- Odo Foforo
- Biribi Gyegye Wo
- Sesee Wo Se
- Mesom Jesus
- Hwan Na Otene
- Back For Good
- Ebi Se Eye Aduro
- Aben Wo Ha
- Adepa Hye Adepa Mu
- Poison
- Mato Odo Mu
- Bubra
- Tokrom
- Asee Ho
- Odo Bewu Dee
- Wo Ho Kyere
- Awosoo
- Ko Hye Po
- Ahenfo Kyiniye
- Ofon Na Edi Asem Fo
This list is not exhaustive; Daddy Lumba’s official discography contains additional releases, and the catalogue has been reissued in different forms over the years.
Some of Daddy Lumba’s most remembered songs
His catalogue contains hundreds of songs, but some of the titles most closely associated with his career include:
- Theresa
- Obi Ate Meso Buo
- Sika Asem
- Ohia Asem
- Playboy
- Biribi Gyegye Wo
- Makra Mo
- Children of the Future
- Sesee Wo Se
- Back For Good
- Aben Wo Ha
- Ebi Se Eye Aduro
- Wo Ho Kyere
- Odo Mmra Fie
- Esi So
- Wokaekae Me
- Bubra
- Enshie Wo
- Nana Ye Winner
- Hwan Na Etwie
- Awosoo
- Enko Den
- Nya Abotare Na Twen Awurade
- Ofon Na Edi Asem Fo
- Gyama Abɔ Woso
His official and archival discographies document an even larger body of work.
His collaborations
Daddy Lumba worked with numerous Ghanaian musicians during his career.
His collaborations included Nana Acheampong, Ofori Amponsah, Okyeame Kwame, Pat Thomas, Borax, Ateaa Tina and many others.
One of his notable later collaborations was Enshie Wo with Okyeame Kwame.
He also collaborated with Pat Thomas on Ahenfo Kyiniye, while Borax was associated with Asee Ho.
His relationship with politics and public life
Daddy Lumba’s songs also occasionally became connected to Ghanaian politics.
His music was used in political campaigning, most notably songs associated with the New Patriotic Party.
Following his death in 2025, former President Nana Addo Dankwa Akufo-Addo publicly recalled Lumba’s contribution to his presidential campaigns and described the musician as having had a special connection with his political journey.
This became another example of how deeply his music had entered Ghana’s wider public life.
His final days
Daddy Lumba continued to maintain a public presence before his death.
On July 26, 2025, his family announced that the musician had died following a short illness.
He was 60 years old.
The family described him not simply as a musician but as a cultural icon whose music had touched generations of Ghanaians.
His death immediately triggered an outpouring of tributes from musicians, politicians, entertainers and fans.
A nation mourns
The one-week memorial held at Independence Square in Accra drew thousands of people.
Musicians including Amakye Dede, Kofi Nti and Kay Bless performed Daddy Lumba’s songs.
Other prominent personalities, including Sarkodie and his wife Tracy, attended the memorial.
The event demonstrated that his appeal had extended far beyond the traditional highlife audience.
The funeral in Kumasi
Daddy Lumba was finally laid to rest in Kumasi on December 13, 2025, at Heroes Park near the Baba Yara Sports Stadium.
Thousands of mourners attended.
People travelled from different parts of Ghana and abroad, with many wearing black or Daddy Lumba-branded shirts.
His former Lumba Brothers partner, Nana Acheampong, performed at the funeral, creating one of the most emotional moments of the ceremony.
His song Makra Mo was also played during the farewell.
For many mourners, the lyrics took on a new meaning because the man singing about mortality was now being buried.
His posthumous Lifetime Achievement Award
In May 2026, Daddy Lumba was honoured posthumously at the 27th Telecel Ghana Music Awards with a Lifetime Achievement Award.
His children and family representative, Victor Kofi Owusu, popularly known as Abusua Payin Tupac, received the award on his behalf.
The ceremony included performances of some of Lumba’s most popular songs by artists including Ofori Amponsah, Okyeame Kwame, Ras Kuuku and Kwabena Kwabena.
The award came after a career spanning more than four decades.
The Daddy Lumba sound
What made Daddy Lumba particularly significant was his ability to change without abandoning his roots.
He began with gospel influences.
He became part of the Burgher Highlife movement.
He developed a successful solo highlife career.
He incorporated contemporary production techniques.
He worked with younger musicians.
He produced for other artistes.
He experimented with romantic music, gospel, social commentary and motivational themes.
And he continued recording into his later years.
That adaptability helped keep his music relevant across generations.
Why his songs lasted
A major reason Daddy Lumba’s songs endured was their connection to ordinary Ghanaian experiences.
A young person could listen to his love songs.
A married person could identify with his relationship stories.
Someone struggling financially could relate to his songs about money and hardship.
Someone grieving could find comfort in his songs about death.
A religious listener could connect with his gospel recordings.
And someone simply looking for music to dance to could find a highlife rhythm in his catalogue.
His music covered almost every stage of life.
The musicians he influenced
Daddy Lumba’s influence can be seen in the work of musicians who emerged after him.
The official Daddy Lumba website lists Ofori Amponsah, Sarkodie, Kuami Eugene, KiDi, Oheneba Kissi and others among artists who have regarded him as a major inspiration.
His influence therefore crosses genre and generation.
He influenced traditional highlife musicians, contemporary highlife singers and artists working in newer Ghanaian genres.
A musician who became an institution
By the end of his life, Daddy Lumba had become more than a recording artist.
His name itself had become a part of Ghanaian popular culture.
Daddy Lumba represented a sound, an era, a style of songwriting and a particular approach to Ghanaian highlife.
His songs were played at weddings, funerals, parties, radio stations, political rallies and family gatherings.
That widespread use meant that his music became part of the soundtrack of Ghanaian life.
The unfinished story
Daddy Lumba’s death did not end public interest in his life.
Instead, questions about his music, family, estate and legacy continued to attract public attention.
His burial itself followed months of legal and family disputes, including litigation concerning marital recognition and widowhood rites.
The Kumasi High Court’s proceedings and subsequent appeal became part of the posthumous history surrounding the musician.
Those matters are separate from his musical achievements, but they have become part of the public record surrounding his final years.
The legacy
Daddy Lumba left behind more than albums.
He left behind songs that became memories.
He left behind a generation of musicians he influenced.
He left behind younger artistes whose careers benefited from his production and mentorship.
He left behind a massive catalogue that continues to be rediscovered.
He left behind a style that helped bridge traditional highlife and modern Ghanaian popular music.
And perhaps most importantly, he left behind music that many Ghanaians associate with specific moments in their own lives.
From Theresa to Aben Wo Ha, from Sika Asem to Wo Ho Kyere, from Biribi Gyegye Wo to Makra Mo, his music followed Ghanaians through love, celebration, heartbreak, struggle and loss.
Daddy Lumba began his journey as a young boy from Nsuta, singing in school and church.
He travelled to Germany in search of opportunity.
He met Nana Acheampong.
He became part of the Lumba Brothers.
He helped popularise Burgher Highlife.
He became a solo star.
He produced for other musicians.
He released more than 30 albums.
He influenced several generations.
And on July 26, 2025, the voice that had provided a soundtrack to so many lives fell silent.
But the music did not.
In May 2026, when the Telecel Ghana Music Awards honoured him posthumously with a Lifetime Achievement Award, the tribute performances demonstrated that his catalogue remained active in Ghanaian popular culture.
Daddy Lumba’s life was therefore not only the story of one musician.
It was the story of four decades of Ghanaian highlife itself — from analogue recording and cassette culture to digital music and social media, from Hamburg to Accra, and from a teenage choir leader in Juaben to one of the most recognisable names in Ghanaian music.
His final chapter may have ended, but the story contained in his songs continues.
Ghana is set to take the spotlight in fashion, culture and the creative economy as the maiden Black Star Fashion Week (BSFW) prepares to bring together designers, creatives, investors, industry players and fashion enthusiasts for a two-day national fashion experience.
The initiative is aimed at discovering emerging talent, creating opportunities for players in the fashion industry and showcasing Ghanaian creativity to audiences beyond the country.
The event is being organised under the Presidency-backed Black Star Experience Secretariat, led by the Presidential Staffer for the Black Star Experience, Rex Omar, playing a key role in the initiative.
The programme is being supported by the Ministry of Tourism, Culture and Creative Arts and its agencies, including the Ghana Tourism Authority (GTA) and the Creative Arts Agency.
Black Star Fashion Week will unfold through two connected experiences in Accra and Senchi, moving from industry discussions and talent discovery to a major fashion and cultural celebration.
The first day of the programme is scheduled for November 4 in Accra, where the Black Star Fashion Summit will take centre stage.
The summit will provide a platform for designers, fashion entrepreneurs, creatives, industry leaders, investors, buyers, manufacturers, policymakers, media practitioners and other stakeholders to engage in discussions about the future of Ghana’s fashion industry.
The programme will feature keynote addresses, panel discussions, fireside conversations, masterclasses, industry presentations and practical workshops.
Key areas to be explored include entrepreneurship, branding, digital marketing, textile innovation, manufacturing, fashion finance, export readiness, e-commerce, artificial intelligence, sustainability and intellectual property.
The summit is expected to provide participants with opportunities to exchange ideas, develop new skills, build industry connections and explore avenues for expanding Ghanaian fashion locally and internationally.
A major highlight of the Accra programme will be the 16-Region Designer Programme, which will bring emerging fashion talents from across Ghana onto one national platform.
Each participating designer will be required to develop a creative fashion interpretation inspired by their respective region.
Their presentations will draw on the identity, culture, heritage, local materials, craftsmanship and contemporary design language of the regions they represent.
At the end of the Accra programme, five designers will be selected from the participants.
One of the five finalists will then progress to the flagship fashion show at Senchi, allowing the selected designer to present on the major Black Star Fashion Week platform.
The second day of the programme will take place at Royal Senchi on November 7, where the Black Star Fashion Show and Experience will be held.
The Senchi programme will extend beyond the traditional runway, with a Fashion Village forming part of the overall experience.
The Fashion Village will feature designer showcases, retail, textiles, artisan experiences, brand activations, beauty, technology, food and beverage, tourism and lifestyle experiences.
The event will also showcase the relationship between fashion and Ghana’s broader cultural identity.
Visitors will experience elements of Ghanaian music, dance, textiles, craft, food, storytelling, heritage and visual arts, creating a wider celebration of the country’s creative and cultural heritage.
Black Star Fashion Week will also recognise outstanding contributors to Ghana’s fashion ecosystem.
The event will provide opportunities for designers and creative businesses to connect with buyers, investors, manufacturers, retailers and other industry stakeholders through networking and business engagements.
The organisers are positioning the initiative not only as a fashion showcase but also as a platform for talent development, industry collaboration and commercial opportunities.
The Black Star Experience (BSE) is a Government of Ghana initiative focused on culture, arts, tourism and creative engagement.
As a national, year-round platform, it brings together Ghana’s cultural, artistic, tourism and creative offerings with the broader objective of strengthening Ghana’s identity and promoting the country as a preferred global destination.
The initiative also seeks to position Ghana as a leading cultural and creative capital of Africa.
Minister of Tourism, Culture and Creative Arts, Abla Dzifa Gomashie, has called for improved maintenance, consistent interpretation of historical narratives and sustained investment in tourist attractions to enhance visitor experiences and encourage repeat visits.
She made the call during a tour of selected tourist attractions in the Eastern Region after participating in the 2026 Eastern Regional Tourism Expo, held in Koforidua as part of activities marking World Tourism Day.
The Minister visited the Aburi Botanical Gardens, Aburi Craft Village and Papaye Gardens, where she interacted with facility managers, received briefings on their operations and assessed opportunities for improving the attractions.
At the Aburi Botanical Gardens, she was taken through the site’s rich history, including its historical association with the Biafran War and trees planted by prominent world leaders who had visited the facility.
She also received updates on the condition of the trees and the general state of the gardens before planting a tree herself to underscore the importance of environmental conservation and the preservation of Ghana’s natural heritage.
Gomashie stressed that regular maintenance of the gardens must be treated as a priority, noting that the site’s historical significance and natural beauty could only be preserved through deliberate and sustained care.
She also raised concerns about inconsistencies in the way the history of tourist sites is communicated to visitors.
According to her, tour guides must provide accurate, consistent and coherent accounts of historical events to protect the credibility of attractions.
She explained that conflicting versions of the same historical narrative could confuse visitors and gradually reduce their interest in returning to the sites.
“When visitors receive different accounts of the same historical events during successive visits, they may become uncertain about what to believe,” she noted, stressing the need for a more coordinated approach to historical interpretation.
Although the Aburi Botanical Gardens do not fall directly under the management of the Ministry of Tourism, Culture and Creative Arts, Gomashie said tourism development requires collaboration among institutions responsible for attractions and those providing the infrastructure needed to support them.
She noted that the Ghana Tourism Authority plays a regulatory and supervisory role in the tourism sector, including permits and oversight, but stressed that the development of tourist destinations also depends on cooperation with other ministries and government agencies.
The Minister particularly highlighted the role of the Ministry of Roads and Highways in improving access to tourist attractions.
She disclosed that concerns over poor road access to tourist destinations had been brought to the attention of President John Dramani Mahama, who had tasked the Roads and Highways Minister with prioritising roads leading to key tourism sites.
According to her, a list of roads requiring urgent attention had already been submitted, while the second phase of the government’s Big Push infrastructure programme is expected to focus on improving access to tourist destinations.
Gomashie further stressed the need for tourism facilities to continuously evolve in order to remain attractive to visitors.
She said introducing new features while upgrading existing facilities would provide tourists with fresh experiences and give them more reasons to return.
Her visits to the Aburi Craft Village and Papaye Gardens also offered an opportunity to assess the diversity of tourism products in the Eastern Region and the potential of local attractions to support employment, enterprise development and economic activity.
The Minister was accompanied by the Chief Executive Officer of the Ghana Tourism Authority, Maame Efua Houadjeto; Executive Director of the Ghana Tourism Development Company, Professor Kobby Mensah; Executive Director of the Hotel, Catering and Tourism Training Institute, Dr Eric Afornorfe; Director of the Folklore Board, Mr Adjavon; Director of Tourism, Dr Tamakloe; Director of Culture and Creative Arts, Divine Owusu Ansah; and other officials of the Ministry.
Source: Graphics Online
Ghanaian Kumawood actor and producer Kwadwo Nkansah, popularly known as LilWin, has criticised the growing comparison between professional movie actors and YouTubers or skit makers, insisting that actors who have contributed to the film industry should not be written off.
LilWin made the comments after welcoming a group of Nigerian movie stars who arrived in Ghana to join the cast of his upcoming international movie project, A Journey to Africa (Nzulezu).
The Nigerian stars include veteran actors Kanayo O. Kanayo and Patience Ozokwo, alongside Mike Ezuruonye, Zubby Michael and Destiny Etiko, among others. The production is being positioned as a collaboration between Ghanaian and Nigerian film talents.
According to LilWin, he is deliberately using his platform and resources to support colleagues in the Ghanaian movie industry, particularly actors who have not had regular opportunities to appear on set in recent years.
“I’m not selfish, and that’s why I’m supporting fellow actors who haven’t been on set for a long time.”
He argued that the decline in opportunities for traditional actors should not be interpreted as proof that YouTubers or skit makers have become bigger than established movie stars.
“Only in Ghana do people claim YouTubers are bigger than real movie stars.”
LilWin said professional actors and online content creators operate in different spaces, stressing that the achievements and contributions of established actors to Ghana’s film industry should not be overlooked.
He specifically referenced Nigerian stars such as Sabinus and Kanayo O. Kanayo, questioning whether Ghanaian YouTubers could simply be placed on the same level as actors who have built long careers through film.
For LilWin, the debate should instead focus on creating more opportunities for actors and strengthening Ghana’s movie industry.
The Kumawood star also spoke about his broader ambition of using filmmaking to promote Ghanaian culture and tourism to audiences beyond the country.
His latest project, A Journey to Africa (Nzulezu), takes its name from the famous Nzulezu stilt village in Ghana’s Western Region. The community is located on the Amansuri wetland and is traditionally accessed by canoe.
The choice of location allows the film to place one of Ghana’s distinctive cultural and tourism attractions at the centre of an international production.
LilWin has previously pursued similar Ghana-Nigeria collaborations through his film A Country Called Ghana, which featured Nigerian actors including Ramsey Nouah, Charles Awurum and Victor Osuagwu. His current project is expected to further expand that cross-border approach.
He has also previously spoken about the financial challenges facing Ghana’s movie industry and the need for greater investment in local productions.
In a separate part of his remarks, LilWin also highlighted what he sees as his achievements and influence within the Ghanaian entertainment space.
He said that when it comes to setting records in the industry, only major Ghanaian businessmen such as Osei Kwame Despite and Ibrahim Mahama could compete with him if they decided to enter the movie business.
“When it comes to setting industry records, only businessmen like Despite and Ibrahim Mahama can compete with me if they enter the industry.”
The statement reflects LilWin’s confidence in the scale of his activities as both an actor and producer.
With the arrival of the Nigerian stars, attention is now turning to the production of A Journey to Africa (Nzulezu) and its attempt to combine Ghanaian locations and culture with established Nollywood talent.
LilWin maintained that the ultimate test should be the work itself.
“Let the person act, and then the work itself will speak for itself.”
Ghanaian Kumawood actor Kwadwo Nkansah, popularly known as LilWin, has welcomed a group of Nigerian movie stars who have arrived in Ghana to join the cast of his upcoming movie, A Journey to Africa (Nzulezu).
The Nigerian stars, including Kanayo O. Kanayo, Patience Ozokwor, Mike Ezuruonye, Zubby Michael and Destiny Etiko, touched down at the Accra International Airport on Wednesday, September 30, 2026.
The stars touched down at the Accra International Airport on Wednesday, September 30, 2026, where they were welcomed by Lil Win.
A video shared on social media showed the Ghanaian actor at the airport as he received the Nigerian stars ahead of the movie production.
The project brings together some of Nigeria’s well-known film personalities and Ghanaian talents for the international movie.
Among the Nigerian stars joining the cast are veteran actor Kanayo O. Kanayo, veteran actress Patience Ozokwor, actor Mike Ezuruonye, actor Zubby Michael and actress Destiny Etiko, alongside other Nigerian actors and actresses.
A Journey to Africa (Nzulezu) is Lil Win’s second international movie project and is set to feature the Nigerian stars alongside Ghanaian actors.
Ghanaian socialite and media personality Efia Odo has questioned the rollout of the Ghana Police Service’s automated traffic enforcement system, TRAFFITECH-GH, arguing that authorities should fix faulty traffic lights before introducing more cameras on the roads.
Efia Odo shared her concerns on X on Tuesday, September 29, 2026, in reaction to the ongoing introduction of the technology-based traffic enforcement system.
While she acknowledged that the use of cameras to enforce traffic regulations could be a good idea, she questioned whether the country’s existing road infrastructure was ready for the system.
“Traffic lights don’t even work, but somehow y’all have a budget to install cameras? Great idea, but how ’bout we get the lights to work first!!” she wrote.
Her post was made as the Ghana Police Service prepared for the full implementation of TRAFFITECH-GH, an initiative designed to use technology to detect traffic violations and strengthen enforcement of road traffic regulations.
The system is being implemented through the Motor Traffic and Transport Department (MTTD) and is intended to address indiscipline on Ghana’s roads, improve compliance with traffic laws and contribute to road safety.
The Police Service had initially scheduled the full rollout for October 1, 2026, but the date has now been moved to November 1, 2026.
The Police explained that the additional month would be used for more extensive public education and awareness about how TRAFFITECH-GH operates, the offences the system will detect and how motorists will receive Electronic Notices of Violation (ENV) when they commit offences.
The postponement means drivers, vehicle owners and other road users have additional time to familiarise themselves with the new enforcement system before full implementation.
Efia Odo’s criticism, however, has drawn attention to another issue surrounding the rollout — whether motorists should be held responsible for violations when traffic infrastructure at some locations may not be clearly visible or functional.
Her concerns come amid similar calls from CUTS International Accra, which has urged the government to fix faulty traffic lights, faded road markings and inadequate speed-limit signs before automated enforcement begins.
CUTS argued that although technology could improve compliance and reduce road crashes, enforcement must be based on road infrastructure that is clear and visible to motorists.
The organisation specifically raised concerns about some traffic lights being obscured by vegetation, damaged, displaced or out of service.
It also cited situations where only one of two signal heads at a junction may be functioning, while faded lane markings and stop lines could create uncertainty for drivers.
CUTS identified locations including parts of the Nsawam-Accra Road near the Apenkwa-Achimota overhead bridge and the Police Training Academy junction at Tesano as areas requiring attention.
The group argued that a camera may have a clear view of a vehicle while the driver may not necessarily have a clear view of the traffic signal.
“A camera’s clear view of a vehicle does not mean the driver has a clear view of the relevant signal or sign,” CUTS said.
CUTS has therefore called for enforcement locations to be inspected from the perspective of approaching drivers before automated fines are activated.
It wants authorities to check traffic signals, road signs, lane markings and stop lines during different conditions, including daytime, nighttime and rainy weather.
The organisation also called for displaced traffic lights to be realigned, faulty signal heads restored, overgrown vegetation trimmed and faded road markings repainted.
On speeding enforcement, CUTS said motorists should have clear information about applicable speed limits and urged authorities to install visible speed-limit signs before speed cameras and at locations where speed limits change.
The wider debate comes as Ghana seeks to use technology to strengthen traffic enforcement and reduce road indiscipline.
For Efia Odo, however, the introduction of cameras should go hand in hand with improvements to the physical road infrastructure that motorists rely on every day.
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