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How a Collapsed Dream Birthed Another: Daniel Debrah’s Music Journey
From the age of five, Daniel Nana Kwesi Kakra Debrah has lived a life surrounded by rhythm, harmony, and the quiet pulse of music. Growing up in a home where instruments filled corners and rehearsals were as normal as conversation, Daniel’s first teachers were not in formal classrooms—they were the sounds, movements, and discipline he absorbed from his father, a committed church musician.
Ironically, music was not Daniel’s first dream. Like many young boys, he once hoped to become a professional footballer. But an injury from a school match left him unable to walk for three months, forcing him to retire that ambition. What seemed like a tragedy at the time became the turning point that aligned him with the path he was always meant to follow.
Daniel’s earliest musical expression began in church. As a boy in Sunday School, he eagerly ‘pounded’ the drums, quickly becoming known as the child who never missed an opportunity to play. Even in Senior High School (SHS), although many of his classmates were unaware of his talent, he continued practising quietly until completing school in 2005.
After SHS, Daniel joined a church music class with the intention of growing as a drummer, but one moment changed everything. Watching a bass guitarist perform stirred something in him. Drawn to the deep, steady tones of the bass, he persuaded a friend to teach him the basics. With no instrument of his own, Daniel practised at home using a broken guitar for more than eight months.
Then destiny intervened. The church’s lead bassist was suddenly suspended, and Daniel stepped in voluntarily during an evening service. That temporary voluntary act became permanent as he was asked by the then Music Director to fill in the gap. From that point, he embraced the bass guitar fully—a decision that defined the rest of his life.
Around 2006, Daniel made a life-changing decision to take his craft seriously. He began practising for hours on end, sometimes up to eight hours a day, often without food, locked away from family and friends, perfecting techniques and expanding his creativity. While others assumed he was outdoors socialising, Daniel was indoors sharpening his gift.
His breakthrough came in 2007 when he performed in the TV3 Bands Alive competition. The exposure, applause, and feedback confirmed his dream: “music was not just a passion; it was his calling,” he said.
With time, Daniel moved confidently into the professional space. He performed at studio sessions, live concerts, weddings, church events, and high-profile national programmes. His talent, discipline, and reliability earned him a reputation that continues to attract respected gospel artistes.
Today, he works closely with Daughters of Glorious Jesus, Chris Apau, and Israel Ofori, who have been of immense help to his career ministry. He also collaborates with several ministries and offers support with musical arrangements, live performances, and studio recordings.
Beyond the stage, Daniel sees himself as a mentor. Many young musicians reach out to him, some visiting in person, others calling for guidance. Whether through hands-on training or virtual coaching, he is always ready to teach. For Daniel, music is not just technique; it is character, discipline, and values. He believes a musician must carry integrity both on and off stage.
Like many musicians in Ghana, Daniel has faced challenges with delayed payments and broken agreements. These experiences have taught him to value professionalism. He now insists on part payment upfront and charges more for his services, a decision grounded in self-respect and fairness.
Daniel’s journey in music has been shaped by various individuals who have supported him at different stages of his career. He acknowledged Opoku Agyeman Sanaa, Kofi Ennin, Andrew Klu, Mr. Samuel Abbey, Mr. Samuel Sarpong Agyei, Paul Quartey, Mr. Nene Emmanuel, and Mr. Isaac Asiedu, saying that their belief in him continues to inspire his journey.
Daniel’s work is guided by his Christian faith. He sees music as ministry, not merely entertainment. Off stage, he is a devoted family man—a husband and father of two, a boy and a girl, who have also started playing musical instruments. During his leisure time, he listens to music, or plays football and action video games.
Through his acts of service and unwavering determination, Daniel continues to inspire others, proving that when passion meets integrity, ordinary men impact the lives of others.
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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