Arts and GH Heritage
10 Things You Need To Know About Ghana and Ghanaian Culture
There is a reason why Ghana has become the go-to destination for travelers looking to experience one of Africa’s most vibrant countries. Ghana is a country ripe with entertainment, tradition, exquisite landscapes and phenomenal food, and if you’re one of many who has developed a fascination with the country, you might want to learn a bit more about its culture. Here are ten things you need to know about Ghanaian culture.
Food
You can tell a lot about a culture by its cuisine. Historically, Ghanaians love to prepare dishes that include a starchy component (fufu or waakye), which typically goes with a soup or stew and protein. Most soups and stews have a tomato base and come with beef, goat, lamb, chicken, shrimp, fish or crab. Some popular stapes are jollof, banku, red red, tuo zaafi, boiled yam with kontomire stew and plantain with egg stew. Most dishes are eaten by hand, and a popular dish like fufu is scooped up in pieces with the right hand and then dipped in an accompanying soup (typically goat soap).
Tipping
While we’re on the topic of food, you should note that tipping is not a requirement in Ghana. In fact, it comes as a surprise when diners tip. Tipping should be at the discretion of the patron, but keep in mind that many servers work on paltry wages so adding a tip is a kind gesture they truly appreciate.
Language
Of the more than 90 languages spoken in the country, English is Ghana’s official language with more than 80% of the population speaking it fluently. English was first spoken when England colonized Ghana (then the Gold Coast) in 1867. Even after the country’s independence in 1957, it continued to use English as its official language to conduct government and business affairs. It is also the standard language used in schools.
Sayings, Gestures & Slang
Don’t be surprised if a stranger hisses or smooches at you while around town. Hissing and smooching is a signal to gain someone’s attention and is not something to take offense to. Other popular phrases include “Chale” (which means “my friend”), “Saaaa” (meaning “really?”) and “Akwaaba” (meaning “Welcome”). A sucking of teeth means a person is frustrated.
Music
Before Afrobeats became a hit music genre across the globe, it was deep-rooted in the country and continues to make a huge impact. Ask anyone about Kwami Eugene, Kidi or Sarkodie and you’re sure to be greeted with a smile since their music adds life to any party or get together. What makes music in Ghana special is that it never loses its heritage. Before Afrobeats became popular, highlife dominated the scene, and up until this day, if a DJ plays icons like Fela Kuti or Ebo Taylor, you can almost guarantee the crowd will hit the dance floor.
Festivals
Festivals have increasingly become a part of the Ghanaian experience, especially during the holidays when many tourists visit. From Afrochella to CHALE WOTE, there are countless festivals that cater to individual tastes. In 2018, festivals attracted more than 30,000 people who all experienced the country’s art, music, food and history. You can view the more than 30 festivals hosted each year here.
Customs
Ghanaians are very, very communal so don’t be taken aback if you’re greeted with hugs and back pats when you meet someone for the first time. It is also not uncommon to see a group of people eating a dish from the same plate together. And unlike in many Western countries, Ghanaians like to be in close proximity of each other rather than needing personal space. Also, when you enter a room, it is customary to greet with either a Good Morning, Afternoon or Evening. Never give or receive money with your left hand and always invite others to eat with you. (They will almost always say “Thank you” – which means “No, thank you”) and then continue to eat your meal.
Fashion
It is no secret that African fabric dominates Ghanaian fashion. From bold patterns to intricate designs, African fabric remains entrenched in Ghanaian culture. Kente cloth, which became popular with African Americans during the Civil Right Movement, is originally from Ghana. Typically, consumers will buy the fabric of choice from a local market, then a tailor will sew their design. Other options are to buy made-to-wear African clothing made of lycra or elastane, which fits all shapes and body types. The latter is especially popular with female pants and dresses.
Religion
Ghana has a huge religious population. A 2018 analysis reported by The Guardian found that of over 106 countries, Ghana and Georgia were the only two countries where people under 40 were more religious than their older compatriots. Christianity remains to be the largest religion in Ghana taking up 70% of the entire population. Following Christianity is Islam, which makes up 25%. Of the 70% who make up Christianity, 18% are Protestant, 13% are Roman Catholic and 5% are Traditionalists.
Tribes…Lots of tribes
There are more than 100 ethnic groups living in Ghana. The Akan tribe is the largest, encompassing approximately 20 million people. The most spoken language of the Akan language is Twi (which comes in four different variations). Other popular tribes in Ghana include Ewe, Fante, Ashanti and Ga.
Article authored by Zaina Adamu. Originally published by Demand Africa. Read originally article here.
Arts and GH Heritage
The Weight of the Gaze: Tracking the Spiritual Footwork of Échos Célestes
At the Salle Lougah François during MASA 2026, there is a moment where the dust of the stage seems to hold its breath.
It happens when the five dancers of Alkebulan Danse transition from the frantic urgency of a modern seeker to the profound, heavy-heeled stillness of the ancestors. This is Échos Célestes, a work that doesn’t just ask to be watched; it asks what it means to be witnessed.
For the West African spectator, the “groundedness” of dance is a familiar heritage—a literal connection to the earth that sustains us.
However, under Henri Michel Haddad’s direction, this Ivorian-rooted movement becomes a philosophical inquiry.
The choreography explores a tension we all feel in the digital age: an obsessive hunger for visibility. Are we performing for the “likes” of our peers, or for the silent, watchful eyes of the heavens?
The brilliance of the piece lies in its refusal to offer easy answers. The ensemble moves as a singular, pulsing organism—recalling the communal harmony found in Ghanaian Adowa or Agbadza—only to fracture into dissonant, isolated solos.
It is a visceral reminder that while our traditions bind us, the modern quest for identity often leaves us standing alone in the spotlight.
By fusing traditional rhythmic footwork with fluid contemporary abstractions, Échos Célestes bridges the gap between the physical and the metaphysical.
It is a haunting, intellectual exercise that proves contemporary African dance is not just about spectacle; it is a sophisticated vessel for exploring the very architecture of the human soul.
Arts and GH Heritage
The Sound of Stillness: How South African Dance Set Abidjan Ablaze
When the curtains rose at the Salle Lougah François in Abidjan’s Palais de la Culture, it wasn’t just the stage lights that commanded attention—it was the weight of a collective breath.
In the dual performance of ZO! Mute, South African choreographic titans Vincent Sekwati Mantsoe and Gregory Maqoma didn’t just stage a dance; they conducted a spiritual excavation.
The evening felt like a masterclass in the economy of energy. Mantsoe’s ZO! channeled the mythic spirit of Queen ZO, a figure of terrifying duality.

Six dancers, cloaked in arresting red, moved through a landscape where street dance collided with ancestral ritual. Here, the body was an instrument of both grace and destruction.
The “physicality” wasn’t merely athletic; it was a rhythmic conversation where body percussion replaced orchestral swells, grounding the performance in the grit of urban life and the sanctity of tradition.
However, the true brilliance emerged in the transition to Maqoma’s Mute. If ZO! was the storm, Mute was the deliberate, ringing silence that follows.
Maqoma challenged the audience to find meaning in absence. By leaning into minimalism, every twitch of a finger or tilt of a head carried the weight of a spoken manifesto.
It raised a poignant question for any modern African audience: in a world filled with the noise of greed and despair, can silence be our most potent form of agency?
As the dancers shifted from chaos to contemplation, ZO! Mute became a metaphor for the continent itself—navigating the fragile line between power and collapse, while stubbornly searching for renewal amidst the decay.
Arts and GH Heritage
The Body is the Map: Decolonizing the Female Identity through Contemporary Dance
At the 2026 Market for African Performing Arts (MASA) in Abidjan, the air inside the Salle Kodjo Ebouclé usually hums with the kinetic energy of West Africa’s most ambitious ensembles.
But when Mozambican dancer Mai-Júli Machado took the stage for her solo piece, Amelle, the roar of the Palais de la Culture dissolved into a heavy, expectant silence.
Machado began the piece topless—a choice that, in many contemporary African contexts, remains a radical reclamation of the female form from the male gaze.
In Amelle, the skin is not a spectacle; it is a parchment. As she moved, her body became a vessel of memory, tracing the jagged line between girlhood and womanhood.
What makes Amelle a vital contribution to the continental dialogue is its refusal to shout. In a world of loud political manifestos, Machado’s “ritual of transmission” suggests that the most profound resistances occur in the quiet, invisible shifts of the psyche.

Her choreography oscillates between agonizing restraint and explosive release—a physical manifestation of the cultural and social “corsets” that attempt to define African female identity.
For a global audience, Machado’s work serves as a reminder that the African body is not just a site of rhythm or labor, but a living archive.
Every deliberate pause and every urgent expansion against “unseen forces” mirrors the resilience required to navigate traditional expectations while carving out a modern self.
Amelle is more than a dance; it is an intimate testimony to the complexity of becoming in a world that often demands women remain still.
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