If you scrolled through Ghanaian social media on Tuesday, 25th August, 2026, you would have found a digital ecosystem buzzing with equal parts political ambition, celebrity drama, and genuine national concern.

It was a day where the serious and the absurd competed for attention, perfectly capturing the nation’s current mood.

The political sphere was immediately energized by a bold declaration from Dennis Miracles Aboagye, an aide to Dr. Mahamudu Bawumia.

In a post on X that quickly went viral, he pledged a “completely different approach” to the 2028 campaign, stating definitively: “WE WILL COMMAND THE NARRATIVE.

They won’t see it coming”. This wasn’t just standard political rhetoric; it was a signal to the grassroots and a direct challenge to the opposition, sparking intense debates about strategy and the upcoming election cycle.

However, the lighter side of politics also trended. A video of Minority MPs enthusiastically joining the viral “Mahama Ayariga Wakyi Gu Hɔ” trend offered a rare moment of bipartisan humor, with netizens praising the lawmakers for embracing a playful moment despite the often-tense parliamentary atmosphere.

@the1957news

Majority Leader Mahama Ayariga, "Wakyi Gu! Hɔ!" — Minority

♬ original sound – The1957News

It was a reminder that even in the serious business of politics, Ghanaians appreciate a good meme.

But it wasn’t all fun and games. A stark warning from the National Security Coordinator, COP Osman Abdul Razak, cut through the noise. He revealed that political vigilante groups are rebranding and moving their operations to “social media and encrypted chats”.

This alarming development, announced at a policy dialogue on the implementation of the Vigilantism and Related Offences Act (Act 999), shifted the conversation to a more somber tone. It highlighted a significant national security concern just as the country gears up for future elections.

Topping the entertainment charts was the return of mental health advocate Abena Korkor after a period of absence.

Her video addressing a recent relapse and her subsequent clapback at critics sparked a massive wave of support and debate, highlighting the ongoing discourse around mental health in Ghana.

From a political power play to a national security alarm and a celebrity comeback, Tuesday’s trends showed a Ghanaian digital culture that is as politically aware as it is deeply invested in the personal stories of its public figures.

There is a particular quality of light in Accra that never fully leaves you. For Gabriel Selassie Tsagli, a Ghanaian artist living between Accra and Berlin, it is this light—alongside the memory of a specific mother and a specific city—that anchors his first solo exhibition in his birthplace.

Son of Kafui at Gallery 1957 is a homecoming in the truest sense. The title itself is an intimacy: Kafui, meaning “love” or “son of God’s own,” was the name of Tsagli’s late mother.

Following his return to Accra in 2025, Tsagli has created a body of work that doesn’t merely depict grief but gives it form, movement, and colour.

The exhibition begins where all loss begins—in the body’s remembrance of place. Tsagli’s paintings emerge from lived experience rather than pre-imagined form.

He builds surfaces through accumulation, layering, pressing, and scraping paint until figures appear “as though remembered rather than constructed”.

This is not figurative painting in the traditional sense; here, figuration and abstraction overlap, allowing bodies and faces to emerge and recede like recollections themselves.

Colour serves as a generative force. Orange suggests action and vitality, while blue becomes a space for reflection and articulation. Held in tension, these chromatic forces create an emotional architecture that resists closure, sustaining ambiguity across the works.

The figure of his mother recurs throughout, not as a portrait or a likeness, but as atmosphere, material trace, and presence suspended in the space between what is here and what is gone.

Curated by Marina Paulenka, the exhibition considers return not as resolution but as an ongoing negotiation.

Accra itself becomes a living presence, a shifting organism that evolves alongside the artist’s understanding of home—an understanding complicated by a life shaped by movement between Ghana and Germany.

What makes Son of Kafui remarkable is its refusal to resolve grief. Instead, Tsagli invites us to remain with what resists closure, to encounter meaning as it unfolds.

In doing so, he transforms personal loss into a broader reflection on how we carry people, places, and histories within us. The exhibition runs at Gallery 1957 until 12 September 2026.

The first drumbeat rolls across Abura like a heartbeat returning home. Soon, the streets come alive with swirling cloth, elders carrying symbols of authority, and young dancers moving to rhythms that seem to echo from another century.

As traditional horns cut through the air, the community gathers for Ahoba Kuma Festival, a celebration that transforms memory into movement and history into living tradition.

Observed occasionally in June by the Abura people in Ghana’s Central Region, Ahoba Kuma commemorates the community’s ancestral migration while paying tribute to the warriors who protected their people during uncertain times.

Rather than allowing those stories to fade into folklore, the festival keeps them alive through ceremonies that remind each generation where they came from and what their ancestors endured to build the community they call home.

The festival unfolds with colourful processions led by chiefs, queen mothers and elders dressed in striking kente, beads and ceremonial regalia.

Traditional musicians fill the streets with the sounds of talking drums, horns and songs that recount bravery, sacrifice and unity. Dancers perform with energetic precision, while community members follow the procession, turning the town into a shared stage where every step carries historical meaning.

Beyond the public celebrations, moments of reflection remain at the festival’s heart. Elders share oral histories with younger generations, prayers are offered for peace and prosperity, and families reunite to strengthen bonds that stretch far beyond bloodlines.

These rituals ensure that remembrance is not confined to the past but becomes part of everyday identity.

Today, Ahoba Kuma serves as both a cultural inheritance and a community reunion, drawing people back to their roots while welcoming curious visitors into its story.

For travellers exploring Ghana’s heritage, experiencing this festival offers something rare: the chance to witness history not preserved behind museum glass, but carried proudly through the streets in music, movement and collective memory.