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
Where Ghana’s Artistic Past Meets Its Next Generation
Every memorable art gallery begins with someone who believes a painting deserves more than a wall—it deserves an audience.
In Accra, that belief has shaped Berj Art Gallery into one of Ghana’s enduring champions of West African art.
Founded in 1996 by collector Joyce Quarshie, Berj emerged at a time when many Ghanaian artists were still searching for spaces that could connect their work with wider audiences.
More than three decades later, Quarshie’s commitment has grown into a gallery that celebrates both established masters and emerging voices under one roof.

A Living Story of West African Art
Walking through Berj feels less like entering a showroom and more like stepping into a conversation across generations.
Bold paintings share space with finely carved wooden sculptures, bronze works catch the light from different angles, and photographs add contemporary perspectives to centuries-old artistic traditions.
The gallery’s strength lies in that balance. Acclaimed painters stand alongside rising talents, creating a rare opportunity for visitors to see Ghana’s artistic evolution unfolding in real time.
It is a reminder that culture is not frozen in history; it continues to grow with every new brushstroke and every fresh creative voice.
More Than a Gallery
For international visitors exploring Accra, Berj offers something deeper than a sightseeing stop. It opens a window into Ghana’s creative identity, where craftsmanship, storytelling and heritage intersect.
As the gallery continues hosting exhibitions that bring together local and international artistic influences, it reinforces a simple but powerful truth: preserving culture is not only about protecting the past.
It is about creating spaces where the next generation of artists can imagine—and exhibit—the future.
Arts and GH Heritage
The Stories We Live With: Inside Nubuke Foundation’s Weight of the Ordinary
A family photograph resting on a shelf may look like decoration. A half-finished piece of woven cloth may seem incomplete. A living room may simply be a place to sit.
At Nubuke Foundation in Accra, however, these familiar things are being asked to tell deeper stories.
Weight of the Ordinary, a group exhibition featuring Josiah Tsibu Manu, Priscilla Agbeti, Blanche Boni-Mississo, King David Osabutey (Kakalicka) and Sena Burgundy Appau, turns its attention to the overlooked details of daily life—and finds history hiding there.
Manu’s domestic interiors are particularly evocative. Furniture, photographs and household details become unofficial archives, recalling how Ghanaian homes often carry memories that never enter formal histories.
In Agbeti’s unfinished woven works, meanwhile, labour refuses to disappear behind polished craftsmanship.
The incomplete becomes deliberate, leaving viewers to consider the economic and social histories carried by textiles.

Elsewhere, Boni-Mississo examines how spaces determine who can move freely and who is kept at the margins. Kakalicka draws on Akan cosmology through his Ɔhɔhoɔ, or stranger, connecting questions of displacement and belonging with indigenous ideas.
Appau’s monumental blue figures turn inward, contemplating the uncertainty and possibility of becoming.
Together, the artists suggest that the everyday is not neutral. It is where memory is stored, identities are formed and social boundaries are experienced.
For audiences in Ghana and abroad, the exhibition offers an invitation to look again at what familiarity can conceal. Sometimes, the objects closest to us have the most to say.
Arts and GH Heritage
The Ashanti Woman Who Made an Empire Negotiate
Sometimes history survives not in monuments, but in memory. In Ghana, the beat of the atumpan once carried messages across kingdoms.
In Jamaica’s mist-covered Blue Mountains, that same language of rhythm became a weapon of survival.
Queen Nanny’s story begins in oral tradition, which holds that she was born among the Akan people before being captured during the transatlantic slave trade and forced to Jamaica.

What followed transformed her into one of the Caribbean’s most celebrated freedom fighters.
When the drum became a battlefield language
Leading the Windward Maroons, Nanny turned the rugged mountains into a fortress. British troops struggled against hidden trails, surprise attacks and a commander who understood that knowledge of the landscape could outweigh military strength.
Just as remarkable was her reported use of the atumpan, the Akan talking drum. What colonial forces dismissed as eerie sounds echoing through the hills became a coded communication system that helped coordinate resistance.
Years of failed campaigns eventually forced Britain to negotiate. The 1739 peace agreement with the Maroons remains one of the most striking acknowledgements that enslaved Africans had built a resistance too formidable to erase.
A bridge between Ghana and Jamaica
Today, Queen Nanny is Jamaica’s only female National Hero, and her portrait appears on the Jamaican $500 banknote.
Her legacy also reaches back across the Atlantic, reminding Ghanaians that culture can outlive displacement.
The rhythms that once echoed through Akan communities did not disappear at the coast.
They crossed an ocean, climbed a mountain, and became part of one of history’s most remarkable stories of resistance.
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