The Bolgatanga Branch of the Gonja Land Youth Association marked a memorable and culturally rich Damba Festival Celebration on Sunday, 18th January 2026, bringing together traditional leaders, youth groups, community members, and invited guests in a grand display of unity, heritage, and purpose.
The event was held under the inspiring theme: “Empowering the Youth, Our Culture, Our Heritage.” It served as a powerful reminder that Damba is more than a festival. It is a living expression of Gonja identity, history, values, and pride.
In a brief but impactful welcome address delivered by the vice Chairman Mr. Abubakar Musah Dey the audience was warmly acknowledged, including His Royal Highness Garba Singbinwura, the Regional Chief Imam, the Bolga Gonja Community Chief, distinguished traditional rulers and elders from various communities, honored guests, members of the Gonja Land Youth Association, and the general public.
The Vice Chairman, emphasized that Damba represents a living legacy that must not only be remembered but actively protected, practiced, and passed on to future generations.He noted that culture thrives when it is lived, taught, and respected in everyday life.

“Our youth are the true custodians of this heritage,” he stated. “When we empower them with knowledge, discipline, skills, and a strong sense of identity, we safeguard the soul of Gonja Land.”
He further highlighted that empowered youth become visionary leaders, bold innovators, and proud ambassadors of Gonja culture wherever they go, including in the diaspora. According to him, the role of the youth is not only to preserve traditions but also to adapt them meaningfully within the realities of the modern world.
The address called on young people to embrace the wisdom of their traditions while equipping themselves with education, entrepreneurship skills, and a strong commitment to community development. Learning the Gonja language, upholding customs, and remaining disciplined in character were identified as key pillars for building a stronger future.

Mr Abubakar Musah also appealed to all stakeholders, chiefs, parents, opinion leaders, and development partner to continue supporting youth focused initiatives. He described their support as the bridge that ensures Gonja heritage remains both vibrant and relevant in a changing world.
“Together, we can ensure that the Gonja flame never dims,” he declared.
On behalf of the Gonja Land Youth Association, Bolga Branch, heartfelt gratitude was expressed to everyone who attended and supported the celebration. He noted that the strong turnout and participation reflected the deep commitment of the community to unity, culture, and progress.

The event ended with prayers for peace, blessings, and continued harmony among the people of Gonja Land.
The 2026 Bolga Branch Damba Celebration once again proved that culture is not just a memory of the past, but a powerful tool for shaping the future especially when the youth are empowered to lead the way.

The Dunseema Festival has firmly established itself as one of the most vibrant and meaningful cultural celebrations in Ghana’s Upper East Region. Held annually on December 31st in Kandiga, a historic Gurune-speaking community in the Kassena-Nankana West District, the festival brings together tradition, youth energy, and community development under one cultural canopy. The 2025 edition, themed “Youth, Culture, and Community: The Spirit of Dunseema,” powerfully reaffirmed Kandiga’s place as a centre of living heritage and grassroots cultural tourism.

This year’s celebration opened with a majestic procession that underscored the authority and unity of traditional leadership in the area. The arrival of the Kandiga Naba, Mirigu Naba, Natugnia Naba, and other chiefs, including Pelungu, Logre and Sirigu Chiefs accompanied by their elders, transformed the Kandiga Dunseema Arena at the Timpiam Grounds into a sacred cultural space. Drumming, regalia, and solemn dignity marked their entry, reminding all present that chieftaincy in Kandiga is not ceremonial pageantry but a living institution rooted in history, land stewardship, and ancestral trust.

Welcoming participants to the festival, Naba Henry Abawine Amenga-Etego II, the Chief of Kandiga, expressed gratitude to all who had travelled from near and far to honour the community. In his address, he emphasized that Dunseema is not only a celebration of culture but also a call to action. He appealed to philanthropists, development partners, and organizations to champion development initiatives in Kandiga and surrounding communities, stressing that cultural preservation must go hand in hand with social and economic progress.

The festival’s broader vision was echoed by Prosper Adankai a member of Regional Organising Committee on behalf of Sabinus Chiravira, Team Lead of Spotless Event Planners. He described Dunseema as more than an event, calling it a philosophy and a promise.

According to him, Kandiga represents resilience, discipline, survival, and leadership—values forged on the savanna grasslands and passed down through generations. What unfolds at Dunseema, he noted, is lived history rather than staged performance, making the festival a powerful platform for heritage preservation and identity affirmation. A key highlight of the 2025 edition was the growing recognition of Dunseema as an advocacy and tourism-driven initiative.

The team lead stressed that advocacy is a process rooted in presence and inclusion, adding that Dunseema proves tourism can begin at the grassroots and still achieve national and international relevance. By centering Kandiga’s narrative, the festival allows the community to tell its own story, host the world, and directly benefit from its cultural wealth.

The commitment to sustaining and expanding the festival was further strengthened by the Co-Chair of the Dunseema Festival, Gabriel Agambila, founder of the Alamgumbe Group. In his remarks, he pledged support for the traditional wrestling competition—Dunkiima—with the aim of making it marketable on the global stage. His pledge reflects a growing ambition to position indigenous sports as cultural assets capable of attracting international attention while preserving their original values of discipline, honour, and sportsmanship.

Dunseema 2025 also received strong support from political leadership, underscoring the festival’s importance beyond the cultural sphere. The Member of Parliament for Chiana-Paga, Nikyema Billa Alamzy, arrived at the festival grounds to a warm reception and donated GH₵5,000 towards the success of the event. His contribution was widely applauded as a demonstration of solidarity with the people of Kandiga and recognition of culture as a driver of development. Similarly, the District Chief Executive for Kassena-Nankana West, Stephen Akurugu, donated GH₵2,000 on behalf of the Upper East Regional Minister and an additional GH₵2,000 on his own behalf. These gestures reinforced the message that traditional institutions, local government, and political leadership can collaborate meaningfully to support cultural initiatives that strengthen community cohesion and local economies. Throughout the day, swimming competition was the curtain raiser followed by cultural performances animated the arena—traditional music, war dances, storytelling, hunting displays, horse dancing, and indigenous rhythms served as tools of education and memory. Youth participation remained central, with young people leading performances, engaging in wrestling bouts, and receiving recognition as custodians of Kandiga’s future. The festival consistently emphasized that cultural transmission is most effective when youth are not spectators but active participants.

The Dunseema Festival is, at its heart, a celebration of Gurune identity and community pride. It fosters unity among residents and members of the Kandiga diaspora, reconnecting families and reaffirming shared values. Beyond celebration, it provides space for dialogue on peace, youth empowerment, heritage preservation, and development aspirations. As the drums gradually fell silent and the festival transitioned into evening celebrations, one message remained clear: Dunseema is no longer just an annual gathering. It is a movement, a cultural statement, and a bridge between the past and the future.

With sustained community commitment, traditional leadership, youth involvement, and institutional support, the spirit of Dunseema continues to unite Kandiga in peace, purpose, and pride—carrying its story from the Upper East Region to the wider world.

In the savannah landscapes of Ghana’s Upper East Region, history does not reside only in archives, museums, or written chronicles. It lives on the body, in movement, rhythm, and ritual performance. One of the most striking embodiments of this living history is the horn helmet worn during the Deeya (also called Dia) war dance by the Frafra and Grunne-speaking peoples. Known locally as gebego or zuchiak, this helmet is far more than ceremonial attire. It is a material archive of warrior culture, carrying within its form memories of precolonial warfare, hunting traditions, and spiritual worldviews that continue to shape communal identity today.

Before colonial rule, communities in northern Ghana existed in an environment marked by inter-group conflict, territorial defense, and constant negotiation with nature. Martial skill and hunting expertise were essential to survival, and warriors and hunters functioned as protectors of land, livestock, and people. Their social standing depended on proven courage and success. Within this context, horned headgear emerged as a visible sign of achievement. The right to wear horns was not inherited but earned through acts of bravery—successful participation in warfare, the defense of the community, or the killing of dangerous wild animals. The helmet thus became a public record of accomplishment, legible to the entire community and embedded within systems of honor and accountability.

This practice reflects wider Sudanic and Sahelian traditions across West Africa, where horns symbolized power, ferocity, and spiritual potency. Among the Frafra and Grunne peoples, these broader cultural ideas fused with local cosmology. Horns were believed to carry concentrated life force capable of amplifying a warrior’s presence and intimidating enemies. As a result, the horn helmet was never simply decorative; it was understood as an extension of the wearer’s spiritual and physical capacity.

As political conditions changed and colonial rule curtailed inter-community warfare, the meaning of the horn helmet shifted without disappearing. What once appeared on the battlefield gradually found its place within ritual performance. The Deeya war dance emerged as a formalized expression that preserved martial memory while transforming violence into controlled movement and rhythm. Characterized by stamping steps, sharp turns, weapon gestures, and forceful drumming, the dance reenacts the energy of battle without actual combat. Within this performance space, the horn helmet continues to assert its authority. When worn by a dancer, it signals embodiment of the warrior spirit rather than simple participation in dance.

The construction of the gebego or zuchiak reflects deep environmental knowledge and ritual intentionality. Traditionally, the helmet is made entirely from locally sourced materials. The base is carved from a calabash, valued for its durability and organic symbolism as a life-bearing vessel. This foundation is shaped into a fitted cap that supports the helmet’s more dramatic elements. Historically, horns from wild animals such as buffalo were preferred, as these animals embodied danger, strength, and exceptional bravery. Wearing such horns testified to a warrior’s extraordinary achievements. In contemporary contexts, however, environmental change and conservation restrictions have made wild animal horns scarce, leading to the use of horns from domestic animals such as cows and rams. While these carry less prestige, they still situate the wearer within the warrior tradition.

The calabash base is often covered with animal skin or cloth and decorated with cowrie shells. Cowries, once used as currency across much of Africa, symbolize wealth, fertility, and spiritual protection. Their presence transforms the helmet into a protective object believed to ward off harm and attract ancestral favor. The making of the helmet is not merely technical; it may involve ritual observances, prayers, or the supervision of elders. Through this process, the helmet is understood to be spiritually activated, ensuring that it functions as more than a physical object.

Symbolically, the horn helmet operates on several interconnected levels. At its most visible, it marks bravery and status. The specific materials used communicate the wearer’s achievements and standing within the community, allowing history to be read through appearance. On a deeper level, the helmet is believed to confer metaphysical protection and empowerment. During the Deeya dance, the wearer is thought to be shielded from danger and infused with ancestral strength. The helmet facilitates a liminal state in which the dancer becomes more than an individual, embodying the presence of past warriors.

This ancestral dimension is especially evident in funerary contexts. The Deeya war dance is most prominently performed at the funerals of elders, renowned warriors, and respected community leaders. In these moments, the horn helmet functions as a bridge between the living and the dead. By wearing it, dancers embody ancestral warriors who guide the deceased safely into the ancestral realm while reaffirming communal continuity. The performance asserts that death does not sever social bonds but transforms them.

Like all living cultural forms, the horn helmet tradition has adapted over time. Modern textiles and new materials sometimes appear in contemporary versions, reflecting changing tastes and economic realities. Yet traditional authorities and cultural custodians continue to emphasize the preservation of the helmet’s core meanings. Its continued use in ritual performance demonstrates the resilience of Frafra and Grunne cultural memory and their capacity to maintain continuity without resisting change.

The horn helmet of the Deeya war dance is therefore not simply a performance accessory but a living historical artifact. Through its form, materials, and ritual use, it preserves the legacy of precolonial warfare, hunting traditions, and spiritual belief systems. Each gebego or zuchiak narrates a story of bravery, communal responsibility, and ancestral reverence. History, in this context, is not confined to oral tradition or written record. It is worn on the body, animated through dance, and remembered through movement, ensuring that the past remains visible and meaningful in the present.

Among the Gurene-speaking people of Northern Ghana, architecture is far more than shelter; it is a living expression of identity, social order, and communal values. Our houses are central to daily life and reflect, to a large extent, the complex configuration of socioeconomic relations and ethnic diversity that characterizes our territory. Built with deep respect for the land, climate, and social structure, traditional Gurene architecture embodies generations of indigenous knowledge, craftsmanship, and cultural continuity.

At the heart of Gurene domestic life is the compound house. These compounds are carefully organized systems rather than random collections of rooms. Several round or rectangular rooms are arranged around a central community courtyard, forming an enclosed space that is protected by a surrounding wall with a single main entrance. This layout is not accidental; it mirrors the social structure of the family and reinforces unity, cooperation, and shared responsibility. The courtyard serves as the nucleus of daily life, a place where household members cook, work, interact, and perform rituals. It is here that children play, elders converse, and families gather at the end of the day.

The single entry point into the compound is both practical and symbolic. Practically, it provides security, helping to control access to the household and protect livestock and family members. Symbolically, it marks the boundary between the private world of the family and the wider community. Crossing this threshold is an act of respect, and visitors are often received with courtesy and deliberation, reflecting the Gurene values of hospitality and order.

Just outside the entrance, one finds one of the most important elements in Gurene social relations: the porch. The porch, usually roofed and slightly elevated, is the prime venue for the men of the house and their visitors. It functions as a social and political space where discussions take place, disputes are settled, and communal decisions are shaped. Elders sit here to receive guests, exchange news, and pass on wisdom to younger generations. The porch is also a space of observation, allowing the household head to remain connected to village life while maintaining authority and dignity.

In the frontage of the house, it is common to see the landlord seated quietly, contemplating the day’s work. This image captures the philosophical relationship between the Gurene man and his home. Sitting at the front is not merely a posture of rest; it is a moment of reflection, accountability, and presence. From this vantage point, the landlord observes the compound, the community path, and the rhythms of village life, embodying responsibility for both household and heritage.

The construction of Gurene houses is itself a deeply social process. Building is a communal activity involving friends, neighbours, and relatives, usually taking place after the rainy season when farming demands are reduced and materials are readily available. No single person builds alone. The collective labour strengthens social bonds, reinforces mutual dependence, and ensures that knowledge of construction techniques is passed from one generation to the next. Women, men, and youth all play specific roles, from fetching water and mud to moulding bricks and thatching roofs.

Traditional Gurene architecture relies almost entirely on natural materials found nearby. Walls are constructed using mud bricks shaped by hand and dried under the sun. These bricks are strong, affordable, and well-suited to the local climate, keeping interiors cool during the intense heat of the dry season and warm during cooler nights. After construction, the walls are plastered with a mixture of mud, water, and shea oil waste. This mixture not only smooths and beautifies the walls but also enhances durability and resistance to rain. The distinctive earthy tones of these surfaces blend harmoniously with the surrounding landscape, reinforcing the Gurene philosophy of living in balance with nature.

Roofs are traditionally made from weaved plant elements such as grass and millet stalks. Thatching is an art form that requires skill and patience, ensuring that rainwater runs off efficiently while providing insulation from heat. These roofs, though requiring periodic maintenance, are environmentally sustainable and locally sourced. The materials decompose naturally over time, returning to the earth without causing harm, a reflection of indigenous ecological wisdom long before the concept of sustainability became globally recognized.

Beyond their physical form, Gurene houses carry deep cultural meaning. Each room has a specific function—sleeping quarters, storage spaces, kitchens, or shrines for ancestral worship. Sacred areas within the compound remind occupants of their spiritual obligations and ancestral connections. The house, therefore, becomes a repository of memory, belief, and identity, linking the living to those who came before them.

In recent times, however, traditional architecture among the Gurene-speaking people has begun to evolve. New industrial materials such as cement blocks and zinc roofing sheets, typical of urban areas, are increasingly finding their way into rural communities. Many people associate these materials with comfort, aesthetic beauty, wealth, and modernity. Zinc roofs, for example, are valued for their durability and reduced maintenance, while cement blocks are seen as symbols of progress and permanence.

This transition reflects broader socioeconomic changes, including urbanization, migration, and exposure to modern lifestyles. While these new materials offer certain advantages, they also present challenges. Zinc roofs can make houses extremely hot during the dry season, and cement construction often lacks the climatic adaptability of traditional mud architecture. More importantly, the shift risks eroding communal building practices and the cultural meanings embedded in traditional design.

Yet, traditional Gurene architecture has shown resilience. In many communities, people now blend old and new, combining cement foundations with mud walls, or zinc roofs with traditional compound layouts. This hybrid approach reflects the dynamic nature of culture—adapting without completely abandoning the past. It demonstrates that Gurene architecture is not static but responsive, capable of absorbing change while retaining its core values.

Ultimately, the traditional architecture of the Gurene-speaking people stands as a powerful testament to communal life, environmental harmony, and cultural continuity. From the central courtyard to the welcoming porch, from the mud-plastered walls to the landlord seated thoughtfully at the frontage, every element tells a story of belonging and purpose. As modern influences continue to shape the landscape, preserving and valuing these architectural traditions remains essential—not only as heritage, but as living knowledge that continues to offer lessons in sustainability, cooperation, and identity for future generations.

The President of the Harlem Tourism Board, Tony Rogers, has renewed the call for the African continent to unite toward the realisation of
Dr. Kwame Nkrumah’s long-held dream of a United States of Africa. Speaking during the Cultural Roots Tour—an international cultural
diplomacy initiative designed to reconnect Africans on the continent with descendants of the African diaspora—Mr. Rogers emphasized that
Nkrumah’s vision was far more than a political manifesto crafted in a post-independence era. Rather, he described it as a comprehensive
cultural and economic blueprint for strengthening African identity, protecting continental sovereignty, and elevating Africa’s global
standing in a world where geopolitical alliances increasingly determine influence and opportunity. His remarks added renewed energy
to contemporary Pan-African conversations that continue to gain momentum across Africa and the diaspora.

According to Mr. Rogers, the quest for unity is not simply a political aspiration left behind by early independence leaders but a living,
urgent call shaped by history and reaffirmed by the challenges and possibilities confronting Africa today. He noted that the Cultural
Roots Tour speaks directly to this aspiration, functioning as both a symbolic and practical journey that brings together communities,
leaders, thinkers, and descendants of African ancestry who seek to reconnect with their heritage. The tour is a collaborative effort
involving the Harlem Tourism Board, African traditional authorities, cultural organisations, and diaspora groups committed to healing historical divides, promoting cultural pride, and establishing partnerships that advance mutual understanding and development.

Accompanying Mr. Rogers on the tour is His Royal Majesty King Peter Mumia II of the Wanga Kingdom in Kenya. The presence of King Mumia II underscores the growing involvement of African traditional leaders in cultural diplomacy, tourism development, and Pan-African engagement. Traditional authorities—long regarded as custodians of history, culture, and identity—are increasingly emerging as important figures in international cultural exchanges and diaspora reconnection programmes. As part of the delegation, King Mumia II brings with him the historical stature of the Wanga Kingdom, one of Kenya’s most enduring monarchies, and a legacy that resonates strongly with the
cultural revitalisation goals of the tour.

The delegation’s visit to the Upper East Region of Ghana offers a compelling example of how tourism, heritage, and history can be harnessed to promote unity. Their first stop was the Palace of the Paga Pio, a significant traditional seat of leadership in the region.
At the palace, the team engaged in discussions centred on cultural continuity, the preservation of indigenous governance systems, and the shared responsibility of African communities—traditional and modern—to foster unity and development. The Paga Pio, known for his influence
and respected leadership, welcomed the delegation and offered insights into the role of traditional rulers in shaping social cohesion and
inter-ethnic cooperation. For the delegation, the visit provided a rare opportunity to witness living cultural heritage and to appreciate
the resilience of traditional authority even in the face of modernisation and social transformation.

From the palace, the delegation is scheduled to visit the Pikworo Slave Camp, one of West Africa’s earliest and most significant slave
transit points. Located in Paga, the camp served as one of the first holding and conditioning grounds where enslaved Africans were
confined, inspected, and prepared for forced marches to the slave markets of Salaga, and eventually, the coastal forts that served as
departure points for the trans-Atlantic slave trade. The site, now preserved as a memorial and educational centre, stands as a somber
reminder of a painful chapter in African history—a history that continues to shape relationships between Africa and its diaspora in
profound and emotional ways.

For Tony Rogers and the Cultural Roots Tour delegation, the visit to the Pikworo Slave Camp is deeply symbolic. It represents a journey of
remembrance, reflection, and healing. Rogers observed that the legacies of slavery, colonialism, and displacement left deep wounds on
the African world, fractures that can only be meaningfully addressed by reconnecting, acknowledging the past, and building bridges that
honour both suffering and resilience. He explained that many African Americans and other members of the diaspora feel a spiritual pull toward sites such as Pikworo because they offer tangible links to ancestors whose identities and histories were forcibly erased. Standing on the ground where their ancestors stood, suffered, and endured creates a powerful emotional and historical anchor—one that strengthens the desire to reconnect with the continent and to participate in Africa’s future.

In addition to its emotional significance, the tour carries economic and developmental implications. Heritage tourism has become an
increasingly important sector in Africa, capable of generating employment, encouraging cultural preservation, and creating new
opportunities for local communities. Rogers believes that by promoting heritage sites such as Pikworo and engaging traditional leaders as
partners in tourism development, African nations can create sustainable tourism models that empower communities while educating visitors about Africa’s rich and complex history. He added that the Harlem Tourism Board is committed to supporting such initiatives by fostering collaboration between African destinations and global tourism networks.

King Mumia II, reflecting on the tour, highlighted the importance of cultural exchange as a tool for unity. He noted that while Africa is a vast continent with diverse languages, customs, and traditions, its people share a common heritage and common aspirations. He stressed that traditional leaders have always played a central role in uniting communities, mediating conflicts, and preserving cultural values. In
the modern era, he believes they can continue to do so by forming alliances across borders, participating in cultural diplomacy, and promoting African identity on the global stage. He commended Ghana for its longstanding commitment to Pan-Africanism and for its efforts to
welcome the diaspora home through initiatives such as the Year of Return and Beyond the Return campaigns.

Throughout their engagements in the Upper East Region, the delegation emphasised the need for Africans everywhere—on the continent and
abroad—to see unity not as an abstract ideal but as a practical and necessary strategy for survival and advancement. Tony Rogers argued that Africa’s vast cultural wealth, youthful population, and abundant resources position the continent to be a global leader, but only if itacts collectively. Disunity, fragmentation, and internal conflict, he said, have historically weakened Africa’s influence, allowing external
powers to dominate economic, cultural, and political spaces that should have been shaped by Africans themselves. By contrast, a united
Africa—grounded in shared values, strengthened by cultural pride, and committed to mutual support—holds the potential to transform its place
in the world. The Cultural Roots Tour, now gaining traction as an annual movement, draws participants from across the diaspora who seek meaningful reconnection with Africa. It also offers opportunities for collaboration in areas such as cultural preservation, education, arts exchange, community development, and youth empowerment. Rogers noted that many young people in the diaspora are increasingly looking toward Africa for inspiration and belonging, and that initiatives like this tour help create pathways for them to participate more actively in
Africa’s cultural and economic development. He emphasized that these youth-focused efforts are vital, as the next generation will be responsible for carrying forward Nkrumah’s dream and ensuring that the idea of a united Africa continues to evolve.

As the delegation continues its journey through historical and cultural landmarks in northern Ghana, the message that echoes through
their engagements is one of solidarity, remembrance, and collective purpose. Whether standing in a royal palace, walking through a
historical site, or sharing stories with local communities, the delegation seeks to illustrate that unity begins with connection—one
conversation, one exchange, one moment of reflection at a time. Their presence in the Upper East Region is therefore not merely ceremonial but part of a growing movement that sees culture, history, and heritage as powerful tools for building the future.

In renewing the call for unity, Tony Rogers reminded Africans everywhere that the dream of a United States of Africa is not a relic
of history but a vision anchored in the lived experiences, struggles, and aspirations of African people. He believes that with continued
collaboration between traditional leaders, cultural institutions, governments, and the diaspora, Africa can build a future marked by
shared prosperity, dignity, and global influence. The Cultural Roots Tour, with its blend of heritage, leadership, and emotional reconnection, stands as a testament to what can be achieved when Africans unite across borders, cultures, and centuries.

The 2025 Panafest and Emancipation Day celebrations will take place at the historic Pikworo Slave Camp in the Upper East Region on July 18th and 19th, under the theme, “Let Us Speak of Reparative Justice – Pan African Artistic Activism.” This marks the third edition of the festival in the region, reinforcing its position as a hub for heritage tourism, cultural reflection, and Pan-African unity.
The Upper East Regional Director of the Ghana Tourism Authority, Mr. Wisdom Ahadzi, who is passionate about history, culture, and tradition, shared the details during an interview with Gladys Apuweni on URA Radio 89.7 MHz. He assured the public that this year’s edition promises to be unforgettable, with rich cultural displays and nonstop fun that will leave lasting memories for participants and the Upper East Region at large. Activities for the festival will commence on Friday, July 18th, with a health walk and free health screening, followed by cultural display, and a drama performance by the Upper East Filmmakers Association. A vigil night, with all participants dressed in white, will be held at 6:00 PM at the Pikworo Slave Camp to honour the memory of ancestors and reflect on the need for reparative justice across the continent.
On Saturday, July 19th, the grand durbar will take place at 10:00 AM with participants clad in traditional attire. The day will feature exhibitions, cultural displays from various dance groups, and artistic presentations to promote Pan-African identity and the call for reparations.
Special guests expected to grace the occasion include the Minister for Tourism, Arts and Culture, Hon. Abla Dzifa Gomashie, Upper East Regional Minister, Hon. Donatus Atanga Akamugri, CEO of the Ghana Tourism Authority, Maame Efua Houadjeto, along with chiefs, traditional leaders, and cultural ambassadors
Panafest and Emancipation Day continue to serve as platforms for healing, learning, and reconnecting with African heritage, while inspiring the youth to appreciate the resilience of their ancestors and the ongoing struggle for justice and development on the continent.
The Ghana Tourism Authority, in collaboration RCC, paga youth movement and with other stakeholders in the region, is calling on all Ghanaians, diasporans, and Pan-African allies to participate fully, support the celebration, and promote the Upper East Region as a destination for cultural tourism, historical learning, and African pride.

The over 50,000-acre parcel of land located along the Kparigu-Nasia stretched of road was allocated by the Nayiri, His Royal Majesty, Naa Bohagu Abdulai Mahami Sheriga, the king of Mamprugu to the Moshie Community of Ghana, for the establishment of their settlement.

In an address before the sod-cutting, Mr. Yidana empathized that the Moshie, Mamprusi, Dagombas and Nanumbas share a close consanguinity, considering the fact that they all trace their ancestral roots to a common ancestor, the great Naa Gbewaa.

He stated that the decision for the Moshies to have an established settlement within the Mamprugu Kingdom, was a step in the right direction describing it as a journey back home. This according to him would further concretize their long existing strong blood ties, and promote their common interests and progress.

The Regional Minister said as People of the same ancestral stalk, they should extend their prayers, support and good will to the Vice President at this crucial moment that Mamprugu has been opportuned to produce a President for the Republic of Ghana.

He wished them a fulfilled and an accomplished stay in Mamprugu as they started to exploit their root.

Source – gbcuraonline.com

The Upper East Regional minister Dr. Hafiz Bin-Salih re-echoed government’s commitment to resolving the Bawku conflict which remained the biggest challenge of the government adding that government intended a permanent resolution to the decades conflict so as to bring back to normalcy the one-time business hub of the region.

The regional minister made these known during the celebration of the 20th Annual Zekula Festival of the chiefs and people of the Bissa community of Ghana held at Kulungugu in the Pusiga District of the Upper East Region.

He stated that the threat of terrorism in the Sahel was of concern to our Internal and National Security more especially in our border communities such as Pulimakom and Kulungungu which have since been inundated with immigrants from Burkina Faso and Togo, hence the need to monitor people movements
and report suspicious characters to the security agencies as contained in the slogan “See Something, Say
Something”.

On security he said government had beefed up security in terms of Military and Police to forestall any security breach saying government established Two Military Battalions in the region; thus 11th Mechanised Battalion located in Bolgatanga, responsible for Upper East and the North East Regions, and the 12th Mechanized for Upper East and Upper West located in Sandema in the Builsa North Municipality of the Upper East Region.

Dr. Bin-Salih praised the security agencies saying they have showed determination to adhere to their constitutional mandate of protecting the territorial integrity and sovereignty of the country against any form of aggression. All what they require from us as community stakeholders is our unalloyed support with our native intelligence. He urged all border community residents to be vigilant and weary of these insurgence and to report any suspicious moves within our communities.

He indicated that the region was also àààendowed with both natural and man-made resources such as water bodies, mineral deposits, rocks and clay for ceramic production. In light of this, it has huge potentials for agricultural productivity adding agriculture remained the mainstay of our people and Government was determined
to ensure that the sector occupies its rightful place in the economy with the implementation of the Planting for Food and Jobs (PFJ) Phase II to complement the gains made in Phase One. He therefore called on farmers within the communities to take advantage of the ongoing farmer registration under the PFJ II to register as they stand to benefit.

On Agenda 111 hospital projects he noted that eight districts of the region were beneficiaries of these complete hospital projects of which the Pusiga District was one. He said many of these projects were at various stages of completion aimed at enhancing the healthcare delivery to the masses.

The minister announced that the Gulf of Guinea Northern Regions Social Cohesion (SOCO) project being
implemented in 48 districts of the country of which all the 15 districts of the region were beneficiaries adding it is a 5-year World Bank funded project with a total project amount of 150 million US dollars. He described the project as a game changer for the people of the north and for that matter the Upper East Region if well implemented.

He said a total of 232 physical sub-projects and over 100 software projects on local economic development aimed at equipping women with employable skills as well as the youth are being implemented across the 15 districts of the region in 2023. Out of this number he said, ten (10) physical sub-projects and 2 software projects were being implemented in the Pusiga District with a total amount of Five Million Twenty-One Thousand Fourteen Ghana Cedis (GHS5,021,014.00) was released to the District Assembly for the implementation of the 2023 sub-projects. For the 2024, 17 sub-projects and 9 software projects were to be implemented with an amount of Eleven
Million, Eighty-Two Thousand, Three Hundred and Sixty-Six Ghana Cedis; Eleven Pesewas (GHS11,082,366.11) to
be released soon to cater for the 2024 sub-projects. He also said that 132 persons have also been employed under the SOCO project as Community Facilitators and given motor bikes
and tablets to facilitate their reports.

Source – gbcuraonline.com

The Paramount Ruler of the Bawku Traditional Area, Zugraana Bawku Naba Asigri Abugrago Azoka II appealed for calm around the traditional area to enable residents to go about their normal activities in an atmosphere of peace and tranquility without any hindrance.This the Bawku Naba indicated through his personal Secretary would woe investors into the area thereby returning the one time business town of the region back to its old glory.

Bawku Naba who made this appeal during the former President”s visit to his palace as part of his Building Ghana Tour of the Upper East Region over the weekends asserted that he had been a paramount ruler of Bawku for over four decades adding it was not right for anyone to wake up again to talk about Bawku chieftaintcy matter.

He admonished the former President to carry out his campaigns devoid of divisiveness in his quest to ask the Ghanaian people for another mandate to rule over the country.

Zugrana Bawku Naba apoealled to the Flag bearer of the National Democratic Congress, NDC to expand, refurbish, equipped and upgrade the Bawku Presbyterian Hospital to befit its status as a major referral hospital for the whole of the eastern part of the region and beyond.

Source : gbcuraonline.com

He expressed concern about conflicts in parts of the Region, especially Bawku and Bolgatanga, and emphasized the need for peace.

“We are one, and we will continue to pray for peace in Bawku and Bolgatanga. It is sad that innocent lives are been lost on a daily basis, just because of some people’s disagreement with the choice of Bawku Naba,” he said.

The Chiana-Pio, who is the President of the Regional House of Chiefs, made the call at this year’s Fao festival of the Chiefs and people of the Chiana Traditional Area.

It was on the theme: “Creating awareness on climate change and environmental protection in the savannah zone: The Role of cultural festivals and community-based practices.”

The festival marked a period of thanksgiving to God and their ancestors for guiding them through the farming season successfully, and offered indigenes, friends and stakeholders the opportunity to gather and share ideas about the progress of Chiana.

Pe Ayagitam III said there was no turning back on the choice of Bawku Naba, insisting that “We cannot afford to have a second Bawku Naba.”

He said the House of Chiefs under his leadership, publicly endorsed Naba Asigri Abugrago Azoka II, as Bawku Naba and, therefore, could not have a second Bawku Naba.

“We will become a laughing stock if we cannot find lasting peace within ourselves. It is, therefore, imperative that we resolve the crisis. I also call on the government to be firm and proactive in its continuous pronouncement that we have only one Bawku Naba.”

Pe Ayagitam III said at the appropriate time, the House of Chiefs would consult the Nayiri, for them to find lasting peace in Bawku, and curtail the migration of people from the area to Southern Ghana.

On the issue of climate change, the Paramount Chief used the occasion to call on stakeholders to work together to fight its menace, and problems associated with environmental degradation, to save humanity from destruction.

He further used the opportunity to reiterate his several years of appeals to the government to fix the Chuchuliga-Chiana road which was in deplorable state.

He noted that “As we begin another election year, the choices of his people on the voting day would be determined by who is willing to partner us to transform our lives.

“Our choices would be influenced by who is willing to give us a separate District and a Constituency. This request has been on our lips for decades. We shall continue to knock the door until it is open.

“Though the vision delays, we shall wait for it,” the Chiana-Pio said.

As Ghana prepared for this year’s Presidential and Parliamentary elections, Pe Ayagitam III also called for issue-based campaigns from all political parties to ensure continuous peace in the country.

The well-attended festival was Chaired by the Bawku Naba and graced by various Paramount Chiefs within the Kassena-Nankana West District and Municipality, including government officials and leaders from both the New Patriotic Party and the National Democratic Congress.

Story by Raymond Batasia Wegwi