History often remembers the ships that carried Africans away. Far less attention is given to the ships that brought some of their descendants back.

Walk through parts of old Accra and traces of that return journey still linger. Behind weathered walls, distinctive balconies, and family names passed through generations lies the story of the Tabom people—Afro-Brazilian returnees whose homecoming helped shape the cultural identity of modern Ghana.

Their story is remarkable not simply because they crossed the Atlantic in the nineteenth century, but because they arrived carrying more than memories. They brought skills, ideas, and traditions forged through generations spent in Brazil. In doing so, they became living bridges between two continents connected by one of history’s most painful chapters.

A Community Built Between Two Worlds

The Tabom people settled among the Ga communities of Accra, gradually weaving themselves into the city’s social fabric. Their influence could be seen in craftsmanship, tailoring, carpentry, commerce, and architecture. The colourful Brazilian-inspired houses that once stood prominently in parts of Jamestown and other historic neighbourhoods reflected a cultural exchange unlike any other in West Africa.

Yet their greatest contribution may have been something less visible: the creation of a shared identity that embraced both African roots and Brazilian experiences.

Rather than existing as outsiders, the returnees married into local families, learned local languages, and became active participants in the growth of the Gold Coast. Their story challenges the idea that identity must belong to one place alone.

The Legacy That Lives On

Today, descendants of the Tabom community remain part of Ghana’s cultural landscape. Their influence can be found in family histories, architecture, commerce, and even sport. The introduction of football to the Gold Coast is often linked to members of the community, while celebrated figures such as boxing legend Azumah Nelson trace connections to this remarkable heritage.

The Tabom story is ultimately about return—not as a journey back to the past, but as the creation of something entirely new. In an era when conversations about identity, migration, and belonging continue around the world, their experience offers a powerful reminder that cultures do not simply survive movement. Sometimes, they flourish because of it.

“What would you want your coffin to look like?”

It is an unusual question in many parts of the world. In Ghana, however, it opens the door to one of the country’s most remarkable artistic traditions—fantasy coffins, handcrafted creations that transform funeral rites into powerful celebrations of identity.

A Legacy Carved in Wood

The story begins in the 1940s with Ghanaian artist and coffin maker Atta Oko, whose imaginative designs challenged conventional ideas of burial.

The tradition gained wider recognition in the 1950s through master craftsman Seth Kane Kwei, whose workshop became synonymous with the art form.

According to local accounts, the movement took an unexpected turn when a cocoa pod-shaped palanquin made for a chief’s ceremonial procession became his final resting place after his sudden death. What began as a necessity soon evolved into a cultural expression.

Today, these coffins appear as fish, cocoa pods, airplanes, mobile phones, beer bottles, sewing machines, and countless other forms.

A Final Portrait of a Life

Far from being novelty items, fantasy coffins serve a deeply symbolic purpose. They reflect the profession, achievements, passions, or aspirations of the deceased. A fisherman may be buried in a giant fish, while a pilot might rest in an aircraft-shaped coffin. The object becomes a final biography, crafted not in words but in wood, colour, and form.

The tradition also reveals a distinctly Ghanaian approach to death. Funerals are not solely moments of mourning; they are occasions for remembrance, storytelling, and communal honour. Through music, gathering, and artistry, families celebrate a life rather than focus only on loss.

For visitors, Ghana’s fantasy coffins offer a fascinating glimpse into how creativity and culture can reshape even the most universal human experience. In a world where everyone eventually leaves a legacy behind, these extraordinary creations ask a simple question: if your life could be remembered in a single symbol, what would it be?

Ghana has announced plans to construct a state-of-the-art museum dedicated to the transatlantic enslavement, which will serve as the permanent repository for approximately 2,000 looted artefacts being returned by Germany and the Netherlands.

The landmark initiative, unveiled by President John Dramani Mahama as part of the Accra Next Steps Commitments, marks a watershed moment in Africa’s restitution movement.

Foreign Minister Samuel Okudzeto Ablakwa confirmed the development in a social media post on Tuesday, June 23, 2026, following the historic Next Steps Conference on Reparatory Justice held in Accra.

“One of the significant deliverables contained in the Accra Next Steps Commitments which was outdoored by President John Dramani Mahama is the pledge to establish a modern museum on the transatlantic enslavement in Ghana,” Ablakwa wrote.

A home for returning treasures

The announcement comes just days after ambassadors from Germany and the Netherlands presented a catalogue of the artefacts to President Mahama during the conference’s plenary session. The two European nations committed to returning about 2,000 culturally significant items looted from the West African country during the colonial era.

While specific details on the types of artefacts and their current locations have not been disclosed, officials have confirmed that timelines for the physical return and display arrangements will be announced in due course.

The museum will serve multiple purposes: preserving the memory of the transatlantic slave trade, honouring the experiences of enslaved Africans, promoting truth-telling, and fundamentally acting as a secure repository for repatriated cultural property.

“This museum shall be dedicated to remembering the transatlantic enslavement, honouring our ancestors, promoting truth telling and fundamentally serving as repository for the thousands of looted artefacts being returned to Ghana,” Ablakwa stated.

Economic transformation through heritage

Beyond its historical and cultural significance, the project is expected to generate substantial economic benefits. Ablakwa noted that the museum’s “job creation potential and overall tourism benefits will be enormous”.

Ghana’s tourism and creative arts sectors have been identified as powerful drivers of economic diversification and employment, particularly for young people. The new museum is poised to significantly boost diaspora tourism, building on the hundreds of thousands of visitors who already flock annually to Ghana’s slave forts at Cape Coast, Elmina, and Christiansborg Castle.

African-led design and global collaboration

In a deliberate departure from colonial-era curation, the government has committed to a “vibrant, competitive and transparent design competition led by Africans and people of African descent”.

This approach ensures African agency in shaping how the continent’s history is told and remembered.

The initiative forms part of broader outcomes from the Accra Next Steps Conference, which brought together leaders, policymakers, and experts from more than 80 countries. The conference was convened following the adoption of a Ghana-backed United Nations resolution recognising the transatlantic slave trade and the enslavement of Africans as the gravest crime against humanity.

A wider restitution momentum

The museum announcement coincides with a significant shift in European attitudes toward restitution. During the same conference, Denmark’s Foreign Minister issued an apology for the country’s role in the transatlantic enslavement system and pledged support for preserving colonial-era castles as part of efforts to “prevent historical erasure, promote truth telling and guarantee non-repetition”.

Ghana has been at the forefront of international efforts to reclaim cultural heritage, with Ablakwa applauding “the positive conduct of restitution we are beginning to witness from our international partners in Europe since the adoption of the historic Ghana-led UN Resolution”.

The museum project represents a tangible commitment to transforming declarations into lasting infrastructure—a brick-and-mortar monument to memory, justice, and the enduring resilience of the African spirit.