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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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Rev. Seth Ativor, PCG’s first visually impaired ordained minister

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Rev Ativor
Rev Ativor

When Rev. Seth Kwame Ativor lost his sight at the age of two, few would have imagined that he would one day make history as the first visually impaired minister to be ordained in the Presbyterian Church of Ghana (PCG).

Rev Seth Ativor

Through determination, faith and unwavering resilience, he has overcome numerous barriers to become an educator, minister and advocate for inclusion.

Born in 1981 at Afife in the Volta Region, Rev. Ativor grew up in a family whose spiritual journey would later influence his own path.

Rev Ativor and his wife

His father was a traditional priest who later converted to Christianity and joined the Evangelical Presbyterian Church.

As a young child, Rev. Ativor suddenly lost his sight. Although the exact cause was never established, the condition changed the course of his life.

The loss of vision brought educational and social challenges at a time when support systems and learning materials for visually impaired students were limited.

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Despite these obstacles, he remained focused on his education. He attended Okuapeman Secondary School, where he successfully completed his secondary education before gaining admission to the University of Cape Coast (UCC), where he obtained his first degree.

His passion for learning did not end there. He furthered his studies at the University of Education, Winneba (UEW), earning two master’s degrees.

He is currently pursuing a Doctor of Philosophy (PhD), demonstrating his commitment to lifelong learning and personal development.

Rev Ativor and family

Today, Rev. Ativor serves as an Information and Communication Technology (ICT) teacher at Okuapeman Senior High School, where he continues to impact the lives of students through education and mentorship.

Although deeply involved in church activities, Rev. Ativor never envisioned himself becoming a minister.

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His journey into ministry began after joining Christ Congregation of the Presbyterian Church of Ghana in 2002. It was during his time in the church that he felt a strong conviction that God was calling him into pastoral ministry.

Initially, he resisted the call.

“I never dreamt of becoming a minister. There was no pastoral background in my family and nothing in my life suggested that I would one day enter the ministry,” he recounted.

The challenge was not only personal. At the time, questions arose about whether a totally blind person could effectively serve as an ordained minister in the church.

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Rev Seth K. Ativor

Following extensive consultations and discussions among church leaders, Rev. Ativor was eventually granted the opportunity to sit for the church’s entrance examinations and interviews for ministerial training.

He excelled and was admitted to the Presbyterian theological training programme.

After years of theological education and preparation, he was ordained on July 15, becoming the first visually impaired minister in the history of the Presbyterian Church of Ghana.

Rev. Ativor’s ordination marked a significant milestone in the church’s efforts towards inclusion.

He explained that the Presbyterian Church has, over the years, made deliberate efforts to create opportunities for groups that were previously marginalised, including women and persons with disabilities.

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For him, becoming the first visually impaired minister is not merely a personal achievement but a symbol of what is possible when institutions embrace diversity and equal opportunity.

“My prayer is that I will not remain the first. I hope many more persons with disabilities will be given the opportunity to serve God and society according to their gifts and calling,” he said.

As both an ICT teacher and minister, Rev. Ativor relies heavily on assistive technology to perform his duties.

Using specialised computer software, he is able to access the Bible, theological books, commentaries and other educational materials independently. Technology enables him to prepare sermons, conduct research and perform many of his responsibilities effectively.

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He also acknowledges the support of his family, church members and colleagues who assist him when necessary.

His wife, children and siblings have been a constant source of encouragement throughout his educational, professional and ministerial journey.

According to Rev. Ativor, one of the greatest lessons blindness has taught him is humility.

While he values independence, he has learned that accepting help is sometimes necessary and that collaboration makes it possible to achieve greater things.

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His experience has also deepened his understanding of the barriers faced by persons with disabilities.

“It is not blindness itself that disables me. It is inaccessible environments, inaccessible information and negative attitudes that create disability,” he emphasised.

He believes society must shift from viewing persons with disabilities as dependent individuals to recognising them as people with talents, skills and the capacity to contribute meaningfully to national development.

Rev. Ativor’s message to young people living with disabilities is to never allow limitations to define their future.

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He encourages them to discover their talents, pursue education and remain determined despite challenges.

“Disability does not mean inability. God has given every person unique abilities and a purpose. Focus on what you can do and strive to make a difference,” he advised.

He also called on parents, schools, churches, policymakers and communities to create inclusive spaces that enable persons with disabilities to thrive.

By Esinam Jemima Kuatsinu

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Meet Nana Yaa Akyaa II, 15th Asantehemaa of Asante Kingdom

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• Nana Yaa Akyaa II

​For nearly a year, one of the most revered stools in the Asante Kingdom remained vacant, leaving a quiet but unmistakable sense of expectation hanging over the Manhyia Palace.

Every sitting of Asanteman Council, every major traditional ceremony, and every conversation within royal circles carried the same lingering question: Who would become the next Asantehemaa?

Last Monday, that long wait finally gave way to certainty and historic celebration.

In a development warmly received across the length and breadth of the Asante Kingdom, the Asantehene, Otumfuo Osei Tutu II, formally accepted the nomination and welcomed the newly enstooled Asantehemaa in a grand ceremony steeped in age-old tradition at the Manhyia Palace.

Born Margaret Serebour, the 79-year-old retired educationist has ascended the revered Kusiamoah Stool. She has been enstooled under the stool name Nana Yaa Akyaa II, officially becoming the 15th Asantehemaa in the rich history of the Asante Kingdom.

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The historic enstoolment marks the end of months of quiet consultations and meticulous traditional processes following the passing of Nana Ama Konadu Yiadom III in August 2025.

Since her demise, the prestigious office of Asantehemaa—one of the highest traditional institutions in Ghana—had remained vacant, with Asanteman patiently awaiting the customary selection of a worthy successor.

Nana Yaa Akyaa II brings an impeccable and deeply historic royal pedigree to the stool.

She is a direct granddaughter of Otumfuo Agyeman Prempeh I, the legendary Asante monarch who, alongside Nana Yaa Asantewaa, was exiled to the Seychelles islands by the British after the Anglo-Asante War.

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Furthermore, she is a niece of Otumfuo Sir Osei Agyeman Prempeh II and a biological sister of the late Nana Akwasi Agyemang, the prominent, long-serving former Chief Executive of the Kumasi Metropolitan Assembly.

A devout Christian, the new Queen mother is also a well-known, dedicated worshipper at the Anglican Church in AshTown, Kumasi.

Palace sources describe Nana Yaa Akyaa II as a woman widely admired within the Royal family for her humility, patience, calm disposition, and unique ability to unite people.

These qualities are regarded as essential for the occupant of an office that seamlessly blends moral authority, cultural stewardship, and traditional leadership.

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An opinion leader, speaking on condition of anonymity, noted that Manhyia is once again witnessing a moment of profound historical and cultural significance—one that closes a chapter of waiting and opens a vibrant new page in the centuries-old story of the Asante Kingdom.

Within the constitutional and cultural framework of the Asante Kingdom, the Asantehemaa occupies a position second only to the Asantehene.

She serves as the ultimate custodian of the royal matrilineal lineage and bears the singular responsibility of nominating a successor to the Golden Stool whenever the throne becomes vacant.

Beyond her critical role in succession, she operates as a trusted co-ruler and adviser to the Asantehene, acts as the ultimate leader of women in Asanteman, and serves as a vital arbiter in family and customary disputes.

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With her formal customary rites completed on Thursday, July 9, and her acceptance by the Asantehene finalised, Nana Yaa Akyaa II begins her historic reign, anchoring the ancient traditions of Asanteman into a modern era.

The development also paves the way for the preparation of the final funeral rites of the late Nana Yaa Konadu Yiadom III, as ‘Dote Yie’ had already been observed.

From Kingsley E. Hope, Kumasi

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