Profile
Combing streets, ghettos for emotionally traumatised boys …the story of the ‘Woman King’ and Boy Child Supportive Care Foundation
In a society where conversations about the safety and wellbeing of people have always tilted to the side of women and the girl child, one often wonder who cares about the state of the young boys at the same age as the girls.
Boys have been usually considered emotionally and physically stronger vessels, able to go through tough and difficult challenges without the support often enjoyed by girls who go through less or similar trials.
Some of these boys have grown up knowing of a popular Ghanaian parlance ‘barima nsu’, which is literally translated to ‘men don’t cry.’
So, sometimes people don’t realise that behind this show of strength and swagger, lies a soft, emotionally traumatised boy that fears losing his masculinity by bringing out the other part of him.
This was what led to the establishment of the Boy Child Supportive Care Foundation, a little over a year ago, to provide that comforting shoulder for boys to share their concerns.
Even that thought to care for boys came from a woman, Edna Korama Yamoah, popularly known as ‘Woman King’ who stands for the plight of boys and men.
The story behind the Boy Child Supportive Care Foundation is quite fascinating, especially when both boys and men have failed to realise and accept their predicament.
But for the Woman King, boys and men must not see themselves in such struggles as a normal thing.
“You see, boys have been neglected for a long time. We always hear about the girl child. Everything in this society is about the girl child. We think the girls are vulnerable, but boys are more vulnerable.
In fact, most boys are more vulnerable than the girls. Boys get so emotional but they hide it because we always know them to be men and not expected to cry,” She explained.
After establishing the foundation, a lot of such boys have been brought together, especially those that are going through emotional problems.
Within this short space of time, the foundation has managed to put about 16 boys in basic school, almost 200 in technical and vocation through scholarship, and has over 150 engaged in sports activities, specifically football and basketball.
Without support from organisations, the foundation has struggled to send these boys to Senior High School (SHS) due to financial challenges, although the SHS is free but without some needed logistics.
According to the Woman King, the work of the foundation requires occasional visits to schools where they talk about issues on mental health and wellbeing.
“We also do charity works. We also do feeding on the streets and ghettos.
“The foundation currently don’t have a hub to house them. That is even not a major concern now since most of them have places to sleep. It’s just that they are poor. They don’t have what to eat, they don’t have what to wear.”
“They are not necessarily street children. These are boys with their families aged between 10-21 years. They are with the families but we see clearly they are going wayward.
“So, we help them with counselling. We do one-on-one counselling. We do interactive counselling. We do that a lot in secondary schools, especially in five schools.
The foundation’s operations are not always smooth as expected because of their backgrounds.
“They are from poor homes. Some are very stubborn as well, and proud. Sometimes you want to help a boy child and he’s like, I’m comfortable where I am. I want quick money. I want to carry goods to get money.
But I have a way of facing them. So, I’m always in kick; every day, I’m in kick. You hardly see me in flashy clothing.
“I go to the gated houses where people cannot go, where the police won’t go. Me, I go there. I go to the ghettos to speak to them.
“I make them feel I’m not against them. Rather, I want to understand them, so they should also understand me.
“Sometimes I cry. Sometimes I just get out of my car and walk along the streets just to look at these boys, how they behave, and their mannerisms,” she narrated.
Woman King has currently written proposals to churches, organisations and philanthropists to find ways to fund these activities that she believes will help a lot of boys realise their dreams.
“I didn’t have any grant. I didn’t even have the idea of writing to do this because we were not even a year old. So we contacted a few people and they started adopting some of the cases.
“So we have people who have adopted the education project. We have only individuals who are taking care of individual boys. They pay their school fees and most of them are in the private schools. Because they want the boys to be in the private schools.
“But after a year, we are collaborating with this big school with the Ghana Atomic Energy Commission.
We are also endorsed by the Ministry of Arts and Culture. We have the endorsement because there is this upcoming project; Arts and Craft. We wanted to do it in the secondary schools, but we realised that Ghana Education Service may delay us,” she stated.
At the sports level, the foundation requires training and remuneration for their coaches in charge of their 14, 16 and 18 football teams.
Woman King is a mother of two girls and believes it is for a purpose that she did not give birth to a boy because her passion has led her to take care of so many of them.
“I feel so good and proud when I see something good coming from my boys. When I see them so happy, it makes me so happy, it makes me feel I am on top of the world.
“I feel good that I have made an impact in somebody’s life, because I see progress. All these boys are transformed.
“And at the end of the day, they all come saying thank you. So it makes me very proud and emotional.”
Womans King’s next agenda is to have a “Books and Stationary Support Festival coming up in the first week of January when schools reopen. We are doing this because I went to some schools, about two or three schools in some villages and the teachers appealed to me to bring them books.”
In this regard, the foundation is calling for support to support these needy school children.
It is the belief of Woman King that the foundation would one day gain international recognition for the good works it is rendering to society.
By Cecelia Yada Lagba
In a music landscape often defined by trends and tempo, George Nii Odai Oliver widely known as DJ Rev stands out as a man on a mission.
More than just a DJ, he is a minister, mentor, and youth advocate who has found a unique calling at the intersection of sound and spirituality.
Beyond the decks, DJ Rev is a devoted husband and a committed servant of God.
His life is anchored in purpose, with a deep passion for youth development. As the Technical Director at Christ for Youth International (CYI), a global youth ministry, he plays a significant role in shaping young lives, not only through words but also through music.
His journey in ministry began early, including his role as a founding member of the Ambassadors Christian Rap Group, where he first explored the power of music as a tool for transformation.
The name ‘DJ Rev’ derived from ‘Reverend,’ reflects both his spiritual identity and his mission to ignite atmospheres much like revving an engine with high-energy gospel music.
For him, every performance goes beyond entertainment; it becomes a moment of worship, revival, and connection with God.
His journey into DJing started from a fascination with music and technology during his younger years in Ghana.
Drawn to the ability of DJs to influence mood and unite people, he identified a gap in the Christian music space, which was someone who could seamlessly blend urban sounds with gospel messages. Starting from small church events and youth programmes, DJ Rev gradually honed his craft into what he now describes as a full-fledged calling.
Like many success stories, his path was not without challenges; he had limited access to equipment, skepticism about gospel DJing, and the difficulty of balancing ministry with performance all tested his resolve.
Yet, through persistence, faith, and support from mentors and the Christian community, he rose above these obstacles. Borrowing equipment, learning on the job, and staying grounded in prayer became part of his journey.
A defining moment in his career came when he realised that DJing was more than a passion; it was ministry.
Witnessing lives being transformed during his sets, seeing people move from dancing into deep worship, and watching young talents he mentored flourish affirmed his purpose.
DJ Rev’s style is best described as high-energy, spirit-led, and versatile. He effortlessly blends hip-hop, Afrobeats, dancehall, reggae, and urban gospel into seamless mixes that resonate with diverse audiences.
His signature approach is what he enthusiastically calls ‘Energyyyy! saying it is not just about hype, but about creating moments that touch both body and soul.
What sets him apart in Ghana’s DJ industry is his unwavering commitment to ministry-first performances. While many DJs focus solely on entertainment, DJ Rev uses his platform to create spaces where faith and music coexist powerfully. His technical expertise, drawn from his role in ministry, combined with his passion for mentorship, gives him a distinctive edge.
Over the years, he has witnessed significant growth in Ghana’s DJ industry, with increased recognition, technological advancement, and global influences such as Amapiano shaping the soundscape.
Notably, he has contributed to pushing gospel music into mainstream spaces, particularly through his popular Amapiano Gospel mixes.
Among his most memorable performances are events like Oasis Gathering, Sound Fest, and Saved to Serve platforms where music transcended performance into powerful spiritual encounters.
“These are moments that define success, lives touched, hearts uplifted, and faith renewed,” DJ Rev stated
Away from the spotlight, he embraces a quieter, more reflective life. He enjoys spending time with family, mentoring young people, engaging in ministry work, and pursuing simple hobbies like gardening and DIY projects.
For him, a perfect day off includes moments of prayer, meaningful conversations, and peaceful retreats, often in serene locations like Cape Coast or the Volta Region.
Despite his achievements, DJ Rev remains grounded. He acknowledges the challenges he has faced, ranging from limited resources to balancing ministry and career, but credits his resilience to faith, community support, and a clear sense of purpose.
These experiences have taught him invaluable lessons about perseverance, humility, and authenticity.
Looking ahead, DJ Rev aims to expand his ministry through music both locally and internationally, release more projects, mentor emerging talents, and further establish gospel DJ culture in Ghana. His ultimate desire is to be remembered as a pioneer who brought revival through music, blending excellence with unashamed faith.
To young aspiring DJs, his message is clear: master your craft, stay consistent, build character, and never lose sight of your purpose.
By Esinam Jemima Kuatsinu
Entertainment
Amb. Prince Kojo-Hilton’s international mission signals new era for creative industry development
Between October 2025 and April 2026, a significant creative industry mission unfolded across Brazil, led by Ghanaian visual artist, production designer, and Pan-African Art Ambassador, Prince Kojo-Hilton.
What began as an invitation to contribute to creative education quickly evolved into a far-reaching engagement spanning academic institutions, government bodies, global platforms, and community initiatives.
More than a professional visit, the mission positioned itself as a structured intervention aimed at addressing one of the most pressing gaps within the global creative sector, the disconnect between education and industry practice.
At the centre of this engagement was a clear focus on capacity building. Working with the Zion School of Entertainment in Rio de Janeiro, Kojo-Hilton delivered a masterclass in Art Direction and Scenic Design during Zion Creative Week.
The immediate impact of the session prompted an expansion of the masterclass programme into a broader, multi-campus engagement, extending its reach to a wide network of students and emerging professionals.
His approach departed from traditional classroom instruction. Instead of theory-driven lectures, participants were introduced to practical, industry-based processes, including visual storytelling systems, production design methodologies, and the professional discipline required to operate within global creative industries.
The result was a shift in how students engaged with their craft, moving from passive learning to active, experience-driven development.
Beyond academic institutions, the mission extended into diplomatic and governmental spaces. At the Ghana Embassy in Brazil in Brasília, Kojo-Hilton engaged in strategic discussions with Ghana’s Ambassador to Brazil, Nii Amasah Namoale.
The discussions centered on long-term collaboration between Ghana and Brazil within the creative arts sector, with a focus on education, exchange programmess, and institutional partnerships.
This engagement progressed further at the National Congress of Brazil, where he was introduced to policymakers and cultural leaders, including Brazil’s Minister of Culture, Margareth Menezes.
His presence and work were formally acknowledged, reflecting growing recognition of the role creative professionals can play in national development and cultural diplomacy.
On the global stage, Kojo-Hilton represented Ghana at the World Forum of Favelas 2025, where his contributions to creative community development were recognised with an international award.
The forum provided a platform to present models that integrate art, education, and social impact, reinforcing the value of structured creative initiatives in community transformation.
A key outcome of the mission was the international expansion of the Film Craft Expo, an initiative founded by Kojo-Hilton to explore the art, science, and business of film-making and theatre.
Interest from multiple countries has positioned the platform as a potential global model for creative industry engagement, bridging the gap between emerging talent and professional practice.
Academic collaborations also formed a critical component of the mission.
At the University of Brasília, discussions explored interdisciplinary opportunities connecting art, science, and environmental innovation. Additional engagements with institutions such as Casa das Artes de Laranjeiras focused on curriculum development, artist residencies, and production-based training systems designed to better prepare students for industry demands.
While institutional engagement remained central, the mission maintained a strong connection to community impact. Workshops conducted in local communities, including Maricá, emphasised the role of art as a tool for empowerment, identity formation, and social transformation.
A significant part of his engagement in Maricá included a cultural and social contribution through the donation of a painting to the House of Immigrants.
The artwork serves as a permanent symbolic gesture of identity, resilience, and shared human experience, reflecting his commitment to using art as a tool for cultural connection and community memory within the city.
Participation in cultural events such as Rio Carnival further highlighted the importance of preserving cultural heritage while positioning it within a global context.
One of the most forward-looking outcomes of the mission is the development of the Global Visual Arts for Screen and Stage initiative.
The platform is designed to integrate visual arts, film, theatre, fashion, and technology into a unified system that supports training, collaboration, and industry growth.
By addressing fragmentation within the creative sector, the initiative aims to create sustainable pathways for employment, innovation, and institutional development.
Across all engagements, a consistent message emerged, the global creative industry is evolving, and there is an increasing demand for structured, experience-driven education.
Institutions are no longer seeking inspiration alone; they are seeking systems that can translate creativity into measurable economic and social impact.
Following six months of sustained engagement across Brazil, the results are evident. New partnerships are being explored, institutions are opening pathways for collaboration, and there is growing recognition of the role creative industries can play in national and international development.
The mission has not only strengthened cultural and creative ties between Ghana and Brazil, but has also positioned Kojo-Hilton within a broader global conversation on the future of creative industry development.
As he continues to expand his work across continents, he remains open to collaboration with universities, film schools, theatre institutions, visual arts institutions, cultural organizations, and governments seeking to invest in structured creative growth.
He also facilitated a focused workshop on Talent Discovery and Nurturing with immigrants, centered on identifying hidden creative potential and providing practical guidance for personal and professional development.
The session emphasised empowerment through creativity, encouraging participants to recognise their abilities and explore new pathways within the creative industries.
Together, these contributions reinforced his broader mission of using art not only as a professional practice but as a meaningful instrument for inclusion, transformation, and social impact.
In reflection, he expresses profound gratitude to God for the opportunity to undertake this journey and for the grace that made every step possible. From Ghana to Brazil and back, he acknowledges the divine protection, guidance, and favour that ensured safe travels and the mission’s successful execution.
The experience stands not only as a professional milestone but also as a testament to the power of faith, dedication, and purpose.
His guiding philosophy remains clear and unwavering, saying “The only thing that I am a slave to is my passion.”
By Edem Mensah-Tsotorme
