The government has advanced plans to establish a second National Theatre in Kumasi, as part of efforts to expand Ghana’s cultural and creative arts infrastructure beyond Accra.

The Minister for Tourism, Culture and Creative Arts, Abla Dzifa Gomashie, disclosed this during a Government Accountability Series at the Jubilee House in Accra on Monday, August 10, 2026.

According to the Minister, the development forms part of the government’s commitment to rehabilitating the existing National Theatre in Accra while commencing preparations for a second facility in Kumasi.

She said major administrative requirements for the Kumasi project have been completed, bringing the proposed development closer to implementation.

The Ministry is currently engaging the Ashanti Regional Minister on land acquisition for the project before major steps are triggered.

The proposed Kumasi National Theatre is expected to provide another major platform for theatrical performances, music, dance, film and other creative activities in Ghana.

The project would also help create opportunities for artists and creative industry practitioners in the Ashanti Region and surrounding areas.

The government’s plan is part of a broader strategy to strengthen the creative arts sector and provide infrastructure that can support Ghana’s growing cultural and entertainment industry.

The announcement comes alongside efforts to improve the existing National Theatre of Ghana in Accra.

The Ministry said a 2026–2030 Strategic Plan has been developed to guide the management and development of the facility.

The National Theatre has also received a 1,000 kVA standby generator to strengthen its power supply and support uninterrupted operations.

A maintenance regime has further been introduced, resulting in improvements to areas including the Exhibition Hall, Foyer, main auditorium and Folks Place.

The Ministry said these improvements contributed to a 15% increase in patronage of the National Theatre as of July 2026.

The government is also working with the People’s Republic of China on the renovation and modernisation of the existing National Theatre.

A high-level Chinese delegation conducted a technical assessment of the facility in December 2025 to determine the scope of the proposed renovation.

The intervention is expected to improve the Theatre’s infrastructure, functionality and technical facilities and reposition it as a world-class centre for Ghanaian arts and culture.

Nearly 30 years after the shocking murder of hip-hop legend Tupac Shakur, the long-awaited trial of a man accused of orchestrating his killing has finally begun in Las Vegas.

Duane “Keffe D” Davis, a former leader of the South Side Compton Crips, appeared in court on Monday as jury selection began in a case that has kept Tupac’s family, fans and investigators searching for answers for decades.

Prosecutors allege that Davis ordered the 1996 killing and supplied the gun used in the drive-by shooting that claimed the rapper’s life.

If convicted, the 63-year-old faces life imprisonment without the possibility of parole.

According to CNN, the trial is expected to last about a month. However, prosecutors could face a major challenge in proving who actually fired the shots that killed Tupac on September 7, 1996.

Tupac, whose real name was Tupac Amaru Shakur, was only 25 years old when he was fatally shot in Las Vegas.

Tupac had travelled to Las Vegas to watch heavyweight boxer Mike Tyson fight at the MGM Grand.

After the boxing match, tensions escalated between members of Tupac’s entourage and rival gang members.

Prosecutors allege that Tupac and Death Row Records boss Marion “Suge” Knight attacked Orlando “Baby Lane” Anderson, who was Davis’ nephew and a member of the South Side Compton Crips.

Investigators believe the confrontation became the motive for the subsequent attack on Tupac.

Later that night, a white Cadillac carrying Davis, Anderson and other individuals reportedly pulled alongside the BMW in which Tupac and Knight were travelling.

Gunshots were fired from the Cadillac, leaving Tupac critically wounded.

He was rushed to hospital, where he remained for six days before dying from his injuries on September 13, 1996.

For years, Tupac’s killing remained one of the most famous unsolved murders in the United States.

The lack of an arrest fuelled countless theories about who was responsible for the shooting, why Tupac was targeted and whether the killing was connected to the bitter rivalry that existed within the hip-hop industry at the time.

The case remained cold for decades until renewed attention was drawn to Davis’ own statements about the night of the shooting.

In 2019, Davis published a memoir in which he discussed his involvement in the events surrounding Tupac’s death.

In the memoir, Davis admitted that he was sitting in the front passenger seat of the white Cadillac on the night of the shooting.

He also said he obtained and handed a gun to people seated in the back of the vehicle.

However, Davis did not identify the person who allegedly fired the fatal shots at Tupac.

His account, together with earlier statements he had made publicly and to the media, eventually attracted renewed attention from investigators.

Davis was arrested in September 2023 and subsequently charged in connection with Tupac’s murder.

He has pleaded not guilty and continues to maintain that he is innocent.

Davis has repeatedly denied being the person who killed Tupac.

In a 2025 interview with ABC News, he rejected the allegation that he was responsible for the rapper’s death and claimed that authorities did not have evidence proving that he was in Las Vegas on the night of the shooting.

He has also sought to distance himself from portions of his memoir.

Davis has claimed that his co-author exaggerated some aspects of his account in an effort to make the book more appealing and increase sales.

Despite his denials, prosecutors argue that his own statements provide important evidence linking him to the events surrounding the murder.

A central issue at trial is expected to be what Davis knew, what role he played in the alleged revenge attack and whether prosecutors can establish beyond a reasonable doubt that he orchestrated the killing.

Another major question is whether prosecutors will be able to determine who actually pulled the trigger.

Tupac’s murder occurred during one of the most turbulent periods in American hip-hop.

At the time, the music industry was dominated by a highly publicised East Coast-West Coast rivalry.

Tupac was one of the biggest artists associated with Death Row Records, which was headed by Suge Knight.

On the opposite side was Bad Boy Records, founded by Sean “Diddy” Combs and associated with Brooklyn rapper The Notorious B.I.G., also known as Biggie.

The rivalry between the two camps became increasingly intense during the 1990s, with Tupac and Biggie often portrayed as the leading figures of the opposing hip-hop scenes.

Tupac’s murder further intensified speculation that the conflict between the two camps may have played a role in the violence surrounding the rappers.

Just six months after Tupac’s death, The Notorious B.I.G. was also murdered in Los Angeles in March 1997.

Biggie’s killing, like Tupac’s, remained unresolved for many years and further cemented the two deaths as among the most infamous tragedies in hip-hop history.

Despite dying at just 25, Tupac became one of the most influential figures in hip-hop.

His music addressed issues including poverty, racism, violence, inequality, relationships and life in disadvantaged communities.

Songs such as “California Love” and his critically acclaimed album All Eyez on Me helped establish his position as one of the defining voices of 1990s rap.

His influence has continued long after his death, with his music, image and life story remaining deeply embedded in popular culture.

His murder, however, has remained a major part of his legacy, with fans around the world continuing to seek answers about what happened on that September night in Las Vegas.

Tupac’s family has also continued to seek accountability nearly three decades after his death.

In May, his stepbrother, Maurice Shakur, filed a wrongful-death lawsuit, arguing that individuals allegedly involved in Tupac’s murder had gone nearly three decades without being held accountable.

The lawsuit represents another effort by the family to pursue answers and accountability surrounding the rapper’s death.

The beginning of Davis’ trial therefore marks a significant development in a case that has remained in the public spotlight for almost 30 years.

The proceedings are expected to attract international attention from Tupac’s family, hip-hop fans and observers who have followed the case since 1996.

However, despite the prosecution’s allegations, significant questions remain.

Among the biggest is whether the trial will finally establish who fired the shots that killed Tupac Shakur and whether the evidence presented in court will be sufficient to secure a conviction against Davis.

After decades of speculation, the trial could provide the most significant opportunity yet to establish what happened during the final hours of one of hip-hop’s most influential stars.

Source: Graphic Online

Ghanaian actor and filmmaker Kwadwo Nkansah, popularly known as Lil Win, has recounted a frightening experience on a movie set about 15 years ago when a stunt nearly resulted in a serious neck injury.

The actor shared the story in a video posted on social media, explaining that he was once required to jump from a storey building while playing the role of an armed robber.

According to Lil Win, the scene was supposed to be handled by a professional stunt performer. However, because there was no trained stuntman available at the time, he was asked to perform the dangerous jump himself.

He explained that the production team had positioned three cameras to capture the stunt from different angles. His first attempt was successful, as he completed the jump and landed safely.

However, one of the cameras reportedly failed to record the scene properly. This meant Lil Win had to repeat the stunt.

It was during the second attempt that the situation went wrong.

Lil Win said he did not notice a wire in his path while jumping. His leg caught the wire, causing him to lose control of his landing and putting his neck dangerously close to the ground.

He said he was fortunate to avoid a potentially serious injury.

“I jumped for the first time and landed safely, but there were three cameras, and one of them failed to capture the moment, so I had to do it again. The second time, I did not see a wire and my leg got caught in it. I could have landed on my neck, but I somehow managed to land on my feet.”

Although he escaped a major neck injury, Lil Win said the force of the landing left him with significant pain in his leg.

Despite the injury, he did not cancel his plans for later that day. The actor said he travelled to Techiman to honour a scheduled performance.

Lil Win explained that the event organiser was determined to have him appear because fans were expecting to see him. He said the organiser wanted the audience to see him for themselves and confirm whether reports of his injury were genuine.

According to Lil Win, the incident remains one of the most dangerous experiences he has encountered during his years in the Ghanaian movie industry.

Ghanaian highlife musician Ofori Amponsah has criticised what he describes as a culture in Ghana where people are often celebrated and appreciated only after they have died.

Speaking on UTV’s United Showbiz on August 9, 2026, the musician said Ghanaians frequently fail to recognise the contributions of individuals while they are alive, only to honour them after their death.

According to Ofori Amponsah, the trend is particularly evident in Ghana’s creative industry, where musicians, actors and other personalities sometimes receive greater recognition after their passing than they did during their active years.

“Ghanaians don’t normally celebrate people; what we celebrate is death. When you’re alive, you will never be celebrated until you die,” he said.

Touching on discussions about a possible museum in honour of the late highlife legend Daddy Lumba, Ofori Amponsah said he does not support the idea of government taking responsibility for constructing such a facility.

He argued that the family of the late musician should be capable of establishing a museum to preserve his legacy.

“I don’t agree with the government building a museum; I believe the family can do that. If we should build Daddy Lumba’s museum, it’s the foreigners who will come and watch,” he stated.

Ofori Amponsah instead called for greater attention to be placed on supporting and appreciating talented people while they are still alive.

He believes the failure to adequately celebrate people during their lifetime may also be contributing to some of the challenges facing Ghana.

“We didn’t learn anything from someone when he’s alive, but we’re honouring him when he dies. That’s why there’s a lot of corruption in this country,” he said.

The highlife musician further explained that the absence of recognition during people’s lifetime could push some individuals to pursue wealth and success by any means necessary.

He suggested that some people may become desperate to create a legacy because they believe society only celebrates those who achieve significant success.

“People know that if they don’t push and leave a legacy, they won’t be celebrated; that’s why everyone is trying hard to achieve something even if it’s illegal,” he added.

Ofori Amponsah also shared personal experiences from his association with Daddy Lumba, recalling a performance they had together at the Polo Theatre.

He said he was surprised by the large turnout, particularly the number of foreigners who attended the event specifically to see the legendary Ghanaian musician.

He also recalled seeing American musicians who had travelled or made arrangements to meet Daddy Lumba.

“Daddy Lumba and I went to Polo Theatre to play a show, and if you see the foreigners and the people who showed up just to see Daddy Lumba, and the American musicians who were calling to meet up with him, you won’t believe it,” he recalled.

Ofori Amponsah further revealed that he once travelled to the United States with Daddy Lumba for about three to four weeks, during which the late musician received considerable admiration and special treatment from people who valued his work.

He said they booked about four rooms during the trip, with one room costing approximately US$1,000 per day. According to him, someone eventually paid the bill because of the respect and admiration surrounding Daddy Lumba.

“I went to America with him for three to four weeks. We booked like four rooms and one room cost about $1,000 a day. The bill was paid by someone because of him,” he disclosed.

Ofori Amponsah stressed that Ghana should not allow Daddy Lumba’s contribution to the music industry to be forgotten.

He urged stakeholders to take steps to preserve the late musician’s legacy and ensure that his music and influence continue to inspire future generations.

“This country is not supposed to forget him, and I’m so grateful that I was so close to him. We don’t have to let his talent and the music die,” Ofori Amponsah added.

Businessman Ibrahim Mahama has shown support for the family of late actress Beverly Afaglo with a GH¢200,000 donation towards her funeral expenses.

The donation was made public during the actress’s final funeral rites at the forecourt of the State House in Accra on Saturday, August 8, 2026.

Mr Mahama attended the ceremony alongside family members, friends, colleagues in the creative industry and other dignitaries who gathered to bid farewell to the actress.

The announcement of the donation was met with applause from mourners, as the family received the gesture as part of the support extended to them following Afaglo’s death.

Beverly Afaglo died on May 24, 2026, aged 42, after reportedly battling cancer for about two years.

She was a prominent figure in Ghana’s film industry, having spent more than two decades building a career in acting.

In addition to her work in entertainment, Afaglo ventured into business and established Traffic Shawarma, which later expanded to several branches.