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Damba: The festival that unites Northern Ghana
Few festivals in Ghana carry the weight of history, colour, and unity like the Damba festival.
What began centuries ago as a religious commemoration has today blossomed into the largest cultural festival in Northern Ghana, celebrated across the Northern, Savannah, North East, Upper East, and Upper West regions.
From the palaces of Dagbon, Mamprugu, and Nanumba, Damba resonates with the sound of drums, praise-singers, and the spectacle of tradition.
Its significance has even transcended borders, drawing Ghanaians and foreign admirers to international editions held in Germany, the United States, and the United Kingdom.
The name Damba is rooted in the Dagbani language, though it appears in other tongues, Damma in Mampruli.
Observed in the third month of the Dagomba calendar, which coincides with Rabia al-Awwal in the Islamic calendar, Damba was originally celebrated to mark the birth and naming of Prophet Muhammad.
Over time, it has evolved into a grand festival celebrating chieftaincy, kinship, and the resilience of Ghana’s northern kingdoms.
The festival unfolds in three major stages that is Somo Damba, Naa Damba, and the grand Belkulsi or farewell procession. In the early days, the Yila Bohambu, or nightly musical rehearsals, fill the palaces with song.
Women of the royal courts lead these performances, keeping alive the traditional chants and rhythms that set the tone for the celebrations. The Somo Damba is a solemn time of prayer, drumming, and dignified dancing.
It is followed by the youthful exuberance of the Binchera Damba, where young men and women take to palace grounds in worn yet stylish smocks, showcasing creativity and spirit in a torn couture display.
Another revered rite, the Shinkaafa Gahimbu (picking of rice), sees clerics, led by the Yidan Moli at the Gbewaa Palace, offering symbolic rituals of blessing and prosperity.
The Nahu Glibu, or rounding of the cow, performed by chiefs, demonstrates wealth, unity, and the continuity of life. But it is the Naa Damba, the King’s Damba that truly crowns the festival.
Here, the atmosphere reaches its peak: chiefs ride majestically on horseback, praise-singers proclaim ancestral glories, and the air explodes with musketry from warriors, signalling strength, protection, and bravery.
One of the most breathtaking spectacles of Damba is the procession of the queens. Adorned in regal cloths and glittering ornaments, they gracefully carry golden-coloured bowls, abolition cans, utensils, sandals, and animal skins, the very seat and symbols of authority for the chiefs.
Each item tells a story, each step a reminder of the sacred duty queens play in preserving heritage and continuity.
Their slow, elegant movement is met with admiration from the gathered crowds, reinforcing the balance between royalty and community. No Damba is complete without the vibrant dances that fill the courtyards.
The housing dance, performed with synchronised grace, captures the essence of belonging, while the warriors’ displays, accompanied by fierce drumming and bursts of musketry in the skies is to celebrate resilience and courage.
These performances not only entertain but also remind communities of their history, values, and collective identity.
The festival’s climax, Belkulsi, bids farewell in a grand procession. Families exchange visits, gifts are shared, and friendships renewed.
Streets and palace grounds explode with colour, sound, and movement, leaving behind memories that last until the next Damba.
From Gonja, Dagbon, Mamprugu, Wali and Nanumba, Damba has remained a symbol of identity and unity.
Its international editions in Cologne, New York, and London highlight the festival’s growing role as a cultural ambassador, projecting Ghana’s northern traditions to the world stage.
Damba is a living archive of history, an affirmation of heritage, and a celebration of the bond between people and tradition.
In its rhythm, regalia, and rituals, one sees not only the past but also the promise of continuity for generations to come.
From Geoffrey Buta, Yendi
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Ahyiresu and Abofrem, two quiet communities in the Atwima Mponua District, have been shaken to the core by a chilling midnight drama that reads like a nightmare.
A pastor and a young mother stand accused of attempting to bury a five‑month‑old baby girl alive, a crime that has ignited outrage and disbelief across the township.
According to police, Apostle Richmond Akwasi Frimpong, 36, Head Pastor of the Anointed Grace Prayer Ministry at Kuffour Camp, conspired with his uncle Emmanuel Appiah, 53, and the child’s mother, 23‑year‑old Beatrice Agyapomaa, to dispose of the infant, Anaya Achiaa, under the cover of darkness.
A fourth suspect, Emmanuel Donkor, remains on the run.
The suspects were caught near a refuse dump around 10 pm on April 9, 2026, after a vigilant resident, Akwasi Twezor, noticed their suspicious movements.
When confronted, they claimed the child was already dead and had palace approval for burial. But Twezor’s instincts proved right—the baby was still alive, gasping faintly for breath.
Chief Linguist, Nana Yaw Badu, later confirmed that Frimpong had misled him earlier in the evening, securing permission for burial by falsely declaring the child dead.
The infant was rushed to the Abofrem Clinic, where she is now responding well to treatment. Police described her as “very beautiful.”
Assistant Superintendent of Police (ASP) Evelyn Yitamkey, Commander of DOVVSU in Bibiani, confirmed that the suspects have been provisionally charged.
Frimpong faces attempted murder and conspiracy charges, while Agyapomaa and Appiah are charged with conspiracy and abetment.
They were remanded by the Bibiani Circuit Court, presided over by Judge Frank Asiedu Nimako, to assist investigations.
The docket has been forwarded to the Attorney General’s Department for advice, ASP Yitamkey indicated.
The attempted crime has provoked fury among residents, many suspecting ritual motives aimed at bolstering the pastor’s influence.
Crowds attempted to attack the suspects outside court, but police intervention prevented mob justice.
The Assembly Member for Ahyiresu, Yusuf Suleiman, has assured residents that justice will be pursued swiftly.
From Kingsley E. Hope, Kumasi
The forecourt of the African University of Communications and Business (AUCB) in Accra came alive on Friday with colour, creativity and innovation, as Level 300 students transformed the space into a lively exhibition of ideas.
Under the theme “Building meaningful brands beyond the logo,” the students invited patrons into a world where ordinary products were reimagined through storytelling, design and purpose.
From scented candles to innovative food concepts, each stand told a unique story, one that went beyond aesthetics to capture identity, value and human connection.
For many of the students, the event was more than just an academic exercise; it was a moment to dream out loud.
Guided by their lecturer, Peter Wonders, they explored what it truly means to build a brand in today’s competitive world where trust, consistency and experience matter just as much as logos and slogans.
Chairman of the occasion, Nana Kum Gyata VI, in his remarks said a brand is what people say about you when you are not present.
At the end of the presentations, awards were presented to deserving groups with Vida Nyaneba emerging as the overall best branding student.
By Esinam Jemima Kuatsinu
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