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Albert Litela Obidiaba: The artist who wove Ghana’s soul into the King’s Baton

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Albert Odiaba with 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.”

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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.

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Albert with the baton

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.

Albert in a pose with the baton

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.

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“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.

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“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.”

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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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A century of faith, service: The remarkable journey of Charles Baako Moses

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Charles B. Moses
Charles B. Moses

At 100, Charles Baako Moses is more than a centenarian. He is a living witness to a century of Ghana’s history and a man whose life has been defined by faith, leadership, enterprise and service.

As he celebrates this extraordinary milestone, the General Overseer of The Holy Church of God looks back on a remarkable journey that has touched generations and contributed to the growth of an enduring religious institution.

His story is one of longevity, but more importantly, it is a story of impact.

Born in 1926 at Saltpond, Mr Moses was the son of Ghana’s first African Director of Prisons. At the age of seven, his grandmother took him to Accra, where he spent part of his childhood and played football at Mabona in James Town.

His life has also been intertwined with some of the defining moments in Ghana’s history. In 1939, as a young boy, he experienced the earthquake that shook parts of the country. Years later, on March 6, 1957, he was among schoolchildren who marched at the Old Parliament House to mark Ghana’s independence.

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One of the defining chapters of Mr Moses’ life is his role in establishing The Holy Church of God at Parakuo Estates, Dome.

Together with his father, he helped build the fellowship from its formative years into an institution that would stand the test of time.

The fellowship attracted a number of prominent personalities in Ghana’s political history, including Ako-Adjei, Gbedemah, Dr Kwame Nkrumah and Victor Owusu.

Their association with the fellowship reflected the important role religious institutions played in Ghanaian society, particularly during the country’s formative years.

The Holy Church of God celebrated its 70th anniversary last year, marking seven decades of worship, service and community life.

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For Mr Moses, the longevity of the church represents more than an institutional achievement. It is the fulfilment of a vision nurtured through years of commitment, sacrifice and perseverance.

Long before becoming General Overseer, Mr Moses was already combining faith, education and enterprise. He founded evening classes and taught, while also preaching from village to village with a lamp and a bell at nine o’clock every night.

He also helped establish a Baptist church and ventured into agriculture, planting cocoa, plantain and coconut. His entrepreneurial spirit later saw him build a juice business using oranges from his own farm.

As General Overseer, Mr Moses has provided steady leadership to the church, guiding both its spiritual and administrative affairs.

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His leadership has been shaped by experience, discipline and a strong sense of responsibility. Over the years, he has nurtured generations of church members and leaders, helping to preserve the institution’s values while guiding it through changing times.

His wisdom and humility have earned him respect, while his perseverance has enabled him to remain committed to the institution he helped build.

Mr Moses’ contribution extends beyond religious leadership. He has also distinguished himself through entrepreneurial activities in transport, agribusiness and manufacturing.

His involvement in these sectors demonstrates his appreciation of enterprise and the importance of creating opportunities through productive economic activity.

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His entrepreneurial vision has added another dimension to a life already marked by spiritual and institutional leadership.

Mr Moses has devoted his lifetime to faith, family and community service and development. He is also regarded as a mentor and role model to many, as well as a life coach, researcher, philanthropist and humanitarian.

Through his philanthropic activities, many people have experienced what his profile describes as new life, salvation and hope.

He is a family man and a father of seven children, adding family to the institutions and communities that have benefited from his lifetime of leadership and service.

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Mr Moses’ contribution to leadership and institutional development has also received academic recognition.

He holds an Honorary Master of Business Administration (MBA) from Cambridge International College (CIC), an honour recognising his contributions to leadership and institutional development.

Turning 100 is a rare achievement, but Mr Moses’ centenary carries added historical significance because his life has unfolded alongside major chapters in Ghana’s development.

He has witnessed the country move from colonial rule to independence and through decades of political, social, economic and technological transformation.

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His association with personalities such as Dr Kwame Nkrumah, Ako-Adjei, Gbedemah and Victor Owusu places aspects of his personal journey within Ghana’s broader national history.

His life therefore offers younger generations an opportunity to appreciate how much society has changed and to learn from the values that enabled his generation to build institutions under very different circumstances.

 Over the years, he has provided spiritual and administrative leadership to generations of believers, pursued business interests across several sectors and remained committed to family and community.

His centenary is not only a personal celebration but also a celebration of an institution and generations of people whose lives have been influenced by his example.

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For the younger generation, Mr Moses’ centenary also comes with a message shaped by a lifetime of experience.

He advises the youth to listen to their parents, noting that their guidance comes from experience, love and a desire to see them succeed. He urges young people to remain disciplined, work hard, value education and surround themselves with positive influences.

“The choices you make today will shape the future you enjoy tomorrow,” he counsels.

Charles Baako Moses enters his second century with a legacy firmly established.

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His centenary is also marked by another honour, as he is set to receive an Honorary Doctor of Humane Letters (Honoris Causa) and have his name included in the institution’s Hall of Fame, further recognising a lifetime of faith, leadership and service.

By Spectator Reporter

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Robert Ekow Grimmond-Thompson: A man driven by innovation, creativity, purpose

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Thousands of tiny glass seed beads, carefully stitched by hand onto an old, weathered jute sack, tells a story that goes beyond art. They speak of patience, resilience and a belief that beauty can emerge from the most unexpected places.

It is a philosophy that has guided Robert Ekow Grimmond-Thompson throughout his life.

For more than three decades, Grimmond-Thompson has refused to be confined to a single profession. A software engineer, systems architect, eco artist and independent researcher, he has built a career that brings together technology, creativity and the study of human movement.

His journey is driven by curiosity, determination and an unwavering desire to understand how different fields can work together to improve lives.

His love for solving problems began in the world of computers. As a software engineer and systems architect, he developed a deep appreciation for structure, precision and logical thinking.

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But the more he worked with technology, the more he became convinced that the same principles used to understand computer systems could also be applied to understanding people.

That belief led him on a lifelong journey of research into the relationship between movement, posture and emotions.

Through years of independent study and practice, he developed proprietary frameworks that he describes as Emotional Surgery and Neurokinetic Aesthetic Surgery.

According to Grimmond-Thompson, these approaches are designed to help people better understand the connection between their physical posture, emotional wellbeing and overall balance.

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His work also explores ideas such as Optic Nerve Ignition, reflecting his interest in how the body’s sensory systems may influence movement and emotional wellbeing.

His decades of research are brought together in his book, Reclamation of Sovereignty. More than a collection of theories, the book reflects his belief that people should never allow difficult experiences to define them.

Instead, he encourages readers to see challenges as opportunities for growth, healing and personal transformation.

Away from technology, Grimmond-Thompson has found another way to express his ideas through art. As an eco-artist, he is passionate about sustainability and believes that beauty can be created from materials that many people would simply discard.

One of his most remarkable creations is Sovereign Reclamation, a monumental textile artwork made from old, weathered jute sacks decorated with thousands of tiny glass seed beads.

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The painstaking work took years to complete and demanded extraordinary patience, creativity and attention to detail.

For Grimmond-Thompson, the old jute sacks represent the struggles, disappointments and scars that everyone carries through life.

The colourful beads, carefully sewn onto the fabric, symbolise hope, resilience and new beginnings. Through his art, he reminds people that their past should never be something to hide. Instead, it can become the foundation for strength, growth and a brighter future.

His philosophy extends beyond art. He believes the spaces where people live and work influence the way they think, feel and perform.

He encourages the use of colour, thoughtful design and beautiful surroundings to create environments that promote peace, creativity and emotional wellbeing.

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In today’s fast-paced world, Grimmond-Thompson also believes in the importance of slowing down. Through what he calls the “Aesthetic Rest Hour,” he encourages people to take time away from the pressures of everyday life to reflect, recharge and reconnect with themselves.

In his view, moments of stillness are just as important as moments of hard work.

Another principle he lives by is self-respect. His preference for smart tailoring, good posture and a professional appearance goes beyond fashion. To him, it reflects discipline, confidence and personal dignity.

He believes the way people carry themselves often reflects how they value themselves.

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Despite his many professional accomplishments, Grimmond-Thompson remains a lifelong learner with interests beyond his work.

He enjoys playing chess, a game that challenges his mind and sharpens his strategic thinking.

He also enjoys car racing during his leisure time, appreciating the focus, precision and excitement that come with the sport. These hobbies reflect the balance he maintains between careful thinking and adventure.

BY ESINAM JEMIMA KUATSINU

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