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10 Uniquely Ghanaian Things You Propably Didn’t Know

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Image credit: Freepik

Ghana, often called the “Gateway to Africa,” is a nation rich in history, innovation, and cultural heritage.

From pioneering infrastructure to global cultural exports, here are 10 fascinating facts that highlight what makes this West African gem truly unique—many of which might surprise even seasoned travelers.

Tema Harbour: Africa’s Largest Modern Port Expansion Led by a Visionary Leader

Drone shot of the new MPS Terminal at the Tema Harbour

Ghana’s first President Dr. Kwame Nkrumah, built the country’s first major harbour at Tema. However, under President John Dramani Mahama’s first administration between 2012 and 2017, Ghana expanded the infrastructure tremendously by launching a $1.5 billion expansion drive. The epic project was completed in phases and fully commissioned in November 2025. This public-private partnership with Meridian Port Services (MPS) tripled the port’s capacity to over 3 million TEUs annually, making it West Africa’s premier trade hub. What you might not know: The project saved Ghana over $500 million through innovative financing and created thousands of jobs, positioning the country as a maritime powerhouse without direct government funding.

Jenga: The Global Game Born from Ghanaian Childhood Play

Jenga has sold over 80 million sets across the world

The iconic stacking game Jenga, played by millions worldwide, was invented by British designer Leslie Scott, inspired by her teenage years in Ghana during the 1970s. Using wooden blocks from a family game in Takoradi, she refined the concept into what became “Jenga”—from the Swahili word “kujenga,” meaning “to build.” Released in 1983, it has sold over 80 million sets, but its roots trace back to simple Ghanaian playtime amid limited toys, blending creativity with cultural resourcefulness.

Kente Cloth: Ghana’s Newly Protected Cultural Icon

The famous Kente cloth is now a Geographical Indication of Ghana

Kente, the vibrant woven fabric synonymous with African royalty and pride, originated among. Ghana’s Ashanti and Ewe peoples centuries ago. In a landmark move in 2025, Ghana secured Geographical Indication (GI) status for Kente through the World Intellectual Property Organization (WIPO), ensuring only cloth handwoven in designated Ghanaian communities can legally bear the name. This protects against global imitations and cultural appropriation, while its UNESCO Intangible Cultural Heritage listing (2024) underscores patterns symbolizing wisdom, wealth, and history—each design telling a story passed down generations.

Lake Volta: The World’s Largest Man-Made Reservoir

Lake Volta was created in 1965

Created in 1965 by the Akosombo Dam on the Volta River, Lake Volta spans 8,502 square kilometers—larger than some countries—and holds 148 cubic kilometers of water, making it the biggest artificial lake by surface area globally. Built under Kwame Nkrumah’s vision for industrialization, it generates 60% of Ghana’s electricity via hydropower and supports massive fishing industries. Lesser-known fact: Its creation displaced over 80,000 people across 700 villages, creating a complex legacy of progress and human cost.

Adinkra Symbols: Ancient Wisdom in Visual Code

Adinkra symbol

Originating from the Akan people in the 19th century, Adinkra symbols are a unique Ghanaian invention—over 50 intricate designs stamped on cloth, pottery, and architecture, each conveying philosophical proverbs like “Sankofa” (learn from the past) or “Gye Nyame” (except for God). Used in funerals, ceremonies, and modern fashion, they represent one of Africa’s oldest visual communication systems, blending art with moral teachings and now influencing global tattoos and designs.

Fantasy Coffins: Celebrating Life Through Artful Death

Artful coffin. This coffin is shaped like a traditional African stool, signifying the deceased commanded traditional authority of sorts

A tradition among the Ga people in Greater Accra, fantasy coffins (or “abebuu adekai”) are custom-built caskets shaped like everyday objects—fish for fishermen, cars for drivers, or even Coca-Cola bottles—to symbolize the deceased’s life or profession. Invented in the 1950s by artisan Seth Kane Kwei, this quirky cultural practice has gained international fame, with pieces in museums worldwide, turning funerals into vibrant tributes to individuality.

Highlife Music: The Birthplace of Afro-Fusion Sounds

The group Osibisa are unmatched in Ghana’s highlife genre

Ghana pioneered Highlife in the 1920s, a genre blending traditional Akan rhythms with Western jazz, calypso, and brass bands, evolving into modern Afrobeats influences. Icons like E.T. Mensah popularized it across Africa, and today, artists like Sarkodie fuse it with hip-hop. Fun fact: It emerged from coastal elites (“high life”) but became a Pan-African staple, symbolizing post-colonial joy and resilience.

Below is a video of an old highlife tune:

Cocoa Dominance: Sweet Secrets of the World’s Second-Largest Producer

Ghana produces over 800,000 tons of cocoa annually, second only to Côte d’Ivoire, fueling 20% of global chocolate. Introduced by Tetteh Quarshie in 1879 after smuggling beans from Fernando Po, it’s now a $2 billion industry. Unique twist: Ghana’s premium beans are fermented longer for richer flavor, and the country pioneered fair-trade certifications to combat child labor—yet most Ghanaians have never tasted finished chocolate.

Kakum Canopy Walkway: Africa’s Thrilling Treetop Adventure

The famous canopy walkway draws 200,000 visitors yearly. Image credit: Laure Wanders

Suspended 30 meters above the rainforest floor, Kakum National Park’s 350-meter canopy walkway—built in 1995—is Africa’s first and longest, offering views of rare wildlife like forest elephants and monkeys. What you didn’t know: Constructed with help from Canadian volunteers using local materials, it draws 200,000 visitors yearly, boosting eco-tourism while preserving one of West Africa’s last primary rainforests.

Pan-African Legacy: Cradle of Modern African Independence

Ghana became the first sub-Saharan nation to gain independence in 1957 under Kwame Nkrumah, who coined “neo-colonialism” and hosted the All-African Peoples’ Conference, inspiring liberation movements continent-wide. Intriguing detail: Nkrumah’s vision led to the Organization of African Unity (now AU) in 1963, and Ghana’s Black Star Gate symbolizes this—yet his overthrow in 1966 highlights the fragile balance between idealism and power.

Arts and GH Heritage

Where Ghana’s Artistic Past Meets Its Next Generation

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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.

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Arts and GH Heritage

The Stories We Live With: Inside Nubuke Foundation’s Weight of the Ordinary

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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.

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Arts and GH Heritage

The Ashanti Woman Who Made an Empire Negotiate

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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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