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Ras Caleb Appiah-Levi Traces History of Ghana’s Tourism Ministry from 1993
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:
- Dr Stephen Ayidiya – Described as a pioneer who helped establish the ministry’s foundations.
- Mrs Vida Amaadi Yeboah – Credited with bringing cultural depth to the ministry’s work.
- Mr. Mike Gizo.
- Mr Jake Obetsebi-Lamptey – Recognised for his role in marketing Ghana as a tourism destination.
- Mr Stephen Asamoah Boateng.
- Mrs Oboshie Sai-Cofie.
- Mrs Elizabeth Ofosu-Adjare.
- Mrs Catherine Ablema Afeku.
- Mrs Barbara Oteng Gyasi.
- Dr Mohammed Awal – Associated with efforts to position tourism as a contributor to economic growth.
- Mr Andrew Egyapa Mercer.
- 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.
