Speaking in an interview with Kafui Dey, the singer lamented the financial struggles artistes endure, especially at the early stages of their careers.

“It’s very tough to be a musician in Ghana because everything that mostly you are going to do, you are going to make a loss.

“It’s like going to do performances. In the early stages I remember we went to do a performance, and I was being paid 700 cedis – being Camidoh. There was a concert that a foreign artiste was actually performing on the same stage with us, and I performed and I had to receive 700 cedis. Even that, it did not come,” he said.

According to him, his manager, Hova, had to chase after the money, only to be told that “it’s just 700 cedis, stop calling me like it’s some money.”

Camidoh further criticised the lack of structures to support musicians in the country, indicating that there is little to no institutional backing for the creative arts sector.

“There is no system in Ghana that helps artistes. Where is the funding? Where is the government fund that says come for loan? There is nothing that works when it comes to music. Even the radio stations play our music without paying us. We are not able to track our songs being played, there is nothing that works. So the system needs help,” he mentioned.

He noted that the arts industry needs investors such as Sharaf Mahama and Ken Agyapong Jnr, who are supporting entertainment through boxing events and Afrofuture respectively.

The Sugarcane hitmaker also urged Ghanaians to encourage creatives rather than constantly criticising them.

“Imagine receiving 5000 cedis and that is what you have for three months to spend. How are you going to shoot music videos? How are you going to drop songs? Because the DJ needs to be paid. Everybody needs to be paid. And then how are you going to have a show? You have family, some of us have kids,” he noted.

He added that some female artistes, due to these harsh conditions, may feel pressured to engage in undesirable activities to survive.

“No one has the moral right to talk against musicians in this country. No one,” he stated.

Camidoh concluded by acknowledging that music significantly contributes to Ghana’s creative economy and tourism sector and therefore deserves serious attention and investment.

Born Raphael Kofi Attachie, Camidoh is one of Ghana’s leading contemporary music stars. He gained international recognition with his 2021 hit song Sugarcane, which later received a remix featuring King Promise, Mayorkun and Darkoo. The remix became a continental success and earned a place on the Billboard US Afrobeats Songs chart.

His catalogue includes songs such as Adoley, Dance With You, Available, For My Lover and his EP, L.I.T.A.

Over the years, Camidoh has received several accolades, including Best Afrobeats Song of the Year at the Ghana Music Awards. He also earned a nominations in the the 2023 BET Viewers Choice: Best New International Act category and received recognition at the Headies Awards.

After releasing the ‘Trustn God’ EP in 2025, he is out with a new song titled Phoney which has already warmed its way into the hearts of music lovers.

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Chief Executive Officer of Sam Creatives, Samuel Clottey, popularly known as Sam Creatives, has confidently stated that the Ghanaian music heavyweight will successfully fill the famous arena during the much-anticipated event.

Speaking in an interview, Sam Creatives revealed that he strongly believes the concert will attract thousands of fans from across the United Kingdom and beyond. According to him, he even had a dream where he saw huge crowds gathered outside the venue buying tickets in anticipation of the show.

He explained that Stonebwoy continues to prove himself as one of Africa’s biggest music exports whose influence stretches beyond Ghana. He noted that the artiste has consistently elevated Ghanaian music on international stages through hard work, discipline and energetic performances.

Sam Creatives further described the BHIM Festival as more than just a concert, saying it represents Ghanaian culture, African music and unity among fans across the world. He added that the excitement surrounding the event is already growing steadily on social media and within entertainment circles in London.

According to him, Stonebwoy’s global fanbase, known as the BHIM Nation, has remained loyal over the years and is expected to show massive support when the event finally takes place.

Sam Creatives, who is known for supporting entertainment and creative projects, has over the years built a reputation for promoting Ghanaian talents and contributing to conversations surrounding the growth of the creative arts industry. His comments about the upcoming event have since generated reactions among music lovers and fans of the award winning artiste.

Stonebwoy, known in private life as Livingstone Etse Satekla, remains one of Ghana’s most celebrated musicians with several international collaborations and awards to his name. The dancehall star has performed on major stages across Africa, Europe and North America while continuing to push Ghanaian music onto the global scene.

The BHIM Festival at the OVO Arena Wembley is expected to bring together music fans from different backgrounds for a night filled with performances, entertainment and celebration of African music.

Many industry watchers believe the concert could become one of the biggest Ghanaian music events ever hosted at the venue if the current anticipation and ticket interest continue to rise ahead of August 15.

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Girls Tag, described as an all-in-one period care pack designed for girls aged nine and above, recently launched with Mercy Johnson and her daughter, Purity Okojie, as brand ambassadors.

Shortly after the launch, Regina Daniels was also announced as an ambassador for the brand.

However, the product launch has sparked backlash on social media, with critics describing the price as unrealistic and insensitive. They argue that many Nigerian women and girls struggle to afford basic menstrual products and are often forced to resort to unsafe alternatives or miss school during their periods.

“PHIL, not everyone is a philanthropist! Nigeria’s problems are not everyone’s problem. She knows who her customers are… she is not interested in the average Nigerian lady or every girl child. Again, not everyone is a philanthropist. We don’t tell Dangote to sell fuel at ₦100 to support poor or small business owners. This is business… and again, Nigeria is not everybody’s problem,” @Lai stated.

@Ms Jorji said, “Mercy Johnson, you are an embarrassment to women. In a country where women are struggling to afford sanitary pads, you want to charge ₦25,000 for sanitary pads.”

“The target audience had to be baddies,” @A Tall Edo Girl said.

@Rebekah wrote, “Dear @realmercyj, Nigeria is a poor country. Elitism should never extend to the basic rights and dignity of girls and women. Sanitary pads are not luxury items. How many Nigerians can realistically afford ₦25,000 monthly for a basic necessity? What is wrong with us Nigerians?”

@Ara stated, “The way some of you kiss celebrities’ ass is annoying. In a country where sanitary pads are meant to be free, someone is selling them for ₦25,000 and I’m seeing, ‘oh, the packaging is worth it’—yen yen yen. Hypocrites! Since when did pads start having a target audience?”

“To be honest, sanitary pads shouldn’t cost this much. I believe it should be a basic amenity just like food,” @Matt wrote.

@Okafor Gift said, “Selling pads for ₦25,000. As how???”

@Olaámi wrote, “Most Nigerian celebrities don’t actually stand for anything; all they care about is their bottom line. Greedy people.”

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The marathon audition session, led by award-winning filmmaker Big Ghun and acclaimed broadcaster Doreen Avio (the producer for the project), took place on May 23, 2026 at Studio 04 at MCB Studios in Lapaz Tabora and lasted more than 16 hours.

The auditions attracted an impressive mix of A-list actors, rising talents, theatre performers, content creators and first-time hopefuls, all eager to be part of the upcoming Ghanaian feature film.

From the early hours of the morning until late into the night, Studio 04 remained filled with energy, emotion and anticipation as actors from different parts of the country showcased their talent before the casting panel.

The massive turnout reflects the growing anticipation surrounding Scarlett Unveiled, a Ghanaian project that blends film, literature, music and youth engagement into a major cultural experience.

Expressing her excitement about the project, which marks her debut, Doreen said: “I couldn’t believe my eyes, it’s my first time doing this and it has been interesting seeing all these people especially the 83 year old man.”

The film is based on the true story of a living individual and is expected to go into production soon.

The production has already secured strategic collaborations with the Embassy of Switzerland in Ghana, Woodin and Ayoba, further positioning the film as one of the most ambitious independent Ghanaian productions currently in development.

According to Moses Kojo Akorful, the new development has increased the charges against WebKid from four to six counts as investigations continue.

Speaking on Asempa FM’s Ekosii Sen show, Mr Akorful said WebKid was first remanded on May 11 after the court heard arguments concerning alleged breaches of the constitutional 48-hour bail rule.

“On the 11th of May we went to court. The 48-hour rule for bail was breached. We made the argument for my client and he was remanded for two weeks,” he stated.

He explained that a bail application had subsequently been filed with the hope that the court would consider it during the latest hearing.

However, according to him, the prosecution withdrew the original charge sheet before the hearing and replaced it with a fresh one containing additional charges.

“I filed a bail application a week ago. It was my hope that the court today would move the bail application, but interestingly on Friday I got information that the Republic had withdrawn the earlier charge sheet on which I based my application,” he said.

“So even before we got to court today, the bail application had been rendered moot. I was served with a fresh charge sheet today with two new charges. He has now been charged with six counts,” he added.

Mr Akorful criticised the handling of the case, arguing that his client has remained in custody for an extended period without being given the opportunity to fully respond to the allegations.

“The first time we came to court, the argument of the Attorney General was that he is doing investigations into the matter and we agreed. Even before the accused gets to say anything in his defence, he will be in custody for a month, and this is the kind of system we have which is bad,” he stated.

The lawyer further questioned allegations that WebKid had deleted online content connected to the case while in custody.

“He has been held for over a week, they took his phone from him, so how did he get access to delete everything online?” he questioned.

Mr Akorful alleged that the prosecution was using legal procedures to punish his client before trial.

“The Attorney General realizes that he cannot prove the case against WebKid and is using some of these tactics to punish him even without the opportunity to sit in his defence,” he claimed.

WebKid, a prominent blogger and supporter of Shatta Wale, was arrested in early May 2026 following a complaint by musician Stonebwoy.

The arrest was reportedly triggered by derogatory remarks WebKid allegedly made about Stonebwoy’s wife and late mother.

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In a statement accompanying the obituary, the family appealed to the public to continue keeping him, his wife, and the entire family in their prayers during this difficult period.

According to the funeral arrangements released, a Service of Songs will be held on Wednesday, June 10, 2026, at The Monarch Event Centre in Lekki, Lagos, from 4:00 PM to 6:00 PM, with attendees expected to wear white.

A wake-keep is scheduled for Wednesday, June 17, 2026, at 7 Ekubo-Okwaraeke Avenue, Aziukwukwa, Ujari Village in Arochukwu, Abia State.

The funeral service will take place on Thursday, June 18, 2026, at Mary Slessor School, Amanagwu Village in Arochukwu.

Interment will follow immediately on the same day at 7 Ekubo-Okwaraeke Avenue in Ujari Village, while a reception is expected to be held at Mary Slessor School after the burial.

The family says the ceremonies are intended to honour the late actor’s life and legacy while allowing loved ones and fans to pay their final respects.

In a statement issued by her sister, Elorm, the family expressed concern over the circulation of false narratives on social media regarding the actress’s health, treatment, and circumstances leading to her death.

The family urged the public to show compassion, sensitivity and utmost respect during their deeply painful period, and appealed for space to mourn.

They further asked that Beverly be remembered for her strength, courage and dedication to her children and family, rather than misinformation being shared online.

Meanwhile, earlier accounts from her management indicate that the actress died on Saturday night at the International Maritime Hospital in Tema at the age of 42 after a two-year battle with cancer.

Her manager, Iddris, disclosed that she had been battling breast cancer, which later reportedly spread due to its genetic nature.

He explained that despite her worsening condition, Beverly remained committed to her acting career and family, continuing to work through treatment until her final days.

The late actress is being remembered across the entertainment industry for her resilience, talent and contribution to Ghana’s film sector.

In a statement, the Authority described Beverly Afaglo as a vibrant and respected figure within Ghana’s film and entertainment space, whose talent, dedication, and contribution played a significant role in promoting Ghanaian storytelling.

According to the NFA, her work both on screen and within the wider creative community left a lasting impact on the growth of the local film industry.

The Authority noted that her presence, professionalism, and commitment to the arts earned her admiration across the industry and among audiences.

On behalf of its Board, Management, and Staff, the NFA extended condolences to her family, loved ones, colleagues, and the entire creative arts fraternity during what it described as a difficult period.

The Authority added that the Ghanaian film industry had lost one of its cherished talents and joined all those mourning her passing.

Beverly Afaglo reportedly died after a two-year battle with cancer at the International Maritime Hospital in Tema on Saturday night, just days before what would have been her 43rd birthday on May 28.

Selorm The Wonder won the Best Costume award, while Ghana Besiaba was named Best Performer of the night. Mighty also took home the Viewers’ Choice Award after impressing audiences with his performance.

The contestants thrilled patrons with renditions of classic Ghanaian highlife songs during the competition.

Kobby performed “Obiara Bewu” by Rex Gyamfi, while Mel Rhymez delivered “Prempremsiwa” by George Darko.

Iron Girl also performed “Obi Abayiwa” by George Darko, with Safowaa performing “Akosombo Nkanea” by Obibini Takyi.

Mighty earned applause with his rendition of “Abeiku” by Nana Tuffour.

Ghana Besiaba performed “Obae” by Pat Thomas, while Ohemaa Doris sang “Menenam Mu” by Thomas Frimpong and Eric Agyemang.

Selorm The Wonder impressed judges and audiences with “Ahenfo Kyiniye” by Daddy Lumba and Pat Thomas.

Soft Lyf also performed “Odo Nye Mera” by Thomas Frimpong.

The competition continues to showcase young musical talents through performances of Ghanaian classic songs and stagecraft.

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In a social media post mourning the actress, Mr Dumelo recounted how he first met Beverly Afaglo nearly two decades ago on the set of the television series “About to Wed” in Dzorwulu.

According to him, the late actress helped shape his career and opened doors for him in the movie industry.

“About 20 years ago, I walked onto the set of ‘About to Wed’ in Dzorwulu. That’s when I met Beverly Afaglo, Prince David Osei, and Yvonne Okyere. We starred in one of the best TV series, and Bev brought out the best in me,” he wrote.

He further disclosed that Beverly Afaglo later connected him to a movie producer for a role that became a turning point in his career.

“Fast forward a year after, Bev calls and says, ‘John, call Salam, they need someone to play the role of a King.’ That’s how I got to star in the movie King is Mine, and the rest, they say, is history,” he stated.

Mr Dumelo expressed gratitude to the late actress for the support she gave him over the years.

“Thanks so much, Bev, for playing a significant role in my acting career. I am glad you are resting peacefully now,” he added.

The actor ended his tribute with an emotional message, highlighting the lasting impact Beverly Afaglo had on his life.

“One day when I decide to write a book, your name will fill pages,” he wrote.

Beverly Afaglo passed away in the early hours of Sunday, May 24, 2026, at the International Maritime Hospital in Tema after battling cancer, according to her family and management.

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Family announces one-week observation for actress Beverly Afaglo

The visit formed part of a growing show of support from colleagues within Ghana’s entertainment industry after news of the actress’ death emerged.

Actresses Roselyn Ngissah, Gloria Sarfo and Martha Ankomah, together with other industry colleagues, also paid their condolences to the family.

Actor James Gardiner, who was among the personalities who joined the family to mourn the late actress, couldn’t hold back his tears when he arrived at the house.

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The family of Beverly Afaglo earlier confirmed that she passed away in the early hours of Sunday, May 24, 2026, at the International Maritime Hospital in Tema after battling cancer.

In a statement issued by Cine-God Studios and her management, the family announced that her one-week observation will be held on Saturday, May 30, 2026, at the Green Flavour Events Centre at Community 9 in Tema.

The event is expected to take place from 3:00 p.m. to 7:00 p.m.

The late actress was widely known in Ghana’s movie and television industry and was admired for her performances in several productions over the years.

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Family announces one-week observation for actress Beverly Afaglo

In a statement issued by Cine-God Studios and her management, the family confirmed that the actress died in the early hours of Sunday, May 24, 2026, at the International Maritime Hospital in Tema after what was described as a courageous battle with cancer.

According to the statement, the one-week observation will be held on Saturday, May 30, 2026, at the Green Flavour Events Centre at Community 9 in Tema.

The event is scheduled to take place from 3:00 p.m. to 7:00 p.m.

The family appealed to the public to continue supporting them with prayers and respect their privacy as they mourn the actress and prepare for her final funeral rites.

“The family respectfully requests prayers, support, and privacy as they mourn this painful loss and make arrangements for her final rites,” the statement said.

The family also indicated that details of the funeral arrangements would be communicated later.

They further expressed gratitude to the public, colleagues, friends and well-wishers for the support and love shown during the difficult period.

Beverly Afaglo was widely known in Ghana’s movie and television industry for her performances in several productions over the years.

Read the statement below:

FOR IMMEDIATE RELEASE;
On behalf of the family of renowned Ghanaian actress Beverly Ama Afaglo, Cine-God Studios and her management announce with profound sorrow her passing.
She passed away peacefully in the early hours of Sunday, 24th May 2026, at the International Maritime Hospital, Tema, after a courageous battle with cancer.
Details of her one-week observation are as follows:Venue: Green Flavour Events Centre,
Community 9 – Tema
Date: Saturday, 30th May 2026
Time: 3:00 p.m. – 7:00 p.m.
The family respectfully requests prayers, support, and privacy as they mourn this painful loss and make arrangements for her final rites.
Further details regarding the funeral arrangements will be communicated in due course.
The family extends heartfelt gratitude to the public, friends, colleagues, and well-wishers for the love, support, and understanding shown during this difficult time.

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Speaking to Ghana Weekend on Sunday, May 24, Abu Iddris said the actress died on Saturday night at the International Maritime Hospital in Tema at age 42.

“She’s been battling cancer for two years. It’s been a relentless war. She really fought hard, and this is where it ended,” he said.

According to Iddris, the illness began as breast cancer before spreading due to its genetic nature. Despite her deteriorating condition, Beverly remained committed to her work and family throughout her treatment.

“We shot things for her while she was undergoing treatment. The premieres, the promotions — she was undergoing treatment. She lived while doing her very best until the cancer really overtook her,” he said.

Iddris also revealed that Beverly had travelled to the United States for treatment and was advised to remain there given the advanced medical care available, but she chose to return to Ghana to be with her children.

“She chose to come be with her kids, knowing the situation. This is the kind of person she is. She chose to come see her kids and spend the last days with them at a cost,” he said.

Her death was announced by her husband, musician Eugene Baah, popularly known as Choirmaster of the Praye music group, in a social media post on Sunday, May 24, 2026.

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In an Instagram post on Sunday, the musician, known privately as Eugene Baah, described the late actress as his strength, happiness and greatest source of support.

“My heart is shattered beyond words over the death of my beloved wife Beverly Afaglo!!!” he wrote.

According to him, the actress’ passing comes just days before what would have been her birthday.

“It would have been just like four more days to your birthday, but I guess the Lord wanted to celebrate with you so He called you,” he added.

The post has since triggered an outpouring of grief on social media, with fans, colleagues and personalities within Ghana’s entertainment industry expressing shock and sadness over the news.

Reflecting on their years together, Choirmaster said every moment spent with his wife was a blessing he would always treasure.

“You were my strength, my happiness, and the reason my life felt complete. Every moment with you was a blessing I will cherish forever,” parts of the tribute read.

The musician also pledged to continue the dreams and plans they had started together as a family.

“I promise to take care and continue everything we planned and started. Until my last breath, you will remain in my heart forever. Sleep well my babe,” he stated.

Beverly Afaglo was a well-known figure in Ghana’s movie and television industry, admired for her roles in several productions over the years.

She and Choirmaster were widely regarded as one of Ghana’s admired celebrity couples, often sharing moments of their family life publicly.

Details surrounding the circumstances of her reported death had not yet been officially disclosed.

In his post, Eugene Baah, better known by his stage name Choirmaster, described her as the pillar of his life and expressed profound grief over her loss.

“My heart is shattered beyond words over the death of my beloved wife Beverly Afaglo,” he wrote. “It would have been just four more days to your birthday, but I guess the Lord wanted to celebrate with you so He called you. You were my strength, my happiness, and the reason my life felt complete. Every moment with you was a blessing I will cherish forever.”

He added: “I am hearing your voice right now cheering me up as always, my number one fan. I promise to take care and continue everything we planned and started. Until my last breath, you will remain in my heart forever. Sleep well my babe.”

He described her as a “legend,” saying her passing was a dark day not only for him but for all who knew and admired her.

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Employees lined up in anticipation as conversations floated through hallways and people waited patiently for food carrying unfamiliar aromas and bold spices. There was curiosity in the air and excitement too. This was not the usual office lunch. On the menu that day was Ghana.

More than 300 Snapchat employees queued to taste authentic Ghanaian dishes prepared from Chef Abbys’ recipes alongside Snapchat’s in house culinary team. Standing in the middle of it all and watching people wait to experience flavours from her culture, Chef Abbys could hardly process the scene before her.

Years ago, Abena Amoakoa Sintim-Aboagye, popularly known as Chef Abbys, had been creating content on Snapchat as a young creator, building her audience one post at a time. Now she had returned, not as someone using the platform to tell stories, but as the chef whose recipes had taken over the kitchen at Snapchat’s UK headquarters.

For her, the moment felt surreal.

“From creating content on Snapchat to now bringing Ghanaian food into Snapchat HQ, honestly I still cannot believe this is real,” she wrote, later describing the experience as one of the biggest highlights of her career.https://www.facebook.com/plugins/video.php?height=476&href=https%3A%2F%2Fwww.facebook.com%2Freel%2F3931049540533324%2F&show_text=false&width=267&t=0

What made the moment significant was not simply the setting or the number of people in the room. It was what the scene represented. A Ghanaian woman stood at the centre of a global technology company and watched her culture become the attraction. It was not being explained from the sidelines or introduced as something unfamiliar. It was being celebrated.

For years, African cuisine has occupied an interesting space in global food conversations. It is deeply loved by those who grew up with it but has often remained underrepresented on international platforms. While cuisines from different parts of the world have become household names across continents, many African dishes still arrive accompanied by explanations. People often ask what they are, how they are eaten and what ingredients they contain.

Chef Abbys appears determined to change that narrative and she is doing so through one of the most universal forms of connection, Food.

Across her UK tour, she has moved through spaces that seem very different from one another yet are all connected by a common purpose. From schools and diplomatic offices to technology companies and celebrated restaurants, every stop has become another opportunity to tell a story about Ghana and Africa.

Days before stepping into Snapchat’s offices, she sat with British high school students during a Snapchat UK philanthropy session and spoke about creativity and her journey as a content creator. Reflecting on the experience afterwards, she wrote, “One of my life goals is to mentor the next generation of creators to own their narratives and push boundaries more than I have.”

She was not serving food in that room. She was serving perspective. She was sharing lessons about identity, ownership and believing that your story deserves to be seen.

At York Mead Primary School in Watford, the atmosphere shifted once again. During a “Ghana Afternoon” session, children gathered around her with curiosity and excitement as she introduced them to Ghanaian snacks and demonstrated how to make local treats. There were puzzles, conversations and moments of laughter that felt far removed from carefully planned media appearances.

“I love kids so much,” she later shared.

The statement was simple but revealing because beneath the growing recognition and international opportunities lies something that seems central to Chef Abbys’ journey. It is connection.

That same spirit followed her into conversations with fellow chefs. Her visit to Akoko, one of the few Michelin starred African restaurants in the world, became another meaningful stop on her journey. Speaking as a chef herself, she expressed admiration for how African cuisine was being represented and appreciated at such a high level.

“I was very much impressed at how my co-chefs have elevated the taste of African food here in London,” she said.

Then there was another moment that felt deeply Ghanaian in spirit.

At the residence of Ghana’s High Commissioner to the United Kingdom, Her Excellency Sabah Zita Benson welcomed Chef Abbys with more than hospitality and conversation. She cooked for her personally, preparing a special Ga style okro stew.

For many people outside Ghana, it may seem like a simple act. For Ghanaians, it means much more than that. Food has always occupied a special place within the culture. It is how homes welcome visitors. It is how families celebrate together. It is often how affection and care are expressed before words are even spoken.

Chef Abbys understood the significance of the gesture immediately.

“This is what Ghana is about,” she said.

Her journey also included reconnecting with TikTok UK where conversations extended beyond food and into broader discussions around opportunities for African creators. There were conversations around creator tools, global visibility and the importance of ensuring African creators can access monetisation opportunities on international platforms.

Then came another milestone that reflected her expanding vision. Partnering with Soul Mama Islington for her first international brunch experience, Chef Abbys curated a special three course menu inspired by African flavours and storytelling. It followed earlier work on a Ghanaian and British fusion menu for King’s Birthday celebrations and reflected her desire to continue creating experiences that place African food stories at the centre.

Viewed individually, these moments might appear to be separate events across a tour schedule. Taken together, however, they reveal something much larger. This UK tour is not simply about introducing dishes to people who have never tasted them before. It is about changing perception and creating visibility.

Food has always done more than satisfy hunger. Food carries memory. Food preserves identity. Food creates connections between people who may have otherwise remained strangers.

Perhaps that is why the image of more than 300 Snapchat employees standing in line feels powerful. Not because of the number itself, but because somewhere between the sounds of conversation and the aroma of spices moving through the building, something quietly meaningful was taking place.

People were not simply waiting for lunch.

They were waiting to experience Ghana.

For Chef Abbys, the tour will eventually end. Flights will land, schedules will slow down and suitcases will be unpacked; but some moments remain long after the plates have been cleared away.

Watching people queue for Ghanaian food inside one of the world’s largest technology companies feels like one of those moments because sometimes cultural breakthroughs do not arrive through grand announcements.

Sometimes they arrive carrying the smell of home.

The claim, which has been rejected by the Ministry of Finance due to a lack of supporting documentation for the transactions, was raised during proceedings of the Public Accounts Committee on Thursday, May 21.

Speaking before the committee, the Minister explained that upon assuming office, she encountered concerning reports from UNESCO regarding forts and castles, warning that the country risked being delisted from the World Heritage register.

She noted that in both 2022 and 2024, a reactive committee had raised red flags over the situation, prompting urgent intervention.

“In fact, I had to go to France, even on this matter, to go and plead on behalf of Ghana,” she said, referring to diplomatic efforts to protect the country’s heritage status.

The Minister further indicated that she attempted to engage the former Director of the Ghana Museums and Monuments Board to address outstanding concerns regarding the restoration of the forts and castles. However, she said he had not responded to her attempts at engagement.

She added that the Budget Officer’s difficulty in providing clarity suggested that key decisions and disbursements were handled directly between the ministry and the Ghana Museums and Monuments Board leadership at the time.

Given what she described as a lack of transparency surrounding the use of funds, she urged the committee to recommend that the matter be referred to the Attorney-General for a full investigation.

“I want to suggest that because of the lack of transparency on how these monies were disbursed and used for the restoration of the forts and castles, that you do recommend this to the Attorney-General so that we have some closure on this matter,” she stated.

The Minister stressed that Ghana still faces the risk of being delisted from the heritage list and called for urgent steps to resolve the outstanding issues. 

“As we speak, we still stand the risk of being delisted. So I’m very passionate about it, and I would like to suggest to the committee that you ensure that you assist us to get to the bottom of this by recommending to the attorney general to take charge of it,” she said.

The Minister further addressed issues surrounding the stalled Marine Drive project, outlining steps being taken to revive its implementation.

She said the government has reconstituted the board of Amdel, the special purpose vehicle established to manage the Marine Drive project, to improve coordination and delivery.

According to her, the Deputy Minister is now chairing the reconstituted committee to drive the process forward.

She added that the anchor developer and Amdel are preparing to embark on a roadshow to attract investors and secure financing for the project.

“I think we have crossed all the T’s and dotted all the I’s. We just need people to express interest in it and, of course, bring the financing to come and engage with the ministry so that we can take off from there, she noted. 

Madam Abla Gomashie says plans are underway to attract investors to revive the stalled Marine Drive project, with developers preparing a roadshow to promote it.

She expressed confidence that key preparatory processes had been completed and that the focus now is on attracting investment to enable the project to proceed.

For decades, stories about the continent were often shaped through external lenses – frequently flattening Africa into familiar tropes of poverty, conflict and crisis. But a new generation of filmmakers is changing that narrative, creating work that is more textured, self-defined and reflective of the continent’s cultural, linguistic and economic complexity.

At the centre of this shift is the MultiChoice Talent Factory (MTF), MultiChoice’s pan-African training initiative designed to equip emerging filmmakers with the technical expertise, industry access and creative confidence to participate meaningfully in Africa’s growing film and television economy.

As streaming platforms intensify their investment in local content and audiences increasingly demand stories that feel authentic and differentiated, Africa’s creative industries are no longer operating at the margins of global entertainment. They are becoming strategic cultural and economic assets. But what distinguishes many emerging African filmmakers is not simply technical sophistication, it is their willingness to tell stories from the inside out.

For Georgina Nankole Likukela, an MTF Southern African Academy graduate from Namibia who now serves as Programmes Coordinator at the Filmmakers Association of Namibia, one of the biggest misconceptions global audiences still hold is Africa’s narrow economic framing. “The world still misunderstands Africa’s economic realities,” she says. “While many African countries face economic challenges, Africa should not be defined solely by poverty. There is so much more to who we are.”

And that nuance matters. “Our breathtaking landscapes, cultural richness and resilience tell stories far beyond hardship,” she adds. “Like any other continent, we have our challenges, but those realities do not define us. Authentic African storytelling should reflect both our struggles and our innovations in equal measure.”

This reframing is increasingly visible in contemporary African cinema and television, where filmmakers are moving beyond singular narratives and embracing more layered storytelling – stories about aspiration, migration, identity, spirituality, humour, entrepreneurship, intergenerational tension and belonging.

In many ways, this creative shift mirrors Africa itself: youthful, complex, digitally connected and culturally dynamic.

Language, too, is emerging as an important site of creative reclamation. Ivan Tusabe, an East Africa Academy alumna, screenwriter, and director, emphasizes its importance in his work, “language is central to my storytelling because it carries culture, emotion, identity, and rhythm in ways that translation cannot always fully capture.”

In markets where English is often prioritised as commercially neutral, filmmakers are increasingly resisting the pressure to dilute cultural specificity. “I primarily tell my stories in my native language, Luganda, as it gives my stories authenticity and a strong sense of belonging to the place and people they come from,” says Tusabe. “It allows characters to feel natural and truthful, while preserving the richness of our local expressions, humour, and unique ways of communicating.”

This balance between cultural preservation and innovation is equally central to how younger filmmakers are approaching global audiences.

For Oluwatobi Deborah Ahmed, MTF West Africa Academy alumna from Nigeria and founder and creative director of Strange Energy Productions, the tension between heritage and innovation is often overstated. “Innovation and preservation do not exist in conflict in my world – they inform each other,” she says.
Rather than seeing African cultural references as constraints, Ahmed treats them as creative material.

“No two stories demand the exact same thing from a storyteller,” she explains. “Over time, I’ve learned to treat African cultural elements with the same creative flexibility I bring to every other aspect of storytelling – from structure, tone and visuals down to pacing.”

Her view is that younger audiences are not rejecting African stories; they are simply asking for more inventive forms of storytelling. “I don’t believe younger audiences have closed their hearts to African stories or heritage. I think they are simply asking us to tell these stories in new, interesting and creative ways.”

That instinct is especially relevant in an era where audience attention is increasingly fragmented and global content competition is fierce.

African stories must not only be authentic; they must also be formally ambitious.

MTF appears to be helping emerging filmmakers navigate this exact challenge by encouraging them to draw from their own lived realities within a broader creative ecosystem. Ofentse Modise, a recent MTF South Africa Academy graduate and current writer-director, says the programme reinforced the importance of leaning into one’s lived experience “MTF helped me realise that my unique experiences, background, and perspective are valuable and worth sharing. It gave me the confidence to embrace my voice, rather than trying to fit into what I thought the industry expected.

The experience also sharpened his understanding of storytelling as responsibility. “Being surrounded by like-minded African creatives who value originality reminded me how diverse and powerful our stories are,” says Modise. “It challenged me to think deeper about storytelling, collaboration, and the responsibility we have as the next generation of filmmakers to represent our communities and Africa as a whole authentically.”

This may ultimately be MTF’s most strategic contribution. It is not simply training filmmakers to produce content. It is helping cultivate cultural architects, creatives capable of shaping Africa’s soft power, strengthening local production ecosystems and contributing to a more competitive continental creative economy.

As African content continues to gain international traction, the importance of ownership over narrative has become increasingly clear – who tells Africa’s stories matters and how those stories are told matters even more.

This Africa Month, the conversation is therefore not only about celebrating African stories but recognising the storytellers building the continent’s next creative chapter.

Through initiatives such as the MultiChoice Talent Factory, that future is already being written.

The singer took to social media to break the news, describing the experience as a sudden emotional shift that turned a joyful moment into one of heartbreak.

“One of the happiest days of my life became one of the saddest days of my life!! Oh Mom… why?” he wrote, expressing raw grief over the loss.

To accompany the tribute, Krymi shared Celine Dion’s emotional track “The Saddest Words”, a musical choice that mirrored the tone of mourning and intensified the emotional weight of his message.

The post has since triggered an outpouring of sympathy from fans, colleagues and industry stakeholders, who have been sending condolences and words of comfort to the musician.

The couple announced they are expecting their first child together, sharing a series of eye-catching maternity photos that quickly captured attention across social media.

Temi revealed the news with a heartfelt caption drawn from scripture, writing: “Before I formed you in the womb I knew you, Before you were born I set you apart.”

She accompanied the post with photos capturing her cute baby bump exposed in a custom-made two piece linen dress that gave the look a chic feel.

Judging from their loved-up poses, it is safe to say the couple are basking in joy, in anticipation of when they finally become parents.

The pregnancy reveal comes a little over a year after the pair quietly tied the knot in an intimate ceremony on May 9, 2025.

Their wedding was intentionally held on a date chosen to honour the birthday of Mr Eazi’s late mother, a deeply personal tribute that added emotional significance to the occasion.

Now, with the announcement of their pregnancy, fans and well-wishers have flooded social media with congratulatory messages to celebrate the couple’s growing family.

Mr Eazi and Temi have often spoken publicly about protecting their private life despite their public profiles, making the announcement all the more meaningful to supporters who have followed their journey over the years.

Speaking in an interview, the actor revealed that the incident occurred while he had accompanied a friend who had gone to retrieve a mobile phone he had previously bought for a woman.

According to Papa Kumasi, he was seated, waiting for his friend, when events unexpectedly took a dramatic turn.

“I accompanied my friend and while I was sitting and waiting, a lady came to sit beside me. She was arguing with someone on the phone. Not long after, a man rushed towards us and she took to her heels. The man then turned to me and accused me of being the one encouraging her to insult him,” he narrated.

Papa Kumasi alleged that before he could explain himself, the man attacked him with two resounding slaps.

“He didn’t even hear my side of the story and landed me a hot slap. As I tried to calm him down, he slapped me again. At that moment, I knew if I didn’t act quickly, I would be overpowered, so I also slapped him back.”

But what followed, according to him, became a nightmare as the aggressor labeled him a thief while calling for backup.

Papa Kumasi said the crowd descended on him without asking questions.

“They really beat me. Some wielded stones and others came with wood. It became a bloody scene. Nobody wanted to listen,” he recalled.

Adding to his distress, he said the friends he had accompanied abandoned him.

The actor said he managed to break free and run for safety before an unexpected person recognised him and came to his rescue.

Reflecting on the ordeal, Papa Kumasi suggested the experience could have ended differently had someone not stepped in, the reason he is always cautious of a one-sided story.

The delegation was led by Prof. Dabin Haruna Khitwe, mni.

Speaking during the visit, Prof. Khitwe explained that the team forms part of Study Group Five of the Institute under Senior Executive Course 48. He noted that the Institute undertakes annual study tours on selected sectors of the economy and governance, as directed by the President of Nigeria.

According to him, this year’s theme, selected by President Bola Ahmed Tinubu of Nigeria, is “The Orange Economy and Entrepreneurship for Sustainable Development in Nigeria,” with a focus on how creativity intersects with market opportunities in the global digital era.

Prof. Khitwe added that the delegation had already engaged Ghana’s Ministry of Tourism, Culture and Creative Arts, as well as agencies under the ministry. He further noted that similar study groups are currently undertaking parallel tours in other African countries, with subsequent missions planned for other parts of the world before a comprehensive report is presented to President Tinubu.

MUSIGA President Bessa Simons warmly welcomed the delegation and expressed appreciation for the visit. He also highlighted key issues within Ghana’s music industry, including concerns surrounding the operations of the Creative Arts Agency (CAA).

MUSIGA’s Director of Special Projects and Communications, Ahuma Bosco Ocansey, briefed the delegation on the structure and operations of the Union, as well as MUSIGA’s collaborations with international organisations such as the International Federation of Musicians (FIM).

Also present at the meeting were Rev Eddie Eyison, National Treasurer of MUSIGA, and Samuel Kofi Agyemang, General Secretary of MUSIGA.

Members of the Nigerian delegation included Air Commodore Nwankwo Raymond Chibueze, PhD; Dr Amaechi Obinna Charles; Abdulkadir Moshood Olanrewaju; Capt Agbaje Zaid Idowu; Contr Aremu Adegboyega Olayinka; Engr Damo Aliyu Mamuda; Delano Oluyele Obafemi (SAN); Dr Enabulele Osahon; Gp Capt Ganiyu Fatai Ayinla; DCP Isa Garba; Dr Jibrin Balarabe Suleiman; Dr Mundi Sule; Jane Chinwe Okeleke; Col Olasein Mutiu Dotun; Raji Bilkisu Omeneke; and Rwang Yop Shom.

The achievement, confirmed by music analytics platform Charts Africa on X, cements Wizkid’s position as one of Africa’s most commercially successful global music exports and a consistent leader in digital streaming records.

According to Charts Africa, Wizkid is the first African artist to reach multiple major streaming benchmarks on Spotify, including 1 billion, 2 billion, 10 billion, and now 11 billion cumulative streams.

The latest record comes shortly after the release of his new collaboration titled State of Mind with DJ Tunez, which dropped on May 15, 2026. The track reportedly amassed over 685,000 global Spotify streams within its first 24 hours, adding fresh momentum to his catalogue.

The milestone further highlights the growing global influence of Afrobeats, a genre that continues to push Nigerian and African artistes into the centre of the international music streaming economy.

The video reflects the artiste’s journey of personal development, resilience, and self-discovery. It also captures themes of growth, struggle, ambition, and the reality of staying focused while pursuing success in the music industry.

Speaking about the project, Kwaku Waves described it as a reflection of his life journey so far.

“A Growth With Me is not just a song or video. It’s my story. It shows where I’m coming from, what I’ve been through, and how I’m still growing as a person and as an artiste,” he said.

Born Henneh Awuah Evans, he hails from Berekum in the Bono Region of Ghana. He blends Trap Soul, R&B, Hip-Hop, Highlife, and Hiplife, creating a versatile sound that continues to attract attention within Ghana’s underground music scene.

He has spent over 8–10 years developing his craft and has released two albums: Part of the Journey and Still Hustling for Better Days, the latter released in April 2026.

Reflecting on his journey, he noted: “Music has always been my way of expressing real life. I don’t just make songs for vibes… I make music that speaks about emotions, struggles, and dreams. This is only the beginning for me.”

Meanwhile, his music is available on major streaming platforms including Audiomack, Apple Music, Spotify, and Boomplay.

Some of his standout songs include “Gangstar Wave Me,” which has surpassed 1 million streams on Audiomack, “Can’t Stress Me,” and “Big Belt,” both of which have also recorded strong streaming numbers.

Despite being an independent and emerging artiste, Kwaku Waves continues to position himself as one of the young talents to watch, focusing on storytelling and emotional depth in his music.

He added: “I’m still learning, still growing, and still building my name. I believe my time will come, and when it does, the world will understand the real message behind my music.”

A Growth With Me marks another step in his artistic journey, showcasing both musical and personal evolution as he works toward expanding his reach within Ghana and beyond.

Watch the video below:
https://youtu.be/XWJpztbNIx4

Speaking in a recent episode of the Afrobeats Intelligenc podcast with Joey Akan, Savage said she didn’t realise how important the record label is to an artist’s mental wellbeing until she left Mavin Records.

The singer explained that during her stint at Mavins, she used to confide in the record label boss, Don Jazzy and her label mates, but no longer has such privileges at her new record label.

She said, “Who you signed to is very important, and I didn’t appreciate it until after I left Mavin. Whenever there’s a controversy online, I’d run to Don Jazzy’s room, sit on the floor or bed with other Mavin acts, and we would talk about it. I would cry if I had to cry, and we would get through it.

“But being with a [foreign] label, they don’t really care about your personal stuff. So, I can’t really go to the Empire office and cry. I miss that part of it.”

She added that it is important for artists to discern whether the label they are signing to cares about them or just sees them as moneymaking machines.

Tiwa Savage joined Mavin in 2012 but left in 2019 and signed to Universal Music Group.

Despite exiting the label, Savage has maintained that Mavin is still “family”.

Speaking in an interview on Joy Prime, Funny Face recounted his experiences at different facilities, including the psychiatric unit at Korle Bu, as well as Pantang Hospital, where he stayed during his mental health treatment.

Due to his celebrity status, he became a familiar face in the wards and one that many patients would approach during moments of boredom.

According to him, some of the moments that stood out involved conversations with other patients, whom he jokingly described as offering him “advice,” despite their own mental health challenges.

He narrated that at times, he engaged patients in conversations in a way that made them trust him, even as they expressed unusual thoughts and ideas.

“Imagine someone who is crazier than you coming to advise you. I had a friend in there, and after hearing my story, he told me my situation is even worse. Imagine someone who has spent seven years in a psychiatric ward advising me and feeling pity for my condition.”

He added humor to his account by reflecting on how he navigated the environment, saying he often had to act in ways that made others feel understood in order to gain their trust.

“In my quest to make them feel I understand them, I also indulged them. And the nurses would be watching us, marking me that my situation was not getting better. We ate imaginary food on the floor and had weird conversations that made no sense.”

His remarks were part of his reflections on his mental health journey and recovery, which he has occasionally spoken about publicly to raise awareness and share personal experiences.

Watch video below:

The launch ceremony is scheduled to begin at 10:00 a.m. and is expected to bring together traditional leaders, opinion leaders, invited guests, media personalities, corporate institutions, and members of the Breman community.

The event forms part of preparations toward this year’s Odwira Festival, which is expected to celebrate the rich culture, heritage, and development of Bremanman.

The Paramount Chief of the Breman Traditional Area, Odeefuo Amoakwa Buadu VIII, who also serves as President of the Central Regional House of Chiefs, is expected to lead the traditional council during the launch ceremony.

The planning committee says this year’s festival will place strong emphasis on unity, cultural identity, youth involvement, development, and strategic partnerships aimed at projecting Bremanman to a wider audience.

As part of preparations ahead of the launch, members of the committee and traditional leaders have already begun engaging key stakeholders and media organisations to support publicity and coverage for the festival.

Media personality Alex Kobina Stonne, popularly known as Kobby Stonne, who has officially joined the planning committee as part of the media and communication team, is expected to help strengthen publicity efforts, media partnerships, and strategic communication for the festival.

The committee is optimistic that the 2026 edition of the Breman Odwira Festival will attract massive patronage and further promote the cultural values and developmental vision of the Breman Traditional Area.

The Breman Traditional Council has therefore invited the general public, indigenes of Bremanman, and all stakeholders to support and participate in the launch ceremony ahead of the main festival activities later this year.

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Jonathan Andic, 45, was detained by Catalan police on Tuesday as part of a renewed investigation into the death of the fashion tycoon, which was initially treated as an accident but was later reopened.

Isak, 71, died in December 2024 after falling from a ravine while walking in the Montserrat mountains near Barcelona with his son. There have been conflicting media reports about whether they were alone or if other family members were present.

Jonathan has previously denied responsibility for his father’s death.

A family spokesperson told Reuters that Jonathan was being questioned and that the family was confident of his innocence.

He joined Mango in 2005 and later oversaw the company’s Mango Man line. He became vice-chairman of the board after his father’s death.

Investigators in Catalonia initially closed the case in early 2025 after finding no evidence of criminal wrongdoing, but reopened it later that year, citing inconsistencies in Jonathan’s testimony, the La Vanguardia newspaper reported.

Jonathan was taken from his home shortly after 11:00 local time (09:00 GMT), where he was questioned by police again.

He later appeared before a judge, who ordered his detention on bail, set at €1m (£865,000), ordered the withdrawal of his passport, and required him to report to the court weekly.

Born in Turkey, Isak founded Mango with his brother, Nahman, in Barcelona in 1984, and the chain now operates almost 3,000 outlets in 120 countries.

At the time of his death, Forbes estimated the businessman’s net worth to be $4.5bn (£3.6bn).

Mango CEO Toni Ruiz previously said Isak’s death would “leave a huge void” and added: “All of us are, in some way, his legacy and the testimony of his achievements”.

“It is up to us, and this is the best tribute we can make to Isak and which we will fulfil, to ensure that Mango continues to be the project that Isak aspired to and of which he would feel proud.”

According to Don Moen, the main purpose of the trip is to honour his wife’s personal desire to experience walking through a muddy construction environment, a moment he described as part of their anniversary celebration.

To fulfill her wish, they paid a visit to the Royal Seed School construction project site, where new dormitories are currently being built to improve student accommodation and learning conditions.

The couple was accompanied to the site, where they observed ongoing works and interacted briefly with workers engaged on the project.

While at the site, Don Moen also expressed gratitude to supporters and donors who have contributed towards the school project, noting that their efforts were making a meaningful impact on students’ lives.

He described the anniversary as both a personal milestone and an opportunity to appreciate life, service and shared experiences.

The meeting, which also involved the Director of the Bureau of Ghana Languages, Ebenezer Ahiator Esq, focused on planning activities to mark what the Minister described as a milestone achievement in the preservation of the three languages.

According to Madam Gomashie, the languages include Sisaali, spoken by the Sisaala people, Likpakpaanl, spoken by the Kokomba people, and Kusor, spoken by the Kusasi people.

She disclosed that the completed works in collaboration with the groups would soon be officially unveiled, similar to earlier initiatives undertaken for the Ahanta language.

The Minister stressed the importance of preserving local languages, noting that they remain central to protecting the culture, traditions and identity of Ghanaian communities.

She referenced Ghana’s ratification of the Convention on Intangible Cultural Heritage in 2015 through the Ministry of Tourism, Culture and Creative Arts with support from Parliament, explaining that the convention seeks to preserve oral traditions, performing arts, craftsmanship and other forms of inherited cultural expression.

Madam Gomashie also highlighted the significance of International Mother Language Day, celebrated annually in February by the United Nations, to promote linguistic diversity, inclusion and cultural preservation.

She noted that the Bureau of Ghana Languages continues to play a critical role in safeguarding and promoting indigenous languages across the country.

That is the vision of the leader of GG Brass Band, Benjamin Amoyi, who believes brass music is gradually evolving beyond its traditional ceremonial role into mainstream entertainment.

Speaking on the E Vibes Musical Band Series, Mr Amoyi said the future of brass music in Ghana looks promising and could eventually influence the performance style of some of the country’s biggest artistes.

“I see a very bright future for brass in Ghana,” he stated.

Taking the prediction further, he added, “Artistes like Shatta Wale and Stonebwoy are going to perform with brass band in a few years to come.”

His comments challenge the current structure of Ghana’s music industry, where brass bands are largely associated with church activities, parades, and ceremonial events rather than mainstream concerts and commercial performances.

Mr Amoyi explained that his vision is heavily influenced by his musical journey and exposure to live band culture.

According to him, studying music at Presbyterian Boys’ Secondary School allowed him to interact with established musicians and understand the possibilities within live instrumentation.

“I had the opportunity to meet a lot of established musicians like Samuel Delong,” he revealed.

He also recounted performing alongside gospel musician Kofi Sarpong, describing the experience as one that broadened his understanding of live musical performances and collaborations.

Those experiences, he said, influenced his decision to redefine the direction of GG Brass Band by moving beyond solely traditional hymn performances into collaborations with contemporary artistes.

“I made up my mind to move away from solo traditional performances, allowing us to perform with musicians as well,” he explained.

Despite doubts from critics about the commercial viability of brass music, Mr Amoyi remains optimistic about its future within Ghana’s entertainment industry.

“Not everyone is meant for a white-collar job,” he said.

With growing appreciation for live instrumentation and authentic stage performances globally, GG Brass Band believes brass music could become an important part of the next phase of Ghanaian music culture.

His lawyers filed a certiorari application seeking to quash a ruling by the Gbese District Court which authorised his extradition in connection with ongoing criminal proceedings in the US.

Kumi is facing charges of wire fraud and money laundering, linked to an alleged romance scam network accused of defrauding elderly victims of more than $8 million.

The case drew renewed public attention after he was sighted at the court as proceedings continued on the legal challenge to the extradition order.

The court is expected to determine whether the lower court acted within jurisdiction in granting the extradition order.

The matter has been adjourned to June 16, 2026, for further hearing.

However, after the latest development at the High Court, Abu Trica refused to make any public statement while the substantive application is being heard.

The national high court has acquitted the Colombian singer of tax fraud and ordered the Treasury to repay the money plus interest to her.

It said tax authorities had failed to prove she spent 183 days in Spain in 2011 – the minimum required for residents to pay personal income tax there.

Shakira said the court had “finally set the record straight” after she had spent eight years “enduring brutal public targeting, orchestrated campaigns to destroy my reputation, and sleepless nights that ultimately impacted my health and my family’s well-being”.

The 49-year-old star, who is known for hits like Hips Don’t Lie and Wherever, Whenever, added: “There was never any fraud, and the Administration itself could never prove otherwise, simply because it wasn’t true.

“Yet, for nearly a decade, I was treated as guilty. Every step of the process was leaked, distorted, and amplified, using my name and public image to send a threatening message to the rest of the taxpayers.

“Today, that narrative crumbles, and it does so with the full force of a court ruling.”

The repayment includes about €24m (£21m) in income tax and almost €25m (£22m) in fines for what authorities had described as a “very serious” infringement.

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The tax agency said it would appeal to the Supreme Court and that no payment would be made until the final ruling.

Shakira lived with former Barcelona and Spain footballer Gerard Pique for more than a decade after reportedly meeting in 2010 while filming the music video for Waka Waka, the official song of the World Cup in South Africa.

The High Court said the fines were unlawful because they relied on the assumption that Spain was her tax residence for the 2011 fiscal year, “a fact which has not been proven”.

The court said the singer spent 163 days in Spain in that financial year – 20 days short of the threshold for her to be classed as a resident for tax purposes.

The case does not involve the tax years after 2011.

It was one of several cases involving Shakira to have been brought by Spain’s tax agency.

In 2023, she reached a deal with Spanish prosecutors to settle a separate tax fraud case covering the years 2012-2014, just as she was set to go on trial.

The deal meant Shakira, who denied any wrongdoing, accepted six charges and paid a €7.5m (£6.5m) fine.

Prosecutors had wanted to jail her for eight years and fine her €23.8m (£20.8m) if she was found guilty. She said she settled the case “with the best interest of my kids at heart”.

And in 2024, a Spanish court reportedly dropped an investigation into her tax payments for 2018 because of “a lack of evidence”.

The latest ruling comes as Shakira is set to wrap up her Women Don’t Cry Anymore world tour with a residency in Madrid from September.

She will also perform alongside Madonna and BTS during the half-time show at this summer’s Fifa Men’s World Cup final, it was announced last week.

Earlier this month, two million people attended a free Shakira concert on the Copacabana beach in Rio de Janeiro.

The event brought together traditional leaders, Christian leaders, and prominent figures from the media and music industries to celebrate empowerment, leadership, growth, and positive social impact.

The gathering was held under the theme based on Psalm 84:10: “I would rather stand at the threshold of the house of my God than dwell in the tents of the wicked.”

The programme featured moments of prayer, thanksgiving, and worship, with performances led by gospel musicians including Elder Mireku, Gifty Donkor, Royal Prophet Nana Baffour, and Osuani Oteng.

Participants from various professional and community backgrounds also engaged in networking aimed at sustaining the outreach’s impact beyond the event.

More than 200 clothing items, along with assorted food supplies, were distributed to widows as part of the initiative, which aimed to provide relief and reinforce the theme of service and care.

Ohemaa Benewaa expressed gratitude to God for her life and said the milestone inspired her to organise the outreach as an act of thanksgiving and support for vulnerable groups.

She noted that she has always been committed to supporting widows and decided to expand her efforts this year.

She also called on well-meaning individuals to use special occasions such as birthdays and festive celebrations to support widows, orphans, and vulnerable people in society.

Seizing the moment, she launched the Women’s Wave Empowerment, a platform designed to create open dialogue on social and relationship issues affecting women. The initiative seeks to equip women with the knowledge and confidence needed to make informed life choices.

She urged women to build financial and personal independence rather than relying solely on partners for support. For those yet to enter relationships, she advised patience and careful decision-making.

Beneficiaries of the outreach expressed gratitude for the support, describing it as timely and impactful.

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According to her, while the TGMA red carpet remains an important platform for style expression, fashion extends beyond one awards scheme and should not define an individual’s creativity or relevance in the industry.

Her comments come amid ongoing public discussions about celebrity fashion statements and red carpet appearances following this year’s awards season.

The actress and style influencer, who recently made headlines at the 2026 Africa Magic Viewers’ Choice Awards (AMVCA) with her cathedral-inspired gown, has been at the centre of conversations about African fashion, creativity and originality.

Her AMVCA appearance generated widespread admiration across social media, although it also sparked controversy after Paris-based fashion house ALmée Couture accused her of using elements of a concept they had allegedly developed for her.

Responding to the allegations, Nana Akua Addo maintained that the original creative direction and inspiration behind the outfit belonged to her, explaining that she later worked with another designer after the initial collaboration did not materialise as expected.

Despite the controversy, her elaborate AMVCA outfits have continued to dominate entertainment and fashion conversations across the continent, with many fans and fashion commentators praising her bold and theatrical approach to red carpet fashion.

The award-winning actor successfully completed his studies at the prestigious American university, marking a proud academic achievement years after taking the global entertainment scene by storm as a teenager.

Photos and videos from the graduation ceremony, which have surfaced online, captured Abraham Attah celebrating the special moment with colleagues, friends and loved ones on campus.

The actor has received congratulatory messages from fans and industry players, many praising him for balancing education with a successful acting career.

Abraham Attah shot to global prominence in 2015 after starring alongside Idris Elba in “Beasts of No Nation,” a performance that earned him international recognition and several awards, including the Marcello Mastroianni Award for Best Young Actor at the Venice Film Festival.

Following his breakthrough, he appeared in other international productions, including Spider-Man: Homecoming, while also becoming a source of inspiration for many young Ghanaians.

His latest achievement has been widely celebrated online, with many describing it as proof that success in entertainment and academic excellence can go hand in hand.

From 24th to 31st May, Adom TV’s Faiza Mohammed and Fareeda Saeed will host the RAAYUWA SALLAH SPECIAL, a reveting week-long cultural experience exploring the beauty, depth, and evolving traditions of Eid-ul-Adha across Northern Ghanaian and Zongo communities.

More than a television event, the special is a journey through the soul of Sallah: the faith, the food, the fashion, the family gatherings, the music, the markets, and the untold stories that make the season one of the most cherished moments on the Muslim calendar.

Beyond Celebration — Understanding the Meaning of Sallah

The special programming opens with thought-provoking conversations on what Sallah means in today’s world. Through insightful discussions with Islamic clergy, pilgrims, youth, and respected community voices, RAAYUWA explores themes of sacrifice, identity, spirituality, and how modern Muslims continue to preserve tradition while navigating contemporary life.

One of the major highlights will focus on Hajj — the sacred pilgrimage to Mecca. Viewers will experience emotional testimonies, expert commentary, and updates from pilgrims as the show examines the significance of the journey and the question many Muslims wrestle with: To go or not to go?

Inside the Sallah Economy

But Sallah is also business. Big business.

From ram traders and butchers to tailors, food vendors, makeup artists, transport operators, and mobile money agents, the RAAYUWA SALLAH SPECIAL shines a spotlight on the booming seasonal economy that powers the festivities.

Markets become busier. Fashion houses work overtime. Livestock sales surge. Entire communities come alive with enterprise and activity.

RAAYUWA captures all of it.

Fashion, Food & The Culture

No Sallah celebration is complete without style and flavor — and RAAYUWA is bringing both to the screen in full color.

Viewers can expect vibrant showcases of:

• Northern and Zongo fashion
• Kaftans, smocks, and modest wear
• Henna artistry
• Traditional family preparations
• Indigenous delicacies
• Meat preparation techniques
• The best places to buy Sallah essentials

The special will also take audiences into real homes across Ghana to experience how different families celebrate Eid — from affluent households to middle-income and underprivileged homes — revealing the shared spirit of gratitude, generosity, and togetherness that defines the season.

Music, Community & Celebration

Music lovers are also in for a treat with special Sallah-themed editions of Bisa Nwom, featuring music requests, shout-outs, and goodwill messages from viewers across Ghana and beyond.

And for lovers of food and entertainment, The Big Sallah Grill promises smoke, spice, competition, and excitement as brands, chefs, and grill masters battle it out in a festive barbecue showdown.

A Cultural Experience for Everyone

What makes the RAAYUWA SALLAH SPECIAL unique is its ability to make Sallah accessible not only to Muslims, but to all Ghanaians interested in culture, identity, and community.

It is not simply a religious broadcast. It is a lifestyle experience rooted in people, heritage, and shared humanity.

From Nima to Tamale, Madina to Kumasi, RAAYUWA captures the many ways culture continues to evolve while staying deeply connected to its roots.

DON’T MISS IT

The RAAYUWA SALLAH SPECIAL airs from 24th to 31st May exclusively on Adom TV.

Join us for a week of powerful conversations, unforgettable celebrations, inspiring stories, and the true spirit of Eid-ul-Adha, Sundays at 8:00am, and weekdays at 5:00pm.

RAAYUWA, Zuumunchi

Adom TV, Ye wo adze a, oye.

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Shatta Wale wins two awards at International Reggae and World Music Awards

Nhyira FM excites audience in Kumasi with massive 2026 Fufu Party

The “On God” hitmaker took home the coveted “Best African Dancehall Entertainer” title alongside “Concert of the Year” for his hugely successful ShattaFest concert.

The latest achievement adds another chapter to Shatta Wale’s growing international recognition and further cements his dominance in African dancehall music.

In a statement released by his management, appreciation was extended to the organisers of the IRAWMA Awards for recognising and celebrating African music on the global stage.

The team also showered praise on the ever-loyal Shatta Movement fanbase across the world for their relentless support, votes and dedication throughout the years.

For many fans, the double win is yet another reminder that Shatta Wale remains one of Ghana’s biggest musical exports, continuing to push African dancehall culture beyond borders with his energy, brand and influence.

He was named Best African Dancehall Entertainer and also picked up the Concert of the Year award for his annual ShattaFest event.

In a statement issued on May 18, 2026, his management confirmed the double victory, describing it as a major milestone in his international career.

“The management of Shatta Wale proudly confirms that the African Dancehall King emerged as a double award winner at the 43rd International Reggae and World Music Awards held over the weekend in Florida, USA,” the statement said.

Management expressed gratitude to the organisers for recognising African music and its global impact, while also thanking fans worldwide—especially the Shatta Movement—for their continued support, votes, and loyalty.

According to the statement, the achievement further strengthens Shatta Wale’s position as one of Africa’s leading music exports and a key figure in global dancehall culture.

The International Reggae and World Music Awards (IRAWMA) celebrates outstanding reggae and world music artistes globally.

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Why I wished for death in my 20s – Adekunle Gold

Poor electricity in Nigeria affected my growth – Ayra Starr

Speaking at the Global Citizen NOW event in New York, Starr claimed that her life would have been different if she had grown up with a steady electricity supply. 

She recalled that poor electricity supply affected her education, career development, and even her family’s means of livelihood. 

She said, “Every Nigerian child has faced some type of electricity issues. My grandma used to sell tomatoes and peppers, and I used to assist her. We had to sell it quickly because we didn’t have electricity to store them. 

“The harsh experience made me who I am today. Because I had to find ways to do what I had to do without the comfort of electricity. 

“Growing up, having electricity would have made a big difference. If I came back from school and I had AC or even a fan in the heat while doing my assignments, that would have made a big difference.”

Ayra Starr appealed to African leaders to address the continent’s electricity challenges, stressing that every child deserves electricity and other basic social amenities for proper growth. 

In a recent interview with media personality Angela Yee, the Orente crooner revealed that people often react as though he is close to death whenever he discloses that he is living with sickle cell disease.

He recalled wishing for death at age 20 during a severe sickle cell crisis, describing the pain as one of the most difficult experiences of his life.

Adekunle Gold said the crisis was so intense that his mother, who usually rebuked him whenever he expressed such thoughts, did not intervene on that particular night.

“At 20, I had the craziest crisis of my life. I told God to take my life. And my mum couldn’t even rebuke me. Normally, she would, but that night, it got to a point where it felt like the only thing that made sense should just happen,” he recalled.

The singer expressed gratitude for surviving and continuing to live with sickle cell disease, saying he remains thankful for his journey and resilience.

That logic is beginning to collapse, and a new generation of African storytellers is not simply demanding visibility; they are reshaping the terms of cultural influence itself. Across television and film, African creators are producing stories rooted in specific local realities while carrying universal emotional weight – stories confident enough to be deeply African without explanation or dilution.

This shift is not happening in isolation. It is being accelerated by structural changes within the global media economy, where audiences are increasingly drawn to non-Western narratives and streaming platforms, broadcasters and studios are competing for differentiated intellectual property.

In this environment, Africa is no longer just an emerging audience. It is an emerging storytelling power.

And few companies are betting on that future more aggressively than Canal+.

Following its acquisition of MultiChoice, Canal+ has made clear that its African growth strategy extends beyond distribution scale and subscriber economics. The group has consistently positioned African content as central to its long-term growth and differentiation strategy, using the combination of MultiChoice’s local production engine and StudioCanal’s international financing and distribution capabilities to move African stories beyond the continent.

MultiChoice has spent years building one of the continent’s most formidable local content ecosystems, commissioning and producing stories that reflect the realities, ambitions and tensions of African audiences. Through brands such as Mzansi Magic, Africa Magic and Maisha Magic, it has cultivated an audience appetite for stories told in local languages, grounded in familiar cultural references, and driven by African talent.

What Canal+ brings is a broader ambition: scale those stories internationally.

This is where StudioCanal becomes strategically significant. The company’s recent announcement of The Road Home – a South African production centred on the creation of Graceland and the cultural and political tensions surrounding it – offers a useful signal of intent. The roughly R300 million production will be filmed in Cape Town, employ hundreds of local crew members and thousands of extras, and is positioned explicitly as a distinctly South African story with international resonance. 

This is not a generic global production merely using Africa as backdrop or location arbitrage. It is a story inseparable from South African history, music, politics and identity, financed and elevated with global ambition.

For years, one of the central tensions in African content has been the false trade-off between authenticity and exportability: the assumption that to travel globally, African stories must become less African.

Recent global viewing trends suggest the opposite. Audiences that embraced global international series from regions such as Korea and Spain and other parts of the world did not do so because these stories were culturally neutral. They succeeded because specificity became a strength.

African content is increasingly positioned to benefit from the same shift. This is already visible in titles such as Shaka iLembe, Spinners, and other locally produced dramas that have demonstrated both strong audience traction and growing export potential. Canal+ executives have openly stated their ambition to use StudioCanal’s international networks to push African-produced television and film into new global markets. 

The implications extend beyond entertainment, as culture remains one of the most powerful mechanisms through which regions shape perception, influence and soft power. Hollywood did not merely export films; it exported frameworks for understanding America. South Korea’s content boom did not simply generate hits; it recalibrated global curiosity around Korean language, aesthetics, fashion and food.

Africa’s creative economy has long possessed the raw ingredients for similar influence: demographic youth advantage, linguistic diversity, rich oral traditions, musical innovation, and increasingly sophisticated production capabilities.

What has often been missing is capital, infrastructure, and global distribution architecture. This is where the Canal+/MultiChoice combination becomes strategically interesting.

At a time when many global media companies are retrenching, consolidating or becoming more risk-averse, Canal+ appears to be taking a more expansive view of Africa, not merely as a subscriber growth market, but as a content ecosystem capable of generating globally relevant intellectual property. Even as the company executes a turnaround strategy across MultiChoice’s operations, it has maintained its commitment to premium content investment on the continent. 

Operational discipline and creative ambition are not being treated as mutually exclusive. If anything, content appears central to Canal+’s thesis for long-term differentiation in Africa.

Africa Month often invites reflection on identity, heritage and shared possibility. In the context of television and film, it also raises a sharper question: who gets to shape how Africa is imagined, both by itself and by the world? 

Increasingly, the answer is shifting toward African creators telling stories with enough conviction to resonate first at home and then abroad. That is perhaps the most important evolution underway.

African storytellers are no longer asking whether their stories can travel, rather they are building stories with the confidence that they already can and in doing so, they are not simply expanding representation; they are helping redefine what global storytelling looks like.

The Minister, together with the Member of Parliament for Sissala West, Mohammed Adams Sukparu, met elders of the late President’s family. Discussions focused on the history, culture and heritage of the Gwollu community.

According to Madam Gomashie, the visit offered her the opportunity to learn about the strategies adopted by the forebears of Gwollu to protect the community from invaders and raiders in earlier times.

She noted that the visit highlighted the ingenuity and resilience of the people, describing the experience as both humbling and insightful.

The Minister also revealed that elders and tour guides expressed appreciation to President John Dramani Mahama for his support and relationship with the community.

During the tour, Madam Gomashie was introduced to a traditional bone-setting centre in the community, known for treating fractures and other injuries through indigenous orthopedic practices.

She also visited a sacred crocodile pond in Gwollu, which holds spiritual and traditional significance for the people and where the reptiles are protected from hunting.

The Tourism Minister later joined the MP for Sissala West to attend the funeral of a chief in the area, where she received commendation from the Paramount Chief for her role in promoting Fugu and Ghanaian culture.

The occasion marked her unveiling as Fugu Queen and Tourism Ambassador for Ghana.

Minister for Tourism, Culture and Creative Arts, Abla Dzifa Gomashie, said she was truly happy for the “unveiling of our celebrated daughter, sister, colleague, and friend, Wiyala, as Fugu Queen and tourism ambassador.”

“This day has been long in coming. As we celebrate a remarkable artiste, let us take the opportunity to also celebrate our beautiful culture, identity, resilience, and the rich heritage of the northern part of Ghana,” she stated.

The minister described the ceremony as evidence of culture’s power to unite people, preserve traditions, and create opportunities for development. She praised Wiyaala for consistently making Ghana proud through her talent, authenticity, and dedication to promoting Ghanaian culture.

“She has used music, fashion, and performance to project the beauty of our traditions to the world. More importantly, she has remained deeply connected to her roots and committed to uplifting her people and especially our children.”

Dzifa Gomashie, who has known Wiyaala for nearly 20 years, noted that the artiste had worn Fugu long before it became popular on social media. She highlighted Wiyaala’s initiatives in supporting young people, empowering women, promoting education, ensuring environmental cleanliness, and championing local culture.

“As she assumes the noble role of Fugu Queen and tourism ambassador, I am confident that this honour will inspire and ginger her to do even more for her people, the creative industry, and the nation,” the minister said.

She called on Ghanaians to patronise made-in-Ghana products, especially Fugu and other local textiles.

“Every thread woven into Fugu tells a story, our story, and our resilience as a people. We create jobs for our weavers, designers, traders, and all kinds of entrepreneurs. We stimulate the local industries and the local economy and preserve our cultural heritage for future generations.”

“The economic benefits of supporting local products are enormous. Our tourism and creative art sectors can become major drivers of economic growth when we invest in our culture and proudly market what is uniquely ours,” she added.

“Let us therefore wear Ghana, eat Ghana, drink Ghana, promote Ghana and celebrate Ghana at every opportunity we get.”

Dzifa Gomashie emphasised that Northern Ghana is richly blessed with cultural heritage, historical sites, festivals, arts, music, dance, fashion, cuisine, and landscapes that can attract tourists from across the world.

She said the ministry remains committed to collaborating with traditional authorities, MMDAs, local communities, development partners, and stakeholders to harness these potentials for sustainable development and job creation.

The Tourism, Culture and Creative Arts minister concluded with a congratulatory message to the lioness of Africa.

Turning to Wiyaala, she urged her to let her new role bring greater impact, greater opportunities, and greater inspiration to many young people across the country.

Noela Wiyaala thanked the tourism, culture and creative Arts minister for making the journey to Funsi and reflected on the meaning of the honour.

“And I want to tell my mummy [Dzifa Gomashie] that I have accepted this title, this honour, and I will not disappoint you. I’ll make the whole town proud. When I go out there, I will roar.

The District Chief Executive of Wa East, Adamu Shayibu, highlighted the district’s cultural strength and the need for more opportunities.

“The district capital is a very vibrant community of culture. So when you see people performing at the higher level, it is not by coincidence — it is a product of culture,” he said. “All the people that you have seen around here, if given the opportunity, can even do better. Culture is a pride of the people of the area.”

He expressed optimism that with the minister leading the sector, Wa East would see more support.

“In terms of opportunities, we are limited. But with our mother heading the ministry in charge of that particular sector, we will expect and pray that we will extend opportunities in the ministry to the town of Wa East.”

The event underscored Wa East’s reputation as a hub of Ghanaian culture and marked a new chapter in Wiyaala’s role as a cultural ambassador for the nation.

The event, held at the forecourt of the station at Ayigya, brought community members together to network, share love, and enjoy one of Ghana’s most popular traditional delicacies, fufu.

Five top local chop bars and restaurants in Kumasi partnered with the station to deliver an unforgettable culinary experience. These included Adepa Kitchen, Divine Kitchen, Betty’s Kitchen, Abaase, and Afia’s Kitchen, serving steaming bowls of fufu accompanied by a variety of rich local soups.

Proud sponsors of this year’s Fufu Party included Faith Homeopathy Clinic, La Vonce Tomato Mix, Edufly Travel Consult, Asaase Natural Mineral Water, Meera Cooking, and P-Bee Bitters.

Some patrons expressed satisfaction with the event, describing it as one of the best social gatherings organized by the media house to connect with its audience.

“We have enjoyed ourselves today. Some of us got the quantity of food and meat we expected. Keep it up Nhyira FM, you are number one,” a patron said.

Event organiser Eric Inkoom, in an interview, said the team exceeded its target for the number of people it planned to serve this year.

“This year’s event is exceptional compared to previous years, and next year will be even greater,” he said.

Programmes Manager of Nhyira FM, Benjamin Fiifi Ocran, noted that no media house in Ghana matches the station’s experience when it comes to organizing social events.

“Fufu Party has been in existence for many years. We organize it to share love with our loyal listeners. We are grateful to all our patrons,” he said.

Tension rocks Wassa Amenfi palace over alleged assault on royals

If I become NPP Chairman, God will use me to create…

Speaking during a recent interview on the BTS Reality Show, the actress explained that many people wrongly assume actors enjoy intimate scenes on set, whereas the reality is often uncomfortable and emotionally draining.

“If you have twenty people watching you while kissing in the movie, it is impossible to enjoy it. We do not enjoy it, we do not get in the mood.

“If it is something we can scrap out completely and still make viewers enjoy it, I would be happy with it,” she stated.

The actress explained that acting intimate scenes can negatively affect personal relationships, especially when partners struggle to separate fiction from reality.

“These things affect our personal relationships. For instance, I had to leave a relationship because of this,” she revealed.

Recalling the incident, Sandra Okunzuwa said her former boyfriend confronted her after receiving a video clip of her kissing another actor on a movie set.

“He called me and told me that he was just sent a video of my kissing this actor on set. It is hard; it is not easy.

“I do not blame people who say they cannot date actresses because it is not everyone who can take certain things,” she added.

‘No slots’ available: Ministry of Health recruitment portal tells most job…

His release marks a significant development in the legal saga that has captivated the Ghanaian public since his arrest in late 2025.

He was granted bail in the sum of GH₵30 million with two sureties in April 2026.

Abu Trica was apprehended on 11 December 2025 in a high-stakes joint operation between Ghanaian security agencies and United States law enforcement. The unsealed indictment against him reads like a digital age thriller; authorities allege he was a key figure in an international cybercrime syndicate that defrauded elderly Americans of more than $8 million.

Investigators claim the group utilised sophisticated Artificial Intelligence (AI) tools to craft deceptive online profiles. These “digital ghosts” were used to build deep emotional trust with victims through romance scams before soliciting massive sums of money under various pretexts.

The road to Friday’s release was paved with multiple failed attempts by the defence team to secure bail. Abu Trica currently faces charges including conspiracy to commit wire fraud and money laundering conspiracy—offences that carry a maximum sentence of 20 years in a US federal prison.

A major turning point in the defence’s strategy occurred when two other individuals initially linked to the case, Lord Eshun and Bernard Aidoo, were cleared by prosecutors due to a lack of evidence.

Before his arrest, Abu Trica was a fixture on Ghanaian social media, frequently showcasing a lavish lifestyle characterised by expensive vehicles and high-end real estate. While his supporters have viewed his success as the result of his business acumen, the prosecution maintains that this wealth was built on the proceeds of cyber fraud.

The case has divided public opinion, sparking intense debate among celebrities and influencers regarding the balance between “due process” and the international fight against cybercrime.

Legal analysts are quick to point out that Friday’s release does not signal the end of the road. Abu Trica remains subject to strict reporting requirements and potential travel restrictions as the extradition request from US authorities remains on the table.

The High Court’s decision essentially allows the defence to fight the extradition process from outside the confines of a cell.

As the AI-romance scam case moves into its next phase, all eyes will be on whether the Ghanaian courts will ultimately greenlight his transfer to stand trial in the United States.

Sharing the heartbreaking news, Sonnie Badu disclosed that the house, which held over 20 years of family memories, was completely gutted by the fire under circumstances that are still unknown.

According to him, he received the shocking news while preaching during a church service, after several missed calls from his father’s phone interrupted his sermon.

The gospel musician said he later stepped aside to return the call, only for his mother to inform him that their house had caught fire.

Despite the destruction, Sonnie Badu expressed gratitude that his parents survived the incident unharmed.

He also recounted having a vivid dream about a house on fire days before the incident, initially believing the warning was connected to his own home and children.

However, he later realised the house he saw in the dream was his parents’ residence.

The gospel musician has since pledged to rebuild the house within six months and appealed to architects and builders in Ghana to support the project.

Describing the incident as painful but miraculous, Sonnie Badu said he remains thankful for God’s protection over his parents’ lives during the fire outbreak.

The initiative forms part of the network’s broader vision of raising a generation of purposeful, responsible and impact-driven leaders, especially among the youth and women.

According to the Founder and Convener of the network, Abigail Afful Cobbinah, the summit will create a platform for women from diverse backgrounds to connect, learn, grow and build confidence in leadership and personal development.

She explained that the summit is designed to inspire women to step boldly into leadership roles while equipping them with the skills, mindset and opportunities needed to influence positive change in society.

GAILIC Leadership Network believes leadership goes beyond titles and focuses on service, influence, growth and impact.

The organisation has over the years focused on mentorship, leadership training, conferences, community engagement projects and strategic collaborations aimed at developing young leaders across different sectors.

Beyond the summit, the network also intends to use digital and media platforms to promote leadership conversations, youth empowerment and positive social impact initiatives.

The organisers say the Obaasima Summit is expected to bring together young professionals, entrepreneurs, students, mentors, industry players and aspiring female leaders for discussions centered on leadership, empowerment, innovation and personal growth.

GAILIC Leadership Network says it remains committed to building a lasting legacy of leadership, service and impact for future generations.

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Speaking to Joy News at the 10th edition of the Blooming Minds Young Writers and Achievers Awards, held at the British Council in Accra, she said that while concerns about limited support continue to dominate conversations in the creative space, individuals must begin to create opportunities for themselves and others instead of relying on government intervention.

“Don’t wait for government. If you see something you can do, especially for children and creatives, start it,” she said.

The initiative marks 10 years of nurturing young talent through writing and the arts across Ghana and Nigeria.

“Ten Years Is A Journey. It’s Been Blood, Sweat And Tears Getting Here, But I Am Grateful,” she noted.

She explained that the focus of the programme goes beyond writing and awards, aiming instead at building creativity, confidence, and character development in children.

“The whole idea is not just to raise writers or artists. It’s to build skills that help children become better people in society,” she said.

A major highlight of the event was the launch of the programme’s first book, featuring stories from ten young writers selected from Ghana and Nigeria.

“We took ten winners from Ghana and Nigeria and put their stories together in one book,” she explained.

Thelma also addressed the growing conversation around artificial intelligence, stressing that it cannot replace creative work.

She said while many fear its emergence, it should instead encourage young creatives to take their craft seriously, sharpen their skills and remain relevant, as originality and imagination remain central to creative work.

Participants who received awards expressed their excitement at the recognition.     

The event featured art competitions, dance performances and other creative displays, reflecting the Blooming Minds initiative’s mission to nurture talent, build confidence and provide a platform for young creatives to express themselves.