The first drumbeat arrives after weeks of waiting.

For two weeks before Ohumkan, the streets of Kibi and neighbouring Akyem communities fall into an unusual calm. Drumming stops. Dancing pauses. Even loud celebrations are set aside. Then, on Tuesday in June or July, the silence breaks.

The rhythm of traditional drums returns, chiefs emerge in colourful kente, and a celebration that honours both history and harvest fills the air.

Known as the first Ohum festival, Ohumkan marks the anniversary of the Akyem Nation while giving thanks for a successful harvest. It is one of the Eastern Region’s most cherished traditions, connecting generations through customs that have endured for centuries.

The festival centres on Kibi, the traditional capital of Akyem Abuakwa, but its spirit extends to surrounding villages where families gather, visitors return home, and public spaces come alive with music and ceremony.

The days of celebration feature grand processions of chiefs carried in palanquins beneath richly decorated umbrellas. Their arrival is greeted by the sound of talking drums, horn blowers and enthusiastic crowds dressed in vibrant cloth.

Elders perform customary rites that honour ancestors and reaffirm the community’s bond with its land, while prayers of thanksgiving recognise the blessings of the farming season.

The contrast between the quiet weeks beforehand and the joyful release of the festival gives Ohumkan its emotional power. The period of restraint encourages reflection, making the celebration feel earned rather than routine.

Today, Ohumkan remains more than a cultural spectacle. It strengthens family ties as relatives return home, provides a stage for local artisans and performers, and reminds younger generations that tradition is something to be lived, not simply remembered.

For travellers exploring Ghana’s heritage, witnessing Ohumkan offers something rare: the chance to experience a festival where silence itself becomes part of the celebration, and every returning drumbeat tells the story of a people proud of their past and hopeful for the seasons ahead.

“What started as a uniquely Nigerian cultural product has become a commodity controlled by people far beyond Nigeria’s borders.”

That claim has become a flashpoint in conversations about Afrobeats, the Nigerian-born sound that has grown from Lagos clubs into one of the world’s biggest musical movements.

While the statement is more opinion than settled fact, it captures a growing debate across Africa: as global music companies pour money into Afrobeats, who gets to shape its future?

A decade ago, artists like Wizkid, Davido and later Burna Boy helped push Nigerian music onto international charts with a sound that felt unmistakably homegrown.

Their blend of Afropop, highlife, dancehall and hip-hop resonated across West Africa before finding audiences in London, New York and beyond.

Today, Afrobeats fills stadiums, dominates streaming playlists and has its own Grammy category. But its global success has also brought questions about ownership and creative control.

One of the biggest turning points came in 2024 when Universal Music Group acquired a majority stake in Mavin Records, one of Nigeria’s most influential record labels founded by producer and executive Don Jazzy.

The deal symbolised a wider trend: international music giants increasingly investing in African talent and infrastructure.

Supporters argue that these partnerships give artists access to larger marketing budgets, global distribution networks and opportunities that were once out of reach.

Nigerian stars now headline international festivals, collaborate with global acts and earn revenues from audiences across continents.

Critics, however, worry that commercial success comes with trade-offs.

Some believe global executives and streaming platforms now wield enormous influence over which artists receive the biggest promotional push, which songs land on influential playlists and what version of Afrobeats reaches international listeners.

They argue that the genre’s rough-edged experimentation has gradually given way to a more polished sound designed to travel easily across global markets.

That concern extends beyond Nigeria.

For Ghana, the conversation feels familiar. Highlife, hiplife and the fast-rising Asakaa movement have all faced questions about how local sounds can grow internationally without losing the cultural identity that made them distinctive in the first place. Across the continent, artists increasingly navigate a delicate balance between staying authentic and appealing to worldwide audiences.

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Not everyone agrees that Afrobeats has lost its identity. Many fans point out that Nigerian artists continue to dominate charts, create trends and influence global pop music rather than simply following it. They see the genre’s evolution as a natural consequence of reaching bigger audiences.

Still, the discussion reflects a broader reality facing Africa’s creative industries. As music becomes a billion-dollar global business, ownership matters almost as much as artistry. The question is no longer whether African music belongs on the world stage—it already does.

The bigger question is who gets to decide what the next chapter sounds like.

The crack of muskets rolls across Ada’s coastline, and for a moment, history feels close enough to touch.

Every year, from the last Thursday in July until the first Saturday in August, the Greater Accra town transforms into a living tribute to courage.

Chiefs dressed in regal cloth lead colourful processions, warriors recreate scenes from battles long past, and crowds gather to celebrate Asafotufiam, one of Ghana’s most distinctive heritage festivals.

For the Ada people, the festival is more than a performance. It honours the victories of their ancestors, whose bravery helped shape the community’s history.

The word Asafotufiam itself reflects the military companies, or asafo groups, that defended the kingdom, making the celebration a reminder that peace today was built on sacrifice generations ago.

The festival’s atmosphere blends solemn remembrance with joyful reunion. Royal processions fill the streets as chiefs, queen mothers and traditional leaders receive greetings from residents and visitors alike.

Musket firing, carefully organised as part of the ceremonies, recreates the sounds of historic triumphs, while traditional drumming and dancing keep the energy flowing through the town.

Between the ceremonies, families reunite, old friendships are renewed, and local businesses thrive as visitors explore Ada’s hospitality.

The celebration also gives younger generations a chance to learn stories that are rarely found in textbooks, preserving history through lived experience rather than memory alone.

Set near the meeting point of the Volta River and the Atlantic Ocean, Ada provides a striking backdrop for a festival where heritage and landscape come together.

The surrounding beaches, estuary and vibrant streets add another layer to the experience, making Asafotufiam feel as much like a homecoming as a public celebration.

For anyone exploring Ghana’s cultural calendar, Asafotufiam deserves a place on the itinerary—not only for its dramatic ceremonies, but for how it keeps the spirit of Ada’s ancestors alive with every procession, every drumbeat, and every echoing musket salute.