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Albert Litela Obidiaba: The artist who wove Ghana’s soul into the King’s Baton
When the world’s eyes turn to the King’s Baton on its global journey, one of Ghana’s most profound artistic stories travels with it. It will be a story of creativity, culture, and national pride crafted by Albert Litela Obidiaba.
From the quiet town of Old Baika in the Oti Region, Albert’s journey as an artist has always been about telling stories. It is not just through words, but through symbols, textures, and meaning.
“From a young age, I was drawn to the power of art, knowing how colours and textures can capture not just emotion but culture and identity,” he recalls.
Today, his name has become synonymous with innovation rooted in traditional bridge between Ghana’s past and its global creative future.
Albert’s love for art was born from curiosity. Surrounded by the vibrancy of Ghanaian culture; the patterns of kente, the stories behind Adinkra symbols, and the textures of daily life, he began sketching and crafting early on.
“Simple things told deep stories,” he says. “That fascinated me.”
As he matured, his art evolved into a personal mission to preserve and reinterpret Ghana’s heritage for a modern audience. His style reflects a seamless blend of culture and contemporary design, each piece a narrative of unity, history, and pride.
“I see art as storytelling through form and symbolism, it should feel rooted in purpose yet speak to today’s world,” he explains.
When the call came to design Ghana’s version of the King’s Baton, Albert saw it as both a national duty and a creative calling.
Recommended by mentors like Mr Charles Osei Asibey, who trusted his talent and understanding of Ghanaian symbolism, he embraced the project wholeheartedly.
His vision was clear; to create a piece that would embody unity, pride, and the enduring spirit of Ghana.
Drawing from traditional motifs, he integrated textures inspired by kente weaving, representing hard work, continuity, and creativity. The golden tones symbolise strength and dignity, while the contours and natural motifs mirror Ghana’s landscapes and people.
“The King’s Baton had to tell our story of who we are, what we value, and how we see the world, it is more than art, it is identity in motion,” he said.
Every etch, every pattern carries meaning. From concept to completion, the entire process took three intense weeks which were filled with research, design sketches, consultation, and collaboration with skilled artisans.
“It was days and nights of work, but a lifetime of meaning,” he says with quiet pride.
Creating a design that represents all of Ghana’s diverse cultures was no small feat. Albert had to balance aesthetics, authenticity, and technology thereby using sustainable wood, carefully treated and certified, to reflect the nation’s commitment to nature and preservation.
“It wasn’t easy finding the right mix,” he admits. “But those challenges pushed me to think deeper. They made the final piece stronger — both artistically and symbolically.”
For Albert, Ghanaian culture is both muse and message. His works echo the values of unity, strength, persistence, and wisdom, drawn from Ghana’s traditions.
“Art preserves who we are and every line and symbol tells a story of belonging,” he said, and believes art is one of the most powerful tools for building national pride.
Designing the King’s Baton has been a defining moment in his creative journey and that it deepened his appreciation for cultural storytelling. “It taught me that creativity is also a form of service,” he said.
The experience has opened new professional doors, but more importantly, it gave him a renewed sense of purpose making him embrace a call to national duty.
“My soul will be glad even after my days on earth are over,” he said beaming with smiles.
Beyond the King’s Baton, Albert has worked on numerous projects celebrating Ghanaian identity through contemporary art and design. His ongoing works explore symbolism and heritage in new forms which includes blending materials, stories, and styles from across Ghana’s regions.
He is currently preparing projects that continue the conversation the baton began. They are about unity, creativity, and Africa’s evolving artistic voice.
To young artists aspiring to make their mark, Albert’s advice is for them to believe deeply in their craft and that the world is always looking for authenticity “which comes from knowing who you are and where you come from.”
On how he wants to be remembered, he said, “I want to be remembered as an artist who used creativity to celebrate culture and connect people. If my name is remembered as the one who designed Ghana’s version of the King’s Baton, that will be enough, because it means I carried Ghana in my hands, and shared her with the world.”
By Esinam Jemima Kuatsinu
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AUTISM Awareness Care and Training (AACT) is Ghana’s first autism-focused centre, playing a pioneering role in the care, education, and advocacy for children on the autism spectrum and their families.
Established in 1998, AACT began as a parent-support and training initiative at a time when autism was poorly understood in Ghana. Many families raising autistic children faced stigma, isolation, and limited access to information or professional assistance.
Over the years, the organisation has evolved into a full-fledged autism care and training centre, responding to the growing demand for specialised services and sustained nationwide awareness.
AACT is currently located in Haatso, Accra, where it operates a structured day programme serving about 25 learners daily. The centre provides a safe, inclusive, and supportive environment where children with autism are guided to develop essential life, social, and functional skills.
Programmes at the centre focus on independent living skills, vocational and pre-vocational training, functional academic skills, and therapeutic interventions. These activities are tailored to the individual needs of each learner, recognising that children on the autism spectrum learn and develop at different paces.
According to Abeiku Grant, Head of Programmes at AACT, the centre’s philosophy is centred on ability rather than limitation.
“Every autistic child is different,” he said. “Our work is to support them at their own pace and help them discover what they can do, not to focus on what they cannot do.”
Beyond centre-based services, AACT places strong emphasis on autism awareness and advocacy, particularly within schools and communities. Many children with autism in Ghana continue to face rejection and exclusion due to stigma, misinformation, and the lack of trained personnel in educational institutions.
In 2025, AACT reached over 20 schools across the country, providing autism education to teachers, students, and school administrators.
The organisation also runs free teacher training programmes, equipping educators with practical knowledge and basic tools to support autistic learners in inclusive classroom settings.
“Many schools tell us they are not resourced or trained to handle autistic learners,” Mr Grant explained. “Instead of waiting for change, we decided to go to them and train teachers for free.”
AACT also engages learners directly, addressing widespread misconceptions about autism, including the false belief that autism is contagious or caused by bad parenting. These outreach programmes aim to build empathy among students and promote peer support for autistic learners in mainstream schools.
Another major challenge confronting families is limited access to autism services, especially outside Accra. With most autism centres concentrated in the capital, many families from other regions are forced to travel long distances or keep their children at home due to cost, stigma, or lack of support.
“Education is not meant only for typical children,” Mr Grant stressed. “Children with autism also have the right to education and care. No child should be hidden because of lack of understanding or opportunity.”
As part of its outreach work, AACT supports parents to overcome stigma and encourages social interaction for children with autism, believing that community engagement is essential for development and confidence building.
In December 2025, the centre received what it described as its largest donation of the year, raised by children from the Unmasked Mentoring initiative. According to the organisation, the donation was particularly significant as it demonstrated empathy and social responsibility among young people.
As a non-governmental, non-profit organisation, AACT depends largely on donations, partnerships, and goodwill to sustain and expand its work. Current needs include a minibus for community-based social activities, expansion of its facility to accommodate more learners, sponsorship support for children from financially challenged families, and funding to scale autism awareness programmes nationwide.
Looking ahead, AACT envisions a Ghanaian society that is inclusive, informed, and supportive of persons with autism.
“Our goal is a Ghana where children with autism are accepted and supported,” Mr Grant said. “Every child has potential. All they need is understanding, opportunity, and care.”
By Esinam Jemima Kuatsinu
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If you found yourself in Tamale last weekend, you would have stepped into an atmosphere alive with colour, rhythm and memory. The maiden Northern Ghana FOTO Festival did not feel like a typical exhibition; it felt like a cultural awakening.
Between rows of tall white panels displaying hundreds of striking images, a cultural troupe danced their way through the space, their drumming rolling through the hall like a heartbeat. The dancers’ movements fluid, bold, traditional, created a living bridge between the past and the photographs surrounding them.
Not far from the performers, chiefs in their elegant traditional regalia paused thoughtfully before portraits capturing festivals, rituals and everyday life. This immersive scene set the tone for the Northern Ghana FOTO Festival, which opened in Tamale with a resounding call for cultural preservation through visual storytelling.
The event gathered photographers, cultural advocates, scholars and traditional leaders to celebrate the narratives, traditions and identities that shaped northern Ghana. Originally launched with a call for just 30 photographic entries, organisers were overwhelmed with more than 600 images submitted by over 60 contributors from across the five northern regions.
The range of submissions from seasoned photographers and emerging artists to passionate hobbyists formed a vivid collective portrait of the region’s past and present. The opening ceremony amplified the festival’s cultural spirit with traditional drumming, dancing and performances that reflected the rich heritage the exhibition sought to highlight.
Chairperson for the event, Prof. Elliot Haruna Alhassan, Pro Vice-Chancellor of the University for Development Studies (UDS), described photography as a crucial tool for documenting Ghana’s cultural evolution. He emphasised that visual storytelling is becoming indispensable in safeguarding customs, values and community memory.
The Guest of Honour and former Rector of Tamale Technical University, Prof. Salifu Asuro, praised the organisers for creating a platform that elevates the cultural identity of northern Ghana. He encouraged public and private institutions to support creative arts initiatives, noting their significant role in national development.
Traditional authorities played a central part in the ceremony. Representatives from the Gukpe Naa and Dakpemaa palaces including Naa Prof. Abdul-Rahaman Issahaku, Chief of Gbanyamle and senior faculty member at UDS, as well as the Chief of Bunbong, Uborr Wumbe Dawuni—commended the festival for fostering cultural continuity and encouraging younger generations to reconnect with their roots.
Speaking on behalf of the Northern Regional Director of the Ghana Tourism Authority, Mr Owusu-Boakye Frank, Senior Standard and quality assurance officer assured the Authority’s commitment to supporting cultural tourism. He stressed that visual storytelling, when harnessed effectively, has the potential to attract visitors, preserve cultural assets and strengthen community identity. He pledged the Authority’s collaboration in future editions to position northern Ghana as a vibrant hub for creativity and heritage.
One of the festival’s major highlights was a panel discussion on the theme: “Preserving Culture, History and Community through Visual Storytelling.” Chiefs, scholars and cultural experts explored the importance of visual documentation as a tool for intergenerational education, emphasising photography’s ability to create a timeless cultural archive.
Team Lead of Foto4Change and convener of the festival, Mr Geoffrey Buta, said the initiative seeks to strengthen cultural conservation efforts through photography. “Our forebears relied on oral tradition to preserve history,” he noted. “Today, visual storytelling enables us to continue that work in a more permanent and accessible form.”
Mr Buta announced plans to transform the festival into a rotational exhibition that will travel across northern Ghana, giving more communities access to the growing visual archive. He added that the event would be institutionalised as an annual celebration of culture, research and artistic dialogue.
The displayed photographs captured festivals, landscapes, portraits, rituals and everyday life offering a colourful, honest and layered view of northern Ghana’s cultural richness. Organisers expressed optimism that with sustained institutional support, the Northern Ghana FOTO Festival could evolve into a major cultural event capable of attracting both national and international attention, while preserving the heritage and stories that make the region unique.
By Spectator Reporter
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