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Oscar Awuku’s body painting woos the world
Body painting is a form of art where attractive and intriguing illustrations are displayed on the human skin. Considered one of the oldest forms of art, it can be described as a temporary tattoo which serves different purposes at different times.
It is often seen at special occasions such as festivals and may be used to either express an idea or champion a course. According to oral tradition, it had been used by warriors as ‘camouflage’ in war or to incite fear in enemies.
Although it may not be as common lately, a young Ghanaian talent, Oscar Kobla Mawuli Awuku of Yonga Arts, is taking it a notch higher with his sensual and colourful works across social media platforms.
His creativity has earned him over 100,000 followers on YouTube and many others on Facebook and Instagram. The Spectator recently interacted with this painter and he explained aspects of his craft as well as the inspiration behind his works.
Background
Describing himself as a versatile artist, Mawuli does digital painting, sculpture, canvas painting in addition to his vibrant body paintings.
Currently a final year student of Takoradi Technical University, he studied Visual Arts at Mawuli School in the Volta Region from 2014 to 2017.
His painting started after high school when he was invited by a friend to help in the decoration of video vixens in a music video project in Accra.
“I had no idea about body painting at the time but after the project, I realised it was something I could pick up. Back in high school I used to draw patterns in my books and on tables so I followed that inspiration to start painting the human body,” he recalled.
The past five years, according to him, has been “a learning process” even as he continues to improve the craft and make it more appealing on local and international fronts.
Concept
The paintings he calls ‘Anansinism’, are used to communicate ideologies such as women empowerment and black identity, among others.
“I take inspiration from the weaving process of the proverbial spider, Kweku Ananse, and combine it with traditional Adinkra symbols to make the patterns I draw on the human body,” he said.
Mawuli said that he used to complete a full body painting in an hour or two but has now learnt to speed up and reduce the finishing time to about 20 minutes.
Although he earns some good money sometimes, he considers painting a hobby than a commercial venture, and looks forward to collaborating with bigger art galleries both home and abroad in future.
He said models which include males and females volunteered to take up his body paintings but he did reach out to some of them personally based on the concept he wanted to project.
Touching on possible side effects, he said he was not aware of any adverse effects of body painting, adding that the longevity of a body art was determined by “how soon an individual decided to wash it off the skin.”
Nudity
Commenting on the somewhat controversial aspect of his paintings where models pose almost naked for their bodies to be painted, he explained that not all models preferred to strip naked and that those he painted naked did not arouse or stimulate any negative thoughts in his mind.
The eloquent artist said his family appreciated his work and encouraged him to pursue his vision to the hilt.
Challenges
Mawuli, however, identifies “social acceptance” of body painting as a challenge but says he accepts criticisms as well as commendations that follow some of his works.
He noted some people doubted that his works originated from Ghana while others criticised the nude aspect of his works but he continues to do what he loves doing best.
“Every painting carries its own message and I try to improve on my work everyday. I collaborate with a lot of people on this job and I believe body painting and art in general would be a long term endeavour.
“The limitations have to do with gadgets and other equipment, if I get the needed support I believe I can take my work a step further,” he said.
The 22-year-old maintains that “the art industry is broad”, therefore, people should expand their scope about art and find things they could do to attract more people.
He again advises young people to develop themselves in any form of art they are attracted to but should not feel intimidated in doing what they love.
By Ernest Nutsugah
The professor who spends his days exploring the intricacies of African languages found himself at the centre of a different kind of lesson on Friday, October 2, 2026. 
This time, there were no lecture notes, academic arguments or university classrooms. Instead, there was the weight of tradition, the rhythm of a community celebration and the solemnity of an oath at a royal palace.
Professor Ọbádélé Kambon, a full Professor of African Linguistics at the University of Ghana, was enstooled as Apagyahene and Sunsum Ɔsahene of Akuapem Mampong in the Eastern Region in a ceremony that brought academia and traditional authority together.
For the professor, the occasion was more than a new title. It was a moment that connected his academic interests in African languages and indigenous knowledge with the living traditions of an Akan community.
The day’s events unfolded through a series of customary observances. Kambon was first taken to the compounds of the Ɔkyeamehene and Gyasehene, where the preparations for his installation continued.
Then came the application of hyire, the white kaolin powder associated with traditional rites.
With the customary proceedings underway, the new chief was lifted onto the shoulders of celebrants and carried along the main thoroughfare of Akuapem Mampong.
The procession transformed the streets into a public stage for a ceremony rooted in the community’s traditional institutions.
There was something striking about the image, a university professor, accustomed to the measured language of academic discourse, being carried through the town in a display of traditional recognition.
Yet the celebration was not complete with the procession.
A ram was sacrificed at the Mamponghene’s compound before Kambon was taken to the palace, to swear the oath associated with his new offices.
The ceremony brought him formally into his roles as Apagyahene and Sunsum Ɔsahene.
Beyond the colourful proceedings, the titles themselves carry layers of historical meaning.
Kambon in his research explores the historical connections between Apagya and Akan political and military organisation.
Accounts cited in his work linked Apagya to an asafo, or military company, while historical writing traces an Apagya stool in Asante to the reign of Opoku Ware I in the eighteenth century.
These historical associations offer a glimpse into the institutions that have shaped Akan society over generations, although they do not automatically define the precise responsibilities of the office in Akuapem Mampong.
Kambon’s own professional life reflects a similar interest in preserving and examining African knowledge.
His work encompasses Akan language structure, naming practices across the Black world, proverbs and indigenous intellectual traditions.
Through Abibitumi, the platform he founded, he also promotes language learning, scholarship and cultural engagement.
But tradition was only one part of the story that day.
When the formal ceremony gave way to a reception, the occasion expanded into a celebration of three milestones: Kambon’s enstoolment, his promotion to full professor and his daughter Ama’s admission to the University of Ghana.
The gathering therefore carried a personal significance that went beyond the honours bestowed on one man. 
It celebrated professional advancement, the continuation of family aspirations and a connection to cultural heritage.
For a father, seeing a daughter gain admission to the same university where he holds a distinguished academic position offered another reason to celebrate.
For the professor, the moment placed family achievement alongside his own professional and traditional milestones.
Kambon had already established a place in the traditional life of Akuapem Mampɔn through an earlier installation as Banmuhene Kyidɔmhene, recorded in 2017.
His latest enstoolment adds another chapter to that relationship.
In Akuapem Mampɔn, the day brought together the university, the palace and the family table in one celebration. And for Kambon, the journey from the lecture room to the traditional procession showed how scholarship, cultural responsibility and family achievement could converge in a single memorable occasion.
By Enoch Ntiamoah Siaw
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Intercity STC Coaches Limited has interdicted a driver captured in a viral video allegedly hitting a Sprinter bus during an overtaking manoeuvre at Pokuase before driving away from the scene.
In a public notice, the company described the driver’s conduct as unacceptable, stressing that it did not reflect the safety standards and professionalism it upholds.
Management said it had commenced an immediate investigation into the incident and identified the driver, who has been interdicted pending the outcome of the disciplinary process.
The company added that it was awaiting an official report from the Pokuase Police Command to help establish the facts surrounding the incident.
STC reaffirmed its commitment to passenger safety and responsible road use, while thanking members of the public for bringing the incident to its attention.
Management assured the public that appropriate action would be taken following the investigation.
By: Jacob Aggrey
