Entertainment
Nana Kwame Ampadu: The Extraordinary Life, Music and History of Ghana’s Highlife Legend
Long before Ghanaian musicians were chasing YouTube views, Spotify streams, TikTok trends and international collaborations, there was a generation of artistes who built their careers with guitars, live bands, vinyl records, cassettes and an extraordinary ability to tell stories.
One of the most important names from that generation was Nana Kwame Ampadu.
For more than five decades, Ampadu remained one of the most prolific figures in Ghanaian highlife music. He wrote and recorded songs about love, marriage, money, poverty, death, morality, politics, family, religion, road safety, social inequality and everyday life.
His music was so extensive that remembering him through only one or two songs would barely scratch the surface of his contribution.
He is widely credited with composing more than 800 songs, while the African Brothers Band’s catalogue alone contained hundreds of recordings.
Yet for many young Ghanaians today, the man behind these songs is becoming increasingly distant.
This is the story of the musician who became known as Odwontofoohene — the Chief or King of Singers.
The boy from Obo Kwahu
Nana Kwame Ampadu was born on March 31, 1945, at Obo Kwahu in Ghana’s Eastern Region.
His parents were Opanin Kwame Ampadu, who was associated with the Asona Clan of Obo Kwahu, and Mercy Afua Ntiriwaa, a Presbyterian.
Music became part of his life at a very young age.
According to his official biography, young Kwame had a naturally captivating singing voice. At school, teachers noticed his musical ability and frequently selected him to lead songs and musical activities.
He was not simply interested in music as a hobby.
It was already becoming part of his identity.
His education
Ampadu began his education at Obo Roman Catholic Primary School, where he studied between 1950 and 1952.
His parents later moved to Adeemmra near Aboam in the Afram Plains, where he continued his education.
He completed his primary education in 1955.
From 1956 to 1959, he attended Obo Anglican Middle Boys School.
There, his musical talent became even more obvious.
School authorities reportedly recognised both his academic ability and his singing talent. He served as a chorister and became involved in musical activities at the school.
He passed the Common Entrance Examination in 1957 and gained admission to Abuakwa State College with a partial scholarship.
However, his family faced financial difficulties, and his father could not afford to support his continued education.
That changed the direction of his life.
Instead of continuing his formal education, the young Ampadu moved toward employment—and eventually toward music.
His first journey to Accra
In 1960, Ampadu moved to Accra in search of work.
At the time, he was young and physically small, and finding employment was not easy.
He eventually secured work as a messenger with the Ministry of Agriculture at Kwahu Mpraeso, through arrangements involving his father.
But employment did not extinguish his passion for music.
Even when he did not have musical instruments available, Ampadu would compose songs in his head and entertain friends and colleagues by singing.
He was already developing the songwriting habit that would later define his career.
Ampadu eventually left his employment and returned to Accra after encouragement from a schoolmate named Noah, a guitarist who had hopes of forming a musical group.
The plan did not immediately work out.
Noah later moved to Agogo, but Ampadu remained committed to music.
He stayed with his elder brother, Rover Amo Ampadu, who would later become an important figure in the management of the African Brothers Band.
Ampadu also had early contact with established musicians.
He was introduced to P.K. Yamoah, founder of Yamoah’s Band, and was accepted as a treble singer.
However, when the band planned to move to Kumasi, Ampadu’s relatives would not allow the young musician to travel with them.
His journey was delayed, but his ambition was not.
Ampadu worked with the United Ghana Farmers Council Corporation, initially as a messenger and later as a canteen supervisor.
He also worked briefly at Faith Drug Store in Okaishie, Accra.
But music remained his real passion.
By the early 1960s, he was moving closer to the career that would eventually make him one of Ghana’s most celebrated musicians.
In 1963, Ampadu and a group of young musicians formed what became the African Brothers Band.
The official inauguration took place at the Park Cinema Theatre in Adabraka, Accra.
Among the early members were Ampadu, his brother Rover Amo, Eddie Donkor, Kwame Anim, Yaw Asante and Kwadwo Ofori, with other musicians joining later.
One of the important things about the group was the age of its members.
They were remarkably young.
At a time when established musicians were generally older, these teenagers were trying to establish themselves in Ghana’s competitive music scene.
They performed at funerals, Muslim wedding ceremonies known as Sunna, beer bars and other social gatherings.
The name African Brothers Band was not chosen randomly.
The group formed during a period when African unity was an important political and cultural idea.
Ghana had gained independence in 1957 under Kwame Nkrumah, and the wider movement for African unity was strongly present in public life.
The band’s name reflected that atmosphere.
It represented an idea of African brotherhood and unity.
That political and cultural consciousness would later appear repeatedly in Ampadu’s music.
The African Brothers Band initially struggled like many young groups.
Then came the recording that changed their fortunes.
On November 14, 1966, the band recorded its first 45 RPM singles at the Ghana Film Industries Corporation through Philips West Africa Ltd.
The recordings were: Agyanka Dabere and Suminaso Ntonko
They were released in December 1966 and became successful.
The recordings gave the young band national attention and helped establish Ampadu as a serious songwriter and bandleader.
If there is one song that transformed Nana Kwame Ampadu into a national phenomenon, it is “Ebi Te Yie.”
Released in 1967, the song became a breakthrough for the African Brothers Band.
Ebi Te Yie can be understood as Some Are Sitting Well or, in a broader interpretation, a reflection on how some people are doing well while others struggle.
The song addressed the growing divide between comfortable people and those facing hardship.
The song became so significant that it was later adapted into a stage play.
It also attracted political interpretation.
Some listeners viewed it as criticism of the government of the time, and the song reportedly disappeared from the airwaves during military rule before returning later.
Ampadu, however, rejected the suggestion that the song was intended as a direct political attack.
This episode demonstrated something important about his music: people did not simply listen to Ampadu’s songs; they interpreted them.
The songwriter who sang about everything
Nana Kwame Ampadu’s catalogue was enormous.
He wrote about practically every aspect of Ghanaian life.
His songs addressed: Love, Marriage, Money, Poverty, Death, Religion, Friendship, Family, Politics, Good citizenship, Greed, Drunkenness, Parenting, Road safety, Social inequality.
This was one of the reasons his music connected so strongly with ordinary people.
You did not have to be a music critic to understand Ampadu.
You only needed to understand life.
His catalogue was enormous, but songs associated with Nana Kwame Ampadu and the African Brothers Band include: Ebi Te Yie, Obra, O man Bo Adwo, Kofi Nkrabea, Y aw Berko, A gartha, Aku Sika, M other, Mentumi Ngyae Wo, A ye Se Ye Do Wo, O biaa Ba Nnye, W oyoo Woyoo, Anibere Nnye, D rivers / Driver Adwuma, Kwaata, Agyanka Dabere, Suminaso Ntonko.
These are only a selection from a much larger body of work. Contemporary sources describe his overall songwriting output as running into hundreds of songs, with some accounts putting it at more than 800 compositions.
“Obra” and Ghanaian television
Another important part of Ampadu’s legacy was Obra.
The song became associated with the popular Ghanaian television drama series Obra.
This demonstrated how far his music had travelled beyond the dance floor.
His songs were entering homes through television and becoming part of the emotional soundtrack of Ghanaian life.
“Obra” itself reflected one of his recurring interests: human existence, its difficulties and the lessons people learn as they move through life.
Ampadu’s songwriting ability also took him into national campaigns.
He composed the theme song for Ghana’s Operation Feed Yourself programme in 1974.
The campaign, introduced during the National Redemption Council era, encouraged Ghanaians to increase domestic food production.
For Ampadu to contribute music to such a national campaign showed how influential musicians could be in communicating public messages.
His songs were not limited to entertainment venues.
They could become tools for national communication.
A band that changed highlife
The African Brothers Band did not simply produce popular songs.
The group experimented with the highlife form.
The band became known for innovations including longer recordings and songs released in Part 1 and Part 2 formats.
They also developed and popularised rhythmic styles described as Afro-Hili, while later incorporating reggae and other influences into their music.
One music archive notes that between 1968 and 1978, the group released about 400 single tracks.
That is an extraordinary volume of recorded music.
The African Brothers Band eventually moved beyond Ghana.
Their growing popularity opened opportunities for international performances.
They toured countries including Britain, the United States, Canada, France, Germany, Belgium, and the Netherlands.
Sources differ on the exact years and sequence of some tours, but the band’s international reach is well documented.
A music-history archive records a 1976 tour of the United States and Canada, while the band’s own historical account also records international tours beginning with Britain in 1970.
This was significant because Ghanaian musicians were taking highlife directly to audiences outside Africa decades before the current global Afrobeats boom.
In 1973, the group officially added International to its name.
It became the African Brothers Band International.
That name reflected the group’s growing reach outside Ghana.
By this point, Ampadu had become one of the country’s leading highlife figures.
Ampadu became “Nnwontofohene”
In 1973, another major honour came.
The Arts Council of Ghana conferred on him the title:
“Nnwontofohene Nana Kwame Ampadu I.”
The title is associated with the idea of a Chief/King of Singers.
It was a recognition of his contribution to Ghanaian music.
He had moved from being a young guitarist struggling to find opportunities in Accra to becoming a nationally recognised musical authority.
The band also became a drama group.
One of the lesser-known aspects of Ampadu’s career was his involvement in theatre.
The African Brothers Band developed a drama troupe, and Ampadu wrote plays for the group.
Among the productions associated with the troupe were: Abotion, Abusua, Kwaata, Aku Sika, Ntwatoso, Dea Onyame Ahyira No, Awaregyae Bi Ye Mmusuo
The group eventually commercialised some of its stage productions on audiocassette.
According to the band’s official history, its stage recordings had sold more than 200,000 copies by 2001.
This reveals another side of Ampadu that is sometimes overlooked.
He was not only a musician.
He was also involved in theatre, storytelling and cultural production.
The African Brothers Band became something of a training ground for musicians.
Several musicians who passed through the group later developed careers of their own.
They included figures such as: Eddie Donkor, Teacher Boateng, Oppong Kyekyeku, Joe Dee, Anthony Scorpion, Prince Osei Kofi, Nanaba Amoako, Kwame Seth, Paa Alex Obeng, Captain Newman, Akosua Agyapong.
This means Ampadu’s influence was not limited to the songs he personally recorded.
The band also helped develop other musicians.
Before becoming a star in his own right, Ampadu also interacted with established musicians.
One important figure was Jerry Hansen, founder of the Ramblers Dance Band.
Ampadu reportedly gave Hansen songs including Ntoboase, Afutusem, Scholarship, and Me Nsoromma Bepue.
The success of these songs helped draw attention to Ampadu’s songwriting ability.
Hansen later helped introduce him to Phillips West Africa, creating the opportunity that eventually led to the African Brothers Band recording its first singles.
One reason Ampadu’s songs remain historically valuable is that they provide a picture of Ghanaian society.
He could discuss the pressures created by money.
He could question greed.
He could talk about family.
He could warn people about irresponsible behaviour.
He could discuss relationships.
He could reflect on death.
He could comment on national issues.
This was the traditional strength of highlife: entertainment and commentary could exist in the same song.
Ampadu mastered that combination.
Ampadu’s influence eventually extended beyond performing.
He became active in the Musicians Union of Ghana (MUSIGA).
He served as First Vice President of MUSIGA from 1984 to 1991 and later served as General Secretary in 1992, according to his official biography.
He also served on the Ghana Folklore Board of Trustees and participated in other music-related committees.
This was important because his contribution was no longer simply about producing songs.
He was also involved in discussions about the welfare and development of musicians.
Ampadu also entered public service.
He served as a government appointee to the Kwahu South District Assembly from 1993 to 2000.
His career therefore moved between entertainment, cultural leadership and public service.
It was an unusual journey for a musician who had started life as a young man struggling to find work in Accra.
Awards and recognition
Ampadu received several awards and honours during his lifetime.
Among the notable recognitions associated with him were:
Winner of the National Dance Band Competition in 1972
The Nnwontofohene title in 1973
Various recognitions from institutions including ECRAG, COSGA and ACRAG
The State Grand Medal, awarded in 1997 by President Jerry John Rawlings
The State Grand Medal was particularly significant because it represented national recognition of his contribution to Ghana.
Despite his enormous public career, Ampadu’s life was not entirely lived on stage.
He married several times and had eight children, according to his official biography.
His family life existed alongside a career that demanded constant travel, rehearsals, recordings and performances.
Like many musicians of his generation, his life was closely tied to the changing Ghanaian entertainment industry.
Even after decades in music, Ampadu continued to be associated with highlife.
His music did not disappear simply because newer genres emerged.
Older Ghanaians continued to listen to his recordings, while musicians and researchers continued to revisit his catalogue.
His work also became increasingly valuable to people interested in the history of Ghanaian music.
The African Brothers Band’s recordings have continued to be reissued and preserved, including releases made available digitally in more recent years.
His final chapter
Nana Kwame Ampadu died on September 28, 2021, in Accra at the age of 76.
His death brought to an end the life of one of the most prolific figures in Ghanaian highlife.
But it did not end his music.
His recordings remain.
His songwriting remains.
His stories remain.
And the musicians he influenced remain part of the larger history of Ghanaian music.
Why Nana Kwame Ampadu’s story matters today
There is a temptation to describe older musicians simply as legends and move on.
But Ampadu’s career deserves more than a title.
He represents an entire period in Ghana’s history.
He grew up in a Ghana where traditional culture and modern popular music were constantly interacting.
He moved to Accra as a young man looking for work.
He formed a band with other young musicians.
He recorded songs when the industry was still built around physical records.
He became a star through live performances and word of mouth.
He travelled internationally with Ghanaian highlife.
He entered theatre.
He participated in national campaigns.
He became involved in musicians’ leadership.
He served in public office.
And throughout it all, he continued writing songs.
Perhaps the most astonishing part of Ampadu’s legacy is the sheer quantity of his work.
He is widely credited with composing more than 800 songs.
The African Brothers Band itself recorded hundreds of singles during its most productive period.
That means there are potentially many songs from his career that younger Ghanaians have never heard.
This is why remembering him through Ebi Te Yie alone does not tell the full story.
There is an enormous musical archive behind that one song.
Why young Ghanaians should listen to Nana Kwame Ampadu
For a young listener accustomed to Afrobeats, hip-hop, drill and contemporary highlife, Ampadu’s music may initially sound very different.
But listen closely, and the similarities become obvious.
He told stories.
Modern musicians tell stories too.
He addressed relationships.
Modern musicians do the same.
He talked about money, hardship and social pressure.
Those subjects remain relevant.
He used music to comment on society.
That tradition continues today.
The difference is the sound and the era.
His legacy can be divided into several parts.
As a songwriter, he produced an enormous catalogue.
As a singer, he developed a distinctive voice.
As a bandleader, he created and sustained the African Brothers Band.
As a cultural figure, he preserved Ghanaian stories and expressions through music.
As a social commentator, he addressed issues affecting ordinary people.
As a theatre practitioner, he helped turn music and storytelling into stage productions.
As a music leader, he participated in MUSIGA and other industry institutions.
As a public figure, he served in local government.
That is why his place in Ghana’s history goes far beyond entertainment.
The music that should not be forgotten
When people talk about the history of Ghanaian music, attention often goes to the biggest names of the current generation.
But before the international success of today’s artistes, there were musicians who spent decades developing Ghana’s musical identity.
Nana Kwame Ampadu was one of them.
From Ebi Te Yie to Obra, Oman Bo Adwo, Kofi Nkrabea, Yaw Berko, Agartha, Aku Sika, Mother, Mentumi Ngyae Wo, Aye Se Ye Do Wo, Obiaa Ba Nnye, Woyoo Woyoo, Anibere Nnye, Driver Adwuma, and many others, his music created a soundtrack for generations of Ghanaians.
His catalogue is not merely a collection of old songs.
It is a record of Ghanaian life.
The forgotten question?
Perhaps the question today is not whether Nana Kwame Ampadu was important.
The historical record shows the scale of his contribution.
The more important question is:
A country that celebrates its contemporary musical exports also has a responsibility to preserve the musicians who built the foundation.
Ampadu’s story should therefore not remain confined to memories of older generations.
His songs can be digitised.
His albums can be reissued.
His interviews can be archived.
His lyrics can be studied.
His life can be taught.
And his music can be introduced to a new generation.
Because Nana Kwame Ampadu did not merely sing about Ghana.
He helped Ghana sing about itself.
South Korea has pledged US$4.5 million in support over five years to help Ghana preserve its historic forts and castles, strengthen heritage tourism and protect coastal heritage sites from the effects of climate change, Tourism Minister Abla Dzifa Gomashie has disclosed.
The support, according to the minister, will include technical expertise and equipment to help restore and protect the country’s historic monuments, many of which face increasing threats from rising sea levels, tidal waves, coastal erosion and other environmental challenges.
Speaking on efforts to reposition Ghana’s heritage tourism sector posted on the Facebook page of Aidoo Elizabeth, Ms Gomashie said the government was working with the United Nations Educational, Scientific and Cultural Organisation (UNESCO) and the National Commission of UNESCO of Korea to develop measures to safeguard the country’s forts and castles.
She explained that the collaboration was aimed at reversing the deterioration of Ghana’s historic sites and making them more attractive to visitors, particularly those from the African diaspora seeking to reconnect with their ancestral history.
The minister acknowledged that although Ghana’s historic forts and castles remain important destinations for heritage tourism, there is a need to improve the visitor experience and introduce additional attractions to sustain public interest.
She cited the Kwame Nkrumah Memorial Park as a leading destination in terms of visitor arrivals, noting that the government was exploring ways to strengthen other heritage sites, including Cape Coast Castle.
According to her, repeated visits to some historic sites may become less appealing when there are limited new experiences for tourists, despite the profound historical significance of the locations.
“The Kwame Nkrumah Memorial Park now is the highest in terms of arrivals,” she said, explaining that the government was considering how to address possible visitor fatigue at Cape Coast Castle.
She noted that visits to the castle carry a deeper meaning for members of the African diaspora, many of whom travel to Ghana to reconnect with their heritage and learn more about the history of the transatlantic slave trade.
For such visitors, she explained, the experience is not necessarily about entertainment or elaborate activities but about reconnecting with their roots and understanding the historical experiences of their ancestors.
However, she maintained that more could be done to improve the presentation and preservation of the sites while maintaining their historical significance.
The government is therefore seeking to develop Ghana’s heritage tourism offerings in ways that preserve the authenticity of the monuments while providing visitors with more meaningful experiences.
Ms Gomashie said the government had been engaging UNESCO and the Korean National Commission for UNESCO, commonly referred to as KNCU, to explore ways of restoring and protecting the country’s forts and castles.
She explained that the initiative involves cooperation with Ghana’s National Commission for UNESCO, which she identified as being headed by Professor Damba, as well as UNESCO’s office in Ghana.
The minister said the partnerships were expected to contribute technical knowledge and other resources towards protecting Ghana’s historic properties.
She stressed that preserving the forts and castles was particularly important at a time when President John Dramani Mahama had placed emphasis on reparations and restitution.
According to her, Ghana must strengthen its heritage infrastructure to accommodate visitors interested in learning about slavery, the experiences of Africans during the transatlantic slave trade and the historical links between Ghana and the wider African diaspora.
The forts and castles are central to that effort because of their connection to the forced movement of Africans and the broader history of the transatlantic slave trade.
She argued that improving their condition and accessibility would help Ghana maintain its position as a destination for historical and cultural tourism.
The tourism minister identified climate change and global warming as major threats to Ghana’s coastline and the historic structures located along it.
She said the country’s coastal monuments were increasingly exposed to harsh weather conditions and environmental pressures, making restoration and long-term protection urgent.
Ms Gomashie, who is also the Member of Parliament for Ketu South, said her concerns extended beyond her constituency to the wider coastline and the national heritage resources situated along it.
She recalled the challenges faced by coastal communities affected by tidal waves, explaining that the same environmental pressures threatening communities also pose risks to historic sites and other valuable coastal assets.
She said South Korea’s proposed support would help provide the expertise and equipment needed to protect the forts and castles against these threats.
The minister emphasised that the preservation of the monuments was not only a tourism concern but also a national responsibility, given their historical, cultural and economic significance.
The five-year support programme is expected to contribute to efforts to safeguard these sites for future generations while strengthening their potential to attract international visitors.
Beyond the restoration of forts and castles, Ms Gomashie said Ghana was exploring opportunities to develop underwater heritage tourism along its coastline.
She explained that the country had ratified international conventions, including one concerning the protection of underwater cultural heritage.
According to her, the historical significance of Ghana’s coastline suggests that there may be submerged heritage resources, including shipwrecks, that could contribute to the country’s tourism offerings.
She said such resources should be identified, protected and managed responsibly to preserve their historical value.
The minister noted that underwater heritage could provide new opportunities for visitors interested in underwater sightseeing and the exploration of historical sites beneath the sea.
She clarified that the objective was not simply to excavate submerged resources but also to protect them and explore ways of making them accessible through appropriate tourism activities.
The development of underwater heritage tourism could therefore complement existing attractions along the coast and provide additional experiences for visitors interested in Ghana’s maritime history.
However, such efforts would require appropriate protection measures and technical expertise to ensure that underwater cultural resources are not damaged or exploited.
The proposed South Korean support forms part of broader efforts to preserve Ghana’s historical assets and improve the country’s appeal as a heritage tourism destination.
The forts and castles remain significant reminders of the transatlantic slave trade and the experiences of Africans who were held and transported through the coastal trading centres.
Their preservation is particularly relevant to Ghana’s engagement with members of the diaspora, including visitors seeking historical knowledge, ancestral connections and a deeper understanding of the country’s role in the slave trade.
By combining restoration, climate protection, international cooperation and the development of new tourism products, the government hopes to ensure that these sites continue to serve as important cultural and educational destinations.
The collaboration with South Korea and UNESCO is expected to support that objective over the five years, while efforts to explore underwater heritage tourism could broaden the range of experiences available to visitors.
For Ghana, the challenge will be to protect its historic monuments from environmental damage while ensuring that the sites remain relevant, accessible and attractive to future generations of tourists.
Ghanaian music legend Kojo Antwi has presented an autographed copy of his memoir, Mr Music Man: The Journey, to the United States Embassy in Accra following a meeting with the embassy’s Chargé d’Affaires, a.i., Rolf Olson.
The presentation took place during a visit by the celebrated musician to the embassy, where discussions centred on music, culture and the longstanding people-to-people relations between Ghana and the United States.
In a Facebook post on Wednesday, October 14, 2026, the US Embassy highlighted the engagement, noting the role of music and cultural exchange in strengthening connections between the two countries.
The meeting underscored the importance of the creative arts in promoting cultural understanding and fostering relationships beyond geographical boundaries.
Kojo Antwi, popularly known as Mr Music Man, is one of Ghana’s most celebrated musicians, with a career spanning several decades. He has earned a lasting place in the country’s music industry through his distinctive sound and contributions to highlife and contemporary African music.
His extensive catalogue of songs has established him as an influential figure in Ghanaian music, earning him recognition across generations of music lovers.
His memoir, Mr Music Man: The Journey, reflects on his life, career and experiences in the music industry, offering readers an opportunity to learn more about the journey behind his enduring musical legacy.
The presentation of the signed memoir to the US Embassy adds another dimension to the musician’s engagements beyond the stage, bringing his personal story and contribution to Ghanaian music into discussions about cultural diplomacy and international relations.
The engagement also highlights how Ghanaian musicians can contribute to strengthening international connections through their work, personal stories and cultural influence.
The Ghana Music Rights Organisation (GHAMRO) has named 16 radio and television stations it recognises as complying with music royalty payment obligations out of more than 700 broadcasters operating across the country.
The recognition highlights broadcasters GHAMRO says are meeting their copyright obligations by paying royalties for the use of music in their programmes.
In a post on X on Wednesday, October 14, 2026, the organisation commended the stations for respecting copyright laws and supporting Ghana’s creative industry.
“We celebrate and appreciate our Top Complying 2026 Broadcasting Channels for leading by example, respecting copyright laws, and directly championing the Ghanaian creative economy,” GHAMRO stated.
The stations recognised for complying with music royalty payment obligations are:
Joy FM
Hitz FM
Asempa FM
Adom TV
Adom FM
Luv FM
Nhyira FM
Joy Prime
Sporty FM
Pent Radio
Pent TV
Citi FM
Channel One TV
PCG TV
Hope FM
Lucky TV
The announcement comes amid GHAMRO’s efforts to improve royalty collection and encourage broadcasters and other commercial users of music to comply with copyright requirements.
Music royalties compensate musicians, composers, songwriters and other rights holders when their works are used for broadcasting and other commercial purposes.
By publicly recognising compliant stations, GHAMRO hopes to encourage more broadcasters to meet their obligations and support the sustainable growth of Ghana’s music and creative industries.
There was a time when bedtime did not always mean going straight to sleep. For some Ghanaian children, it meant gathering around a grandmother, grandfather or another older relative who had a story to tell.
The storyteller did not need a television, a projector or an internet connection. Sometimes, all that was needed was a quiet evening, a group of curious children and a story that had been passed down through generations.
There were tales about clever animals, foolish kings, wicked neighbours, brave children and people whose decisions changed their lives. Some stories entertained. Others warned against greed, dishonesty, disrespect and selfishness.
Children listened, laughed, interrupted with questions and begged for another story when the first one ended.
Today, that familiar scene is less visible in many households. Children have access to cartoons, films, online videos, games and social media. Older relatives may live far away, while busy family schedules leave little time for extended storytelling.
But as entertainment changes, an important question remains: Are Ghanaian communities losing the tradition of telling stories that once helped children understand their world?
In many Ghanaian communities, storytelling was an informal way of teaching children about life.
A story about a dishonest person could explain why trust mattered. A tale about an arrogant character might show how pride could lead to trouble. Stories involving animals could reveal human weaknesses without directly accusing anyone.
The storyteller could use humour to communicate a serious message, allowing children to learn while enjoying themselves.
Some stories also explained cultural beliefs, community practices and relationships between people. They helped children understand why certain behaviours were encouraged, and others discouraged.
The lessons were not always presented as direct instructions. Instead, children were expected to think about what the characters did and what happened as a result.
That process made storytelling a form of informal education.
Ananse: The trickster who taught through his mistakes
One of the most recognisable figures in Akan oral tradition is Ananse, the spider character known for cleverness, mischief and trickery.
In many stories, Ananse tries to outsmart others, gain something for himself or escape a difficult situation through cunning.
Sometimes his plans succeed. At other times, his greed or overconfidence creates problems.
The character is memorable because he is not a perfect hero. He can be intelligent and foolish, resourceful and selfish, entertaining and frustrating.
Through Ananse stories, listeners encounter questions about greed, wisdom, fairness, responsibility and the consequences of one’s actions.
Ananse stories have also travelled beyond Ghana and become part of wider African and Caribbean storytelling traditions.
Yet preserving these stories requires more than remembering the character’s name. The language, humour, performance style and different versions of the tales are also part of the heritage.
Every community had its own stories
Ghana’s storytelling traditions are not limited to Ananse.
Different communities have their own folktales, legends, historical narratives, praise traditions and stories associated with particular places or families.
Some stories explain the origin of a community. Others recount the actions of respected leaders, ancestors or extraordinary individuals.
There are stories about animals, rivers, forests, farming, marriage, friendship and conflict.
The details vary across cultures, and a story may have several versions depending on who tells it.
This diversity is important. Ghana’s oral heritage cannot be reduced to one character or one collection of tales.
When stories are documented, it is valuable to record the language in which they were told, the community they come from and the person sharing them.
Otherwise, a story may survive while the cultural context that gives it meaning is forgotten.
The decline of traditional storytelling cannot be blamed on one cause. Changes in family life, technology, language use and daily routines have all affected how stories are shared.
Television, smartphones and online platforms provide entertainment at any hour.
A child can watch a cartoon, listen to an audiobook or view a video without waiting for an older relative to become available.
Digital entertainment is not necessarily harmful. It can introduce children to literature, languages and different cultures.
The challenge is that traditional storytelling is interactive. The listener can ask questions, challenge a character’s behaviour or request that the storyteller repeat a favourite part.
A recorded video cannot always reproduce the personal connection created when an older relative tells a story from memory.
Work, school, commuting and other responsibilities can make it difficult for families to spend long periods together.
In some households, several generations no longer live under the same roof. Grandparents may reside in another town or village, making regular contact less frequent.
This does not mean families have stopped caring about their traditions. It means the opportunities to pass on certain practices may be fewer.
When storytelling is no longer part of an ordinary evening, it may be remembered mainly during festivals, cultural events or school activities.
Language can also influence whether traditional stories survive.
Some folktales rely on proverbs, wordplay, local expressions and cultural references that are difficult to translate fully into another language.
When a story is told in a language the listener does not understand well, its humour and deeper meaning may be lost.
Children who are not comfortable speaking the language of their parents or grandparents may struggle to follow long stories told in that language.
This does not mean stories should only be told in one language. They can be translated and explained. However, preserving the original language alongside translations helps retain expressions and meanings that might otherwise disappear.
Traditional storytellers carry knowledge that may never have been written down.
Some know several versions of a tale. Others remember the songs, sayings or responses that accompanied a performance.
If nobody records or learns from them, their knowledge may disappear when they are no longer able to tell the stories.
A written summary may preserve the plot but fail to capture the storyteller’s voice, gestures, timing and interaction with the audience.
That is why audio and video recordings, community archives and interviews with older people can be valuable.
What happens when the storyteller disappears?
When a traditional story is lost, the immediate effect may appear small. Children can still read books, watch films and learn from their teachers.
But the loss can be deeper than the disappearance of a single tale.
A story may contain expressions from a local language, references to a community’s history or lessons about relationships that have been discussed for generations.
It may also preserve an older way of understanding the environment, social responsibility or human behaviour.
When stories are no longer shared, children can lose an opportunity to learn about their cultural heritage directly from the people who know it.
The concern is not that every traditional story contains a lesson that must be followed today. Some stories reflect beliefs or social expectations that deserve critical examination.
Preservation does not mean accepting everything uncritically. It means keeping the stories available so that people can understand, discuss and interpret them.
Can schools bring storytelling back?
Schools could play an important role by giving oral storytelling a place alongside reading and writing.
Teachers could invite community elders, writers, linguists and storytellers to share stories with pupils.
Students could record folktales told by their parents or grandparents, write down different versions and discuss the lessons or questions raised by each story.
Cultural programmes could also include storytelling competitions in Ghanaian languages, encouraging young people to develop confidence in oral performance.
These activities could support language learning, listening skills, creativity and an appreciation of cultural diversity.
The goal should not be to turn every story into a rigid classroom lesson. Children should also have the freedom to enjoy the suspense, humour and imagination that make storytelling appealing.
Technology may have contributed to changes in storytelling, but it can also help preserve the tradition.
Content creators could produce short videos of Ghanaian folktales, with narrators telling stories in their original languages and providing subtitles.
Radio stations, podcasts and online publishers could develop storytelling programmes featuring older narrators and younger performers.
Libraries, cultural institutions and community organisations could build digital collections of stories, songs and oral histories.
Care is needed to ensure that the people and communities who share these stories are properly acknowledged. Where a story belongs to a particular cultural tradition, its origins should not be erased simply to make it more marketable.
With thoughtful documentation, a story once told to a handful of children could reach audiences far beyond the community where it originated.
One reason storytelling may be neglected is the belief that it requires someone who knows many traditional tales or has a special gift for narration.
But families can begin with simple steps.
Parents can ask grandparents to share stories from their childhood. They can tell children about how their community changed, how their parents grew up or how a family tradition began.
Children can also be encouraged to create their own stories inspired by what they hear.
The important thing is to create opportunities for conversation and imagination.
A story does not have to be perfect to be meaningful. Sometimes, the memory of sitting beside a grandparent and listening carefully becomes just as important as the story itself.
Not every old story should remain unchanged
As Ghanaian society changes, traditional stories may also need to be reconsidered.
Some tales contain stereotypes or reflect historical attitudes that modern audiences may question. Others may have different meanings in different communities.
These differences should be discussed rather than hidden.
Storytelling can be preserved while allowing new generations to ask questions, develop new versions and explore different interpretations.
That is how a living tradition remains relevant: it carries the past into the present without preventing people from thinking critically about it.
Ghana has made room for modern entertainment, digital learning and international culture. There is no need to reject those developments to preserve oral traditions.
But if children grow up knowing fictional characters from around the world while remaining unfamiliar with the stories their grandparents grew up hearing, it is worth asking what opportunities have been missed.
The answer is not to blame young people for preferring cartoons or accuse parents of abandoning their culture.
The more useful response is to create opportunities for stories to be heard again—in homes, schools, libraries, on radio and through digital platforms.
Older people should be encouraged to share their knowledge, while younger people should be given the tools to record and reinterpret it.
Because a story that is never told cannot be questioned, enjoyed or passed on.
And perhaps the greatest danger is not that Ghana’s traditional storytellers will stop speaking, but that the next generation will no longer gather to listen.
Netflix is planning to eliminate approximately 1,000 jobs worldwide in its largest workforce reduction since 2022, as the streaming company adjusts its operations amid intensifying competition for viewers and growing pressure to sustain business growth.
The planned cuts represent roughly 6% of Netflix’s global workforce. According to reports published on October 14, 2026, the reductions will primarily affect employees in the company’s product, technology, legal and human resources departments. The announcement was communicated to staff in an internal memo from co-chief executives Greg Peters and Ted Sarandos.
The executives said the company intended to direct its people and resources towards areas considered most important to improving its service and supporting future growth. They also maintained that Netflix’s business remained strong and that the company was on track to meet its full-year financial forecast.
Competition puts pressure on streaming businesses
The restructuring comes as Netflix competes with established entertainment companies and digital platforms such as YouTube for audiences’ time and attention. The growing availability of free online video and alternative entertainment services has increased the pressure on subscription-based platforms to keep viewers engaged.
Netflix has also been exploring additional revenue opportunities, including advertising-supported subscriptions, live programming and gaming, as it seeks to broaden its business beyond traditional on-demand streaming. However, investors remain concerned about the company’s growth prospects and its ability to turn new initiatives into sustainable sources of expansion.
Biggest cuts since 2022
The latest reductions mark a significant workforce change for a company that had approximately 16,000 full-time employees at the end of 2025. In 2022, Netflix cut around 450 jobs after reporting a subscriber decline that raised questions about its growth trajectory.
Despite the planned layoffs, Netflix says it will continue investing in areas it believes can improve the platform and support innovation. The changes illustrate the difficult decisions facing major streaming services as they balance staffing costs, content investments, competition and expectations from shareholders.
The long-term impact of the restructuring will depend on whether Netflix can maintain its financial performance while keeping viewers engaged and developing new sources of revenue.
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