In a move that reflects the dynamic relationship between music and politics, the Ghana Music Awards Europe has unveiled a new category for its upcoming edition Political Campaign Song of the Year. This innovative addition seeks to recognise the powerful role music plays in shaping public discourse and driving political engagement.

The announcement was made at the official nominee unveiling for the 4th edition of the awards, held on Thursday, 3rd July 2025, at the Closag Hall in Accra.

This strategic addition reflects the ever-expanding role of music in Ghanaian society, particularly in the political landscape, where campaign songs often become anthems that shape narratives, stir emotions, and mobilise support across the country.

According to the P.R.O. of the scheme, Vida Adu Twumwaa, the inclusion of this category is part of a broader vision to “open the scope of the awards to all corners where music plays a major role.” They believe that recognising political campaign songs not only acknowledges the creativity and influence of the artists behind them, but also appreciates the power of music as a communication tool in democratic processes.

Over the years, political parties in Ghana have increasingly turned to musicians and composers to craft catchy, message-driven tunes to champion their ideals and connect with the masses. From highlife to hiplife and gospel-infused jingles, campaign songs have transcended their initial purpose to become cultural moments in their own right widely shared across social media, rallies, and radio airwaves.

“This is a bold and timely step,” said the P.R.O. of the scheme. “We’re honouring the role of music in every area of our live,s not just in the clubs or on streaming platforms, but also in the national conversation.” The category will be featured every four years, in line with Ghana’s general election cycle.

The Ghana Music Awards Europe, founded to celebrate Ghanaian talent abroad and at home, continues to gain recognition for its forward-thinking approach and commitment to innovation. The addition of the Political Campaign Song of the Year category positions the scheme as not just an awards event, but a cultural barometer that reflects the nation’s heartbeat.

This year’s shortlist for the new category includes Nacee, Akwaboah, Eno Barony, among others.

The night also featured performances from the legendary Kwesi Pee, Rap Fada, and the Nkyimkyim Band, who entertained the audience as the nominations were rolled out.

Nominees across genres such as Highlife, Afrobeat, Gospel, Hiplife, and Reggae/Dancehall were also revealed during the event.

The Ghana Music Awards Europe 2025 will take place on 20 September in Belgium. The ceremony promises a grand celebration of Ghanaian music, uniting fans from Accra to Amsterdam, London, Berlin, France, and beyond.

I have read with keen interest the article by Kwame Dadzie titled “Why the Creative Arts Federation of Ghana is a Needless Formation.” While I respect your right to express an opinion, I must firmly state that your arguments are flawed and misrepresent the purpose and significance of the Creative Arts Federation of Ghana (CAFOG).

1. On the So-Called Duplication of Mandates

The notion that CAFOG is a duplication of existing bodies like the Ghana Culture Forum (GCF) is misplaced. Just as there are multiple political parties with shared objectives but different ideologies and methods, associations within the creative space may share common interests but operate with unique mandates and focus areas.

For example, the Ghana Tourism Federation (GHATOF) focuses on the tourism domain. Similarly, CAFOG is established to unify and represent the interests of creative arts associations, not cultural or tourism-focused institutions. It complements existing structures, not competes with them.

2. Differentiating CAFOG and GCF

GCF has played a valuable role in the past. However, it is fundamentally a civil society consultative forum, not a federation of creative arts associations. It serves as a platform for dialogue and advocacy, but does not speak directly for the diverse associations within the creative arts industry in a structured and federated manner.

Moreover, you mentioned executives within GCF and their sectoral representation as though this validates GCF’s claim to sole representation. Many of those individuals were appointed by GCF, not elected or nominated by their sector associations. That distinction matters greatly when we talk about legitimate representation.

3. Why CAFOG Matters: Representation Under Act 1048

Act 1048, which established the Creative Arts Agency, clearly mandates creative sector representation on its board. The law doesn’t call for individual associations to be represented—it calls for the sector to have a voice. CAFOG offers a solution to this requirement by forming a unified body capable of nominating qualified representatives through a legitimate and broad-based structure.

Who else, if not CAFOG, can take up this role? Who should speak for creatives on this legally mandated board? Fragmented associations with no collective voice, or a federation structured to coordinate and lead?

Let us not be distracted by personal preferences or rivalries. The sector needs unity, not division disguised as critique.

4. The GCF Silence and Selective Outrage

Kwame, I must ask: how many times has GCF spoken against the irregularities involving the Creative Arts Agency under Gyankroma Akufo-Addo’s leadership? Where was the loud advocacy when Act 1048 was being rendered ineffective? GCF’s silence in the face of political interference and agency stagnation was loud and telling.

You accuse CAFOG of redundancy, yet you ignore the existence of overlapping associations like the Art Writers Association, Bloggers Association of Ghana, and the New Media Association—all operating in similar spheres with shared membership. If CAFOG is a duplication, then by that logic, these associations are too.

Even Minister Dzifa Gomashie’s recent inauguration of the Culture and Creative Arts Committee—headed by Nanahemaa Adwoa Awindor—shows another layer of representation. Was this committee formation not a duplication? Were all associations consulted? Why was there no public outcry?

5. Clarifying the Misleading Claims of Dissociation

It is especially disappointing to see names like Mr. Bessa Simons disassociating themselves from CAFOG after having formally accepted roles within its interim leadership. If indeed he was not consulted, why submit an acceptance letter? These contradictions only feed confusion and suspicion within the industry.

6. Support the Vision, Not the Personalities

This is not about who leads. It is about building a viable, united front for the creative arts sector in Ghana. The CAFOG leadership is interim; there will be room for elections, reorganisation, and collective decision-making. But it begins with support and belief in the purpose, not sabotage driven by personal biases.

Let’s stop tearing down what we refuse to understand. Let’s build together for the future of Ghana’s creative arts industry.

Kojo Preko Dankwa
Communications Officer
Creative Arts Federation of Ghana (CAFOG)
📞 0550077040 / 0575655656

The Global Ambassador for the 2025 PANAFEST and Emancipation Day Celebrations, Ras Caleb Appiah Levi, has delivered a stirring call for Africans across the continent and the diaspora to embrace the significance of these historic commemorations. According to him, PANAFEST and Emancipation Day are not just festivals, but a powerful tribute to the enduring spirit and resilience of the African people.

Speaking at the official launch of the celebrations organised by PANAFEST Foundation through the Ministry of Tourism, Arts and Culture and the Ghana Tourism Authority in Accra, Ras Caleb, who also serves as the Founding President of PANAFRICA-GHANA, underscored the cultural, historical, and political relevance of the events.

“PANAFEST and Emancipation Day Celebrations are more than just festivals; they are a testament to the resilience and strength of the African spirit. They are a celebration of our history, our culture, and our contributions to the world,” he said. “They are also a reminder of the struggles we have faced and the journey we have undertaken towards freedom, justice, and equality.”

Ras Caleb stressed that these commemorations provide a critical opportunity for African descendants worldwide to reconnect with their roots, reflect on the legacy of slavery and colonialism, and recommit to the ideals of Pan-Africanism.

He described the events as vital platforms for cultural renewal, historical reckoning, and collective empowerment, especially for the youth, who must understand and uphold the values of unity, dignity, and resistance that their forebears have inherited.

PANAFEST (Pan African Historical Theatre Festival) and Emancipation Day have grown to become landmark celebrations on Ghana’s national calendar, drawing participants from Africa and the African diaspora. The two events aim to honour the memory of the transatlantic slave trade while promoting reconciliation, healing, and cultural pride.

This year’s theme, centred on resilience and reconnection, is expected to drive renewed participation and conversation around the challenges and victories of African identity on the global stage.

As the celebrations approach, Ras Caleb Appiah Levi’s message serves as a clarion call to all Africans to reclaim, preserve, and celebrate the strength that lies within their shared history and cultural legacy.