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Jacqueline Antwi-Danso …NSERC Banting Postdoctoral Fellow at the David A. Dunlap Department for Astronomy & Astrophysics
In the 1990s, astronomers discovered two distant, massive galaxies that had completely stopped, or quenched their star formation. The discovery marked a complete shift in everything astronomers thought they knew about how galaxies formed.
Massive galaxies like the Milky Way took several billion years to form. But those newly discovered galaxies did so in just a fraction of that time.
“The discovery meant that these galaxies were older than the age of the universe, which is physically impossible,” says Jacqueline Antwi-Danso, the NSERC Banting Postdoctoral Fellow at the David A. Dunlap Department for Astronomy & Astrophysics.
“When we look at the formation histories of these distant quenched galaxies, the observations suggest that they formed too quickly and too early compared to what we see in cosmological simulations.”
Antwi-Danso is tackling one of astronomy’s biggest challenges in her search to find the earliest distant quenched galaxies in the universe. She is particularly interested in how these galaxies formed and when they stopped forming stars.
Astronomers have discovered several more distant, quenched galaxies at increasingly earlier periods in the universe’s history. These galaxies are more massive than the Milky Way and yet formed within a billion years of the Big Bang (which happened nearly 14 billion years ago). In other words, they formed their stars extremely rapidly, unlike any galaxy observed in the present-day.
So, what does this all mean for astronomers? The extreme star formation processes implied by these observations of distant quenched galaxies are uncomfortably close to the limits permitted by galaxy formation physics. Therefore, trying to understand these objects in more detail is a high priority research area for astronomers.
Massive galaxies like the Milky Way have up to a trillion stars and are characterised by luminous, spiral-like arms of active star formation. Meanwhile, distant, quenched galaxies are composed of old stars and look like relics: small orange-red blobs. This is because their light has been “stretched out” to infrared wavelengths due to the expansion of the universe, which also makes them fainter and harder to spot.
At U of T, Antwi-Danso is building on significant findings from a study she participated in as a PhD student at Texas A&M University. Using the 8-metre telescope at the Gemini South Observatory based in Chile, the FENIKS collaboration surveyed large areas of the sky to increase the chances of finding these rare massive galaxies. They designed and installed two new imaging filters on the telescope to push the boundary of what was possible with ground-based infrared telescopes. The survey led to two critical discoveries.
The first was the identification of two new distant quenched galaxies. The discovery confirmed existing knowledge about the formation histories of distant galaxies, “namely, that these galaxies form too early and too quickly based on what theory predicts,” Antwi-Danso explains.
The study also highlighted that astronomers can reliably use ground-based telescopes to observe distant quenched galaxies as far back as 12.5 billion years into history of the universe. To detect them at earlier times than this, space-based data is required.
Additionally, astronomers are rethinking long-standing models of galaxy formation as they observe distant quenched galaxies with supermassive black holes at their centers emitting energetic radiation.
This is important, Antwi-Danso says, because the differing models for light emission from stars and supermassive black holes can affect estimates of the physical properties of these distant galaxies.
As more questions arise, there is an increasing need to ensure the accuracy of the physical properties of distant quenched galaxies derived from modeling their observations. Fortunately, there have been significant technological advancements to address this need.
Harnessing the power of space-based technology
The next stages of Antwi-Danso’s research involve further exploration of those two distant galaxies she discovered from Chile. To do so, she’s leveraging the power of the James Webb Space Telescope (JWST).
Distant galaxies are hard to detect because their emitted light is shifted to infrared wavelengths, where the earth’s atmosphere blocks most of the light. The sky in the infrared is about 10,000 times brighter than the typical distant massive galaxy. This makes it extremely difficult to detect the most distant quenched galaxies using ground-based telescopes.
The JWST – which launched in December 2021 – is about 100 times more sensitive than the largest ground-based infrared telescopes and can observe galaxies in a fraction of the time of its predecessors.
In fact, it has doubled the number of spectroscopic observations of the most distant, quenched galaxies within only two years of operation. Before its launch, astronomers had spectra of only 35 of these galaxies observed within the first two billion years of the universe’s history.
To further observe those two galaxies, Antwi-Danso will use data from the JWST to examine their spectra – the light emitted by these galaxies over a range of wavelengths – which can reveal information like chemical composition. Insights will help provide a more accurate understanding of their formation histories to compare with updated cosmology simulations, and, hopefully, offer new answers about possible tensions between theory and observations.
Additionally, Antwi-Danso is part of the Canadian NIRISS Unbiased Cluster Survey (CANUCS), a multi-institutional collaboration that uses gravitational lensing — a phenomenon where a massive object acts as a cosmic magnifying glass — to study the building blocks of the earliest galaxies.
Within that collaboration, Antwi-Danso is also a researcher on the Technicolor Survey, which employs multiple filters on the JWST’s Near-Infrared Camera to observe quenched galaxies at wavelengths that are inaccessible from the ground.
“We want to find galaxies that contain the first generations of stars, and then model their observations with galaxy formation models to infer their physical properties and star formation histories,” Antwi-Danso says.
With the technological advantages provided by the JWST to push the boundaries of distant galaxy observations, Antwi-Danso’s research will provide valuable insight into understanding how early galaxies came to be.
“We’re really excited to see where the results lead and to compare those observations with current theoretical predictions for these distant massive galaxies.”
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.”
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.
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.
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.
“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.
“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.”
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 ‘trotro’ bus heading to Nsawam was filled with the usual sounds from conversations, music, and sometimes a preacher delivering a message.
But when Margaret Odame Donkor rises to speak, she does not preach salvation or sell herbal remedies. Instead, she shares her journey as a breast cancer survivor, urging passengers to examine their breasts regularly, seek medical help early, and never lose hope.
Her pulpit is not a church, but the crowded minibuses of Ghana’s public transport system. Her message is not about repentance, but about survival.
She urges women to check their breasts regularly, encourages men to support their wives during health challenges, and reassures everyone listening that a cancer diagnosis is not the end of life.
For Margaret, creating awareness is more than a duty-it is a calling born out of personal pain, fear, and triumph.
Her words carried weight because they come from lived experience.
At age 48, Margaret has walked through the valley of fear and pain, battled stage three invasive carcinoma, and emerged not just a survivor but an advocate determined to educate others.
Cancer journey
Margaret’s encounter with breast cancer stretches back decades. At 22, she discovered a lump in her left breast. It was removed and declared benign. Relieved, she skipped regular checks and moved on. Then in 2021, the lump reappeared—this time spreading toward her armpit.
At a church screening in October 2022, doctors detected suspicious lymph nodes. Further tests confirmed her worst fear: stage three invasive carcinoma.
“It wasn’t easy,” she recalls softly. “But my faith in God kept me strong. My husband, children, family, friends, and colleagues formed an army behind me. Their prayers, visits, and encouragement gave me the courage to fight.”
“Be grateful every day because you never know what tomorrow may bring. No one has it all, but with love and support, you can endure,” she stated.
Her greatest fear remains recurrence and not living long enough to see her children graduate and become the people she dreams for them to be.
Before cancer disrupted her life, Margaret had found purpose in interpretation. In 2020, a friend spotted a Judicial Service vacancy and encouraged her to apply. After years of unsuccessful attempts at government jobs, she was reluctant, but she tried once more. This time, she succeeded and was posted to the Eastern Region, her home.
Today, she works at the Nsawam District Court, one of the busiest in the area. On a typical day, she arrives at 7:30am, prepares dockets, and confers with magistrates. She interprets proceedings in Twi, Ga, Hausa, and occasionally Ewe, ensuring that justice was accessible to all.
Her role is demanding. Cross-examinations require her to switch quickly between English and local dialects, while marriages often call for interpreting vows in couples’ preferred languages. Still, she thrives. “The registrars and magistrates I’ve worked with have been amazing. They make the environment very comfortable,” she stated.
Beyond the courtroom, Margaret is also an entrepreneur. In 2017, she founded Nubreed Décor, an events decoration business born from her childhood love for beautifying spaces. She recalls cutting paper decorations as a child and helping her cousin rent out chairs and decorate venues.
Balancing décor with court work was tough, and her health struggles after surgery made it even harder. Radiation left her with persistent rib pain, forcing her to slow down. “Now I hire more hands, which makes business expensive, but it helps me achieve my goals,” she explained.
Her biggest challenge as an entrepreneur remains finance. “The event industry is huge, but I have to work at my own pace and focus on my niche,” she admited.
Cancer changed how Margaret values people and relationships. She learned that those you least expect often become your strongest supporters. She urges families to stand by patients with prayers, encouragement, and financial support, reminding society that a cancer diagnosis is not the end of life.
Her advocacy extends beyond awareness talks. She dreams of establishing a counselling centre for young people and hopes Ghana will expand access to mammograms and radiotherapy centres. “Every patient deserves a chance at survival,” she said firmly.
She urged the youth to live peacefully and be their brother’s keeper, learn to be content and rely on God.
To women, she asserted that, “love yourselves and make breast checks routine while calling on Ghanaians to be open-minded, avoid being judgmental, and show love.
By Esinam Jemima Kuatsinu
