Entertainment
Agya Koo Nimo: The Extraordinary Life of Ghana’s Palmwine Music Legend Who Became a Cultural Treasure
Long before Ghana’s music industry was transformed by hiplife, Afrobeats, streaming platforms and social media, there were musicians whose guitars, voices and stories carried the sounds of Ghana from village gatherings to international stages.
Among the most important of these musicians is Agya Koo Nimo, the legendary guitarist, composer, singer, storyteller and cultural custodian whose career has become inseparable from the history of Ghanaian palmwine music and acoustic highlife.
Born Kwabena Boa-Amponsem on October 3, 1934, at Foase in the Ashanti Region, he was later christened Daniel Amponsah. Over the years, Ghanaians came to know him simply as Koo Nimo, and later affectionately added “Agya” to his name as a mark of respect.
Today, his name represents much more than an old highlife musician.
It represents a generation of Ghanaian music in which songs were stories, guitars were voices, and proverbs were an important part of entertainment.
His music preserved aspects of Ghanaian culture at a time when Western musical influences were rapidly changing the country’s sound.
Koo Nimo was born into a family where music was already part of everyday life.
His father was a trumpeter, while his mother was a singer and member of the local Methodist church choir.
Music therefore surrounded him from childhood.
In an interview with the Daily Graphic’s Springboard programme, Koo Nimo famously joked that his music career started from the moment he was born because, as he put it, When I cried, that was my first melody.
His childhood environment exposed him to both church music and traditional Ghanaian sounds.
He recalled joining elderly women in his community who woke up at dawn on weekends to sing songs they described as songs for nation-building.
He also received early musical training from a teacher identified as D.K. Sam, who taught him music while he was still a child.
At one point, when his teacher was ill, the young Koo Nimo was asked to rehearse hymns for church.
He successfully played the organ and was subsequently allowed to play regularly during church services.
Those early experiences would later influence the musician he became.
From Kwabena Boa-Amponsah to Daniel Amponsah
The musician’s names tell part of his story.
He was born Kwabena Boa-Amponsah and was baptised Daniel Amponsah as a Methodist.
When he began performing professionally, he adopted the name Koo Nimo.
According to Koo Nimo himself, Koo refers to a male born on Friday in Akan naming tradition, while “Nimo” refers to someone who accepts blame for something he did not do.
The public later added Agya, meaning father, to his name as a sign of affection and respect.
That name would eventually become known across Ghana and among lovers of African music around the world.
Koo Nimo was not only interested in music. He was also academically inclined.
He attended Adisadel College in Cape Coast from 1947 to 1952.
His connection with the school was also influenced by his relationship with the late Asantehene Otumfuo Opoku Ware II, who had also attended Adisadel College.
After secondary school, Koo Nimo pursued technical and scientific training.
He spent a year taking a technician’s course at the Medical Research Institute at Korle Bu.
He later worked at Komfo Anokye Teaching Hospital from 1955 to 1960 as a technician.
His professional life would eventually take him much further into the scientific world.
One of the lesser-known aspects of Agya Koo Nimo’s story is that he was not initially a full-time professional musician.
While many people knew him primarily for his guitar, he also built a career in science.
He eventually worked in the chemistry field and became a chief laboratory technician in the Chemistry Department of the University of Science and Technology in Kumasi, now known as Kwame Nkrumah University of Science and Technology (KNUST).
He remained in the profession for years and retired from it in 1998, according to AllMusic’s biographical record.
This unusual combination of science and music became one of the most fascinating features of his life.
By day, he could work in a laboratory.
Outside his professional duties, he could pick up his guitar and perform music deeply rooted in Ghanaian tradition.
His guitar journey
Koo Nimo eventually became one of Ghana’s most respected guitarists.
His approach was different from the large electric dance bands that dominated sections of Ghana’s popular music industry.
He became particularly associated with palmwine guitar music, an acoustic style that combines intricate guitar patterns with traditional rhythms, percussion, storytelling and vocals.
His guitar playing became famous for its two-finger picking technique.
But his sound was not completely isolated from foreign musical influences.
His guitar style absorbed ideas from Ghanaian brass-band highlife, Western guitar traditions and even Spanish guitar techniques.
AllMusic also identifies the influence of American guitarist Charlie Christian on his playing.
The result was a sound that was both sophisticated and unmistakably Ghanaian.
The birth of Addadam Agofomma
In 1957, the year Ghana gained independence, Koo Nimo formed the Addadam Agofomma ensemble.
The group became an important vehicle for his musical work.
The ensemble concentrated on traditional Ghanaian music, particularly palmwine music and acoustic highlife.
It used guitars, voices and traditional percussion rather than relying on the large arrangements and electric instrumentation associated with some contemporary bands.
The group became recognised for combining music with storytelling.
Through the ensemble, Koo Nimo helped preserve a form of highlife that was closely connected to Ghanaian oral traditions.
What exactly is palmwine music?
To understand Koo Nimo’s importance, one must understand palmwine music.
Palmwine music developed around informal social gatherings, particularly places where people gathered to drink palm wine and socialise.
Guitarists performed intimate acoustic music, often accompanied by percussion.
The songs could be humorous, philosophical, romantic or reflective.
The musician could observe what was happening around him and immediately turn it into a song.
This made palmwine music more than entertainment.
It became a form of social commentary.
Koo Nimo became one of its most important modern custodians.
In 2025, the Kwan Pa Band specifically credited Koo Nimo and Agya Osei Korankye with helping prevent Ghana’s palmwine music tradition from disappearing.
Koo Nimo’s music is notable because of the variety of traditional instruments used alongside the guitar.
His ensembles have featured instruments including: Apentemma, Dondo, Frikyiwa, Prempensua, Nnawuta, Ntowa, Dawuro
The frikyiwa, for example, provides a metallic rhythmic sound, while the prempensua is a Ghanaian lamellophone sometimes described as a type of rhumba box.
The ntowa is a hollow gourd rattle covered with beads or seeds, while the dawuro is a traditional bell.
These instruments provide the rhythmic foundation over which the guitar and vocals tell the story.
Perhaps Koo Nimo’s greatest strength was not simply his guitar technique.
It was his ability to tell stories through music, and his compositions frequently deal with everyday experiences, including love, Poverty, Illness, Death, Migration, human relationships, Farming, Friendship, and moral behaviour.
His songs often use Twi proverbs and traditional expressions, making them both entertaining and educational.
That is why his work has attracted the attention of ethnomusicologists and cultural researchers.
Some of his best-known songs
Koo Nimo’s catalogue includes several compositions that have become associated with Ghanaian traditional highlife.
Among them are:
Odɔnsɔn — translated as a call for love to prevail.
Akuafo Monno Mfuo — a song encouraging farmers to cultivate the land.
Abrokyire Abrabo— reflecting on life abroad.
Mewu Na Agoro Agu — dealing with death and its impact on a musical group.
“Ohia Ne Yareɛ Yɛ Ya — reflecting on the pain of poverty and illness.
Adampa/Wo Wu a Na Wadane Saman — reflecting on death and the transition into the spiritual realm.
These titles demonstrate how far his songwriting moved beyond conventional love songs.
Aburokyire Abrabo
One of the most recognised recordings associated with Koo Nimo is Aburokyire Abrabo.
The song examines life abroad, a subject that became increasingly relevant to Ghanaians as migration and international travel grew.
It is also featured on his album Osabarima, a major recording in his catalogue.
Through songs such as this, Koo Nimo turned personal and social experiences into musical commentary.
Osabarima and Ghana’s recording history
Koo Nimo’s Osabarima is one of the most important recordings associated with his career.
The recording dates to the 1970s, while the album was later released internationally.
AllMusic records the recording date as 1976, with the album later released outside Ghana in 1990 and subsequently issued again in 1994.
The project is particularly important because Koo Nimo is widely credited as the first Ghanaian musician to have a CD released, making him part of an important transition in the country’s recording history.
The first Ghanaian CD
The significance of this achievement cannot be underestimated.
Ghanaian music had traditionally circulated through live performances, vinyl records, cassettes and other physical formats.
The arrival of the CD represented a technological shift.
Koo Nimo’s association with the first Ghanaian CD demonstrated that traditional acoustic music could move into a modern recording format without losing its cultural identity.
It was a bridge between Ghana’s traditional music heritage and the technological future of recorded music.
A career outside Ghana
Koo Nimo’s music eventually reached audiences outside Ghana.
He performed in several countries and became known internationally as one of the leading practitioners of African acoustic music.
One of his notable international performances was at Lincoln Centre in New York in 1988.
His work also appeared on international music compilations, helping introduce Ghanaian palmwine guitar music to listeners who might otherwise never have encountered it.
His songs were included on collections such as The Rough Guide to Highlife and The Rough Guide to Acoustic Africa.
Koo Nimo’s international career was not limited to performing. He also became involved in academic work.
In 1998, he went to the University of Washington in Seattle as a professor/visiting artist in ethnomusicology.
He later joined the University of Michigan, according to Ghanaian biographical accounts.
His academic involvement was particularly significant because he was not merely explaining Ghanaian music from a textbook.
He was teaching from decades of lived experience, having performed the music and studied the instruments.
He had preserved the tradition, and he had watched Ghanaian popular music change across generations.
His role at MUSIGA
Koo Nimo also played an important role in Ghana’s music administration.
In 1979, he was elected President of the Musicians Union of Ghana (MUSIGA).
He reportedly served in the position for about a decade.
His leadership came at a time when musicians were increasingly concerned about issues including professional welfare, copyright, industry organisation and recognition.
He therefore contributed to the music industry both as a performer and administrator.
In 1985, Koo Nimo was appointed interim chairman of the Copyright Society of Ghana (COSGA), which preceded today’s Ghana Music Rights Organisation, GHAMRO.
His involvement reflected his understanding that musicians needed stronger systems to protect their creative work.
This is another side of his career that is often forgotten when discussions focus only on his guitar playing.
Koo Nimo was also appointed to the National Folklore Board of Trustees in 1991.
The appointment was important because folklore preservation requires people who understand traditional songs, stories, instruments and oral traditions.
Koo Nimo’s career placed him in a unique position to contribute to that work.
He was both an active musician and a custodian of traditional knowledge.
Koo Nimo also had a close professional relationship with another Ghanaian highlife legend, Nana Kwame Ampadu.
The two first encountered each other in London in the early 1960s.
According to Koo Nimo, Ampadu visited a music shop where Koo Nimo was working part-time, tuning guitars and fixing strings while studying laboratory technology.
Their meeting eventually developed into a lasting friendship.
Later, when Koo Nimo became president of MUSIGA, Nana Kwame Ampadu served as his secretary.
The two also served together on the National Folklore Board of Trustees.
Their relationship is an example of the close networks that existed among Ghana’s older generation of musicians.
A musician who avoided partisan politics
Unlike some musicians who became strongly associated with political parties, Koo Nimo largely avoided partisan political music.
The Graphic reported that despite witnessing several governments from the colonial period through Ghana’s later democratic administrations, he did not build his career around political songs or party endorsements.
Instead, his music focused largely on love, death, morality and human experiences.
That helped him maintain a reputation as a cultural figure rather than a musician tied to a particular political camp.
Koo Nimo’s contribution has been recognised repeatedly.
In March 1997, as Ghana marked the 40th anniversary of independence, he was among 40 distinguished citizens awarded Gold Medals for their contributions to the country.
His recognition was specifically connected to his efforts to preserve traditional culture.
A month later, in April 1997, he received the Konkoma Award for his contribution to Ghanaian highlife music.
These honours confirmed that his contribution went beyond commercial entertainment.
In 2017, the University of Education, Winneba honoured Koo Nimo with a Lifetime Achievement Award through its Music Department.
The honour recognised his decades of work in Ghanaian music and cultural preservation.
In 2022, Koo Nimo received a Lifetime Achievement Award at the Vodafone Ghana Music Awards in Accra.
The award recognised his enormous contribution to Ghana’s music industry and his role in preserving highlife and palmwine music.
By this point, he had already spent more than six decades connected to music.
In 2023, the African University College of Communications (AUCC) presented Koo Nimo with its inaugural Baobab Lifetime Achievement Award.
The ceremony celebrated him as one of Ghana’s foremost living exponents of acoustic guitar highlife.
Although he could not attend because of ill health, the organisers still proceeded with the celebration.
The Graphic reported that Koo Nimo’s music with the Addadam Agofomma group had long been known for compositions dealing with everyday life, often with humour.
Koo Nimo’s wisdom has become almost as interesting to audiences as his music.
In a 2021 interview on Joy FM’s Springboard, he discussed the principles that guided his life.
Among the principles he listed were: Determination, Order, Excellence, Practice, Mentoring, Systematic building, Promptness, Resourcefulness
He also spoke about discipline and healthy living.
His approach to life reflected the same patience and consistency that characterised his music.
Why his music matters today
It would be easy for younger audiences to dismiss palmwine music as something belonging to an older generation.
But that would mean overlooking one of the foundations of Ghanaian popular music.
Palmwine music helped develop the guitar-based musical language that later influenced different forms of highlife.
And Koo Nimo helped keep that tradition alive.
In 2025, the Kwan Pa Band said its decision to explore palmwine music was partly driven by concern that Ghana was losing touch with its musical heritage.
The group specifically mentioned Koo Nimo’s contribution and said that without pioneers such as him and Agya Osei Korankye, the tradition could have faded.
Koo Nimo’s cultural importance was highlighted again in May 2025.
During the launch of the Black Star Experience at Black Star Square in Accra, President John Dramani Mahama asked the Minister of Tourism, Culture and Creative Arts, Abla Dzifa Gomashie, to organise a ceremony to honour the legendary musician while he is still alive.
The President specifically described palmwine music as part of Ghana’s musical archive and folklore and argued that people such as Koo Nimo should be honoured during their lifetime rather than only after their death.
That statement underlined a concern frequently raised about Ghana’s treatment of its cultural legends.
Koo Nimo’s influence can be seen in musicians and bands trying to revive traditional Ghanaian music.
The growth of groups such as Kwan Pa and the Legon Palm Wine Band demonstrates that there remains interest in the acoustic traditions associated with musicians such as Koo Nimo.
Kwan Pa has openly acknowledged Koo Nimo as one of the pioneers whose work helped keep palm wine music alive.
His music is not just old music
One of the biggest misconceptions about traditional music is that it is simply old music.
Koo Nimo’s work shows otherwise.
His music contains observations about migration, relationships, poverty, health, death, work and human behaviour.
These subjects remain relevant.
What has changed is the musical technology surrounding them.
The stories themselves remain familiar.
The albums that preserve his legacy
Among the recordings associated with Koo Nimo are: Osabarima, Tete Wobi Ka, Vintage Palmwine, Highlife Roots Revival
AllMusic also documents his appearance on several international compilations, including The Rough Guide to Highlife, The Rough Guide to Acoustic Africa, African Troubadours and Music from the Source.
His work therefore exists both as individual albums and as part of broader collections documenting African music.
Highlife Roots Revival
His 2012 album, Highlife Roots Revival, was particularly appropriate for an artist whose career had always been concerned with preserving the roots of Ghanaian music.
The project brought his acoustic sound to an international audience at a time when Ghana’s younger music industry was increasingly moving towards hiplife and Afrobeats.
Rather than competing with the new genres, Koo Nimo continued doing what he had always done — telling Ghanaian stories through traditional musical forms.
The importance of Vintage Palmwine
The album Vintage Palmwine, released in 2003, also captures the musical identity for which Koo Nimo became famous.
The palmwine tradition is not simply about the location where the music was played.
It is a musical approach built around intimacy, guitar technique, percussion, storytelling and interaction with listeners.
Koo Nimo became one of the musicians who preserved that approach for future generations.
Koo Nimo has effectively become a living archive.
He carries memories of Ghanaian music from before independence.
He witnessed independence in 1957.
He saw highlife develop through different eras.
He witnessed the rise of recording technology.
He worked in the laboratory while building his musical career.
He led MUSIGA.
He participated in folklore preservation.
He taught music internationally.
And he watched younger genres emerge.
Few Ghanaian musicians have lived through such a wide stretch of the country’s musical history.
The word Agya is significant.
It means father.
It is a term of respect.
For Koo Nimo, the name reflects the position he eventually occupied within Ghanaian music.
He was no longer simply one of the musicians performing highlife.
He had become an elder whose knowledge was sought by younger musicians.
His advice, stories and memories became part of the country’s musical heritage.
In February 2025, highlife musician Kwabena Kwabena and his team paid a courtesy call on Koo Nimo at his residence in Kumasi.
During the visit, the veteran musician shared advice on healthy living, including warnings against excessive consumption of hard liquor.
He spoke from his own experience and encouraged the younger musician to take care of his health.
The encounter showed that even in advanced age, Koo Nimo remained a respected figure whose words carried weight among younger artistes.
Some musicians are remembered mainly because of their biggest hits.
Koo Nimo’s legacy is different.
His importance cannot be measured only by chart positions or commercial sales.
His contribution lies in preservation, including preserving guitar techniques and rhythms. preserved instruments. He preserved stories. He preserved proverbs. He preserved musical arrangements.
And he helped ensure that Ghanaian palmwine music remained part of the national conversation.
Why Ghana must remember Agya Koo Nimo
At a time when the Ghanaian music industry is increasingly focused on international charts, streaming numbers and digital popularity, Koo Nimo represents another measure of success.
He shows that an artist can influence generations without relying on social media.
He shows that an acoustic guitar can compete with an entire modern production.
He shows that a song can entertain while teaching, and he shows that music can function as an archive of a people’s history.
Agya Koo Nimo’s story is still ongoing. He remains one of the country’s most respected traditional musicians and a living link to Ghana’s early highlife tradition.
His music continues to be studied, performed and rediscovered.
Young bands continue to draw inspiration from his palmwine sound.
Academics continue to examine his contribution.
And cultural institutions continue to recognise his role in preserving Ghanaian heritage.
His career, which began in the early decades of the 20th century, has crossed colonial Ghana, independence, military governments, democratic administrations and the digital age.
Few Ghanaian musicians can claim such a journey.
From Foase to Kumasi, from the laboratory to the stage, from palmwine gatherings to international concert halls, Agya Koo Nimo has spent a lifetime proving that Ghanaian music does not have to abandon its roots in order to travel the world.
His guitar has carried stories that might otherwise have disappeared.
His songs have preserved memories.
His music has kept traditional rhythms alive.
And his life has become part of the history he spent decades documenting through sound.
For a younger generation that knows Ghanaian music mainly through Afrobeats and hiplife, discovering Agya Koo Nimo is therefore more than discovering an old musician.
It is discovering one of the roots of the music Ghana is proud to export to the world today.
And that is why the story of Agya Koo Nimo deserves to remain in Ghana’s headlines — not only as nostalgia, but as a living part of the country’s cultural history.
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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