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Museums have long been unwelcoming or intimidating spaces for many, particularly ordinary Africans. In this powerful talk, Kwame Akoto Bamfo reimagines the museum experience through the lens of African heritage and community engagement. By embracing change as a constant force, Kwame demonstrates how interactive art and inclusive spaces can serve as healing, dialogue, and transformation mediums.
Through his work, he challenges traditional perceptions of museums and invites communities to reconnect with their identity and heritage. This talk is a compelling exploration of how art can celebrate cultural freedom and inspire others to embrace their role in shaping change narratives. Kwame Akoto-Bamfo is a Ghanaian sculptor, educator, and activist renowned for his dedication to preserving African history and promoting restorative justice through art. He earned his Bachelor of Fine Arts (BFA) and Master of Fine Arts (MFA) in painting and sculpture from the Kwame Nkrumah University of Science and Technology.
His seminal work, the Nkyinkyim Installation, is an evolving art project comprising over 1,500 portraits of Africans in the diaspora. This installation pays homage to the victims of the Transatlantic slave trade and is prominently featured at the National Memorial for Peace and Justice in Montgomery, Alabama.
In 2017, Akoto-Bamfo gained international attention with his "Faux-Reedom" exhibition, which featured 1,200 sculpted heads representing Ghana's enslaved ancestors. This powerful display questioned Ghana's independence and highlighted neo-colonial legacies.
Beyond his installations, Akoto-Bamfo actively participates in public speaking, research, and lectures, focusing on archiving and promoting African history and cultural heritage. His work has been featured in various documentaries and miniseries, including "Enslaved" (2020) and "The Art of Healing" (2022).
His contributions to art and activism have earned him several accolades, such as the GUBA Influential Artist of the Year in 2019 and the inaugural Kuenyehia Prize for Contemporary Art.
Through his art, Kwame Akoto-Bamfo continues challenging historical narratives, fostering healing, and inspiring restorative justice across the African diaspora. This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at https://www.ted.com/tedx
Ghana just made $3 billion in only four months—without discovering a single new gold mine. So how did they pull it off? Here's a hint: Captain Ibrahim Traoré had something to do with it. But what’s the real story behind this unexpected windfall? Let’s dive in.
Sitting firmly in Africa's Golden Triangle with South Africa and Sudan, it was a top-tier producer. But in spite of this natural wealth, the nation hardly ever benefited from its hidden gems. Year after year, billions of dollars' worth of gold left Ghana, but only remnants returned to the country's economy.
Lack of ownership was the issue, not a shortage of gold. With everything but no control, this has been the silent tragedy of Ghana's mining industry. Foreign multinational corporations with headquarters in Canada, the UK, South Africa, and Australia were primarily in charge of running the nation's gold mines.
Under private contracts, these businesses extracted the gold, processed it abroad, and then sold it to customers throughout the world. The role of Ghana? Take a little cut, supply the dirt, and avoid the boardrooms where the real money is earned. The gold wasn't the only thing that remained.
It leaves behind data, pricing control, and profit transparency. Numerous mining companies underreported their profits, took use of legal loopholes, or just set up their operations in ways that allowed for tax evasion. The riches had already vanished abroad, concealed in offshore accounts and business spreadsheets, by the time government officials became involved.
Ghanaians pondered for years how we could have so many resources and yet face unemployment, debt, and a weak currency. So far, the response has been silence. Silence thereafter became the norm. Early in 2025, however, numbers—rather than a protest or a politician—broke that stillness.
Silent, emotionless figures. Ghana's gold earnings soared to $2.7 billion between January and April. That is more than three times what it made during the same time frame only two years prior.
Furthermore, in just four months, the quantity of gold exported virtually doubled, rising from about 7,500 kilograms in early 2023 to over 30,000 kilograms. These were neither estimations or optimistic forecasts. These were actual transactions that were documented in Ghana's central bank's books and monitored by the country's customs department.
Naturally, people wanted to know where all of this originated. Was there a fresh gold deposit discovered by Ghana? Did the output of mining suddenly increase overnight? The response was much more significant and fascinating. There was always gold. Ghana simply stopped allowing it to disappear.
It was not the mines that changed. Who was in charge of the exits changed. Ghana wasn't allowing private corporations to control what was left on the ground or where it went for the first time.
Now a gatekeeper was present. A fresh idea that wasn't from Accra was standing outside that fence. It originated in Ouagadougou, a nearby capital.
The Ghanaian government had not simply happened onto a fortunate quarter, you see. They were no longer content to be a passive participant in the mining industry after studying something and observing someone. Motivated by fresh leadership on the continent, they had taken a very conscious decision.
However, we must examine the impact that led to that change in order to comprehend how a silent policy decision generated billions of dollars in unexpected revenue. Not even the African Union, not the International Monetary Fund, and not a think tank. It came from Captain Ibrahim Traoré, a man in a green beret, a soldier rather than a scholar, a leader who had seized a nation that was in disarray and dared to defy the laws of international economics.
The new model was not created in Ghana. But they didn't hesitate when they saw it. They modified it.
Trump made a miscalucation thinking Iran would fold like Iraq, now he is in a long war that will probably have impacts on the USA soil.
At the 3rd Abibitumi Awards, Kwame Akoto-Bamfo is honored for his outstanding contributions as a Ghanaian multidisciplinary artist, educator, and cultural activist whose work preserves memory, confronts historical injustice, and creates spaces for healing.Kwame Akoto-Bamfo is widely known for his commitment to cultural preservation and historical truth. He is the founder of the Ancestor Project and the Nkyinkyim Museum in Ghana. His sculptural work has gained international recognition for documenting African historical experience and confronting the enduring legacies of enslavement, colonialism, war, genocide, and displacement. Through art, symbolism, and public memory, he has helped create powerful spaces for reflection, restoration, and consciousness.In this moving moment from the 3rd Abibitumi Awards, Kwame Akoto-Bamfo reflects on nearly two decades of activism and explains why this recognition is especially meaningful. Though he has received awards before, he makes clear that honor carries its deepest significance when it comes from home. His remarks offer a powerful reminder that being recognized by one’s own people means more than prestige, visibility, or outward display.This clip captures both the award presentation and Kwame Akoto-Bamfo’s heartfelt words on home, belonging, activism, and the importance of community-rooted recognition.Thinking about moving back home? We have already helped hundreds secure citizenship, housing, relocation, driver’s licenses, and business setup. Endorsed by Ghana’s Office of the President, we help make your move seamless.Learn more:https://www.r2gh.comFor more powerful lectures, interviews, and Black-centered content:https://www.abibitumi.com#KwameAkotoBamfo #abibitumiawards #nkyinkyimmuseum #blackpower #culturalactivism #ghana #repatriation #r2gh #abibitumi #africanart
Cheikh Anta Diop translated (Business Insider Visuals)
Bashea ft Tragedy Summer sensation
Hundreds of historic diasporans living in Ghana are sounding the alarm over the rising cost and growing barriers to acquiring Ghanaian citizenship. For many, the dream of repatriation is being undermined by excessive fees, difficult requirements, and policies that leave people feeling excluded rather than welcomed.In this video, Ɔbenfo Ọbádélé Kambon speaks on the sidelines of the Historic African Diaspora Town Hall Meeting about the frustrations many are experiencing, including the GHS 25,000 citizenship fee that has become a major obstacle for families, elders, and long-term residents who planned to build their lives in Ghana.The conversation goes beyond paperwork. It raises serious questions about belonging, policy, development, and whether symbolic gestures toward the diaspora are being matched by real substance. If Ghana is serious about reparative justice and meaningful repatriation, then the concerns of historic diasporans must be heard and addressed.This is not just about citizenship. It is about Black unity, accountability, and building a future rooted in justice.
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Will Iran join China, Russia and the United States as a fourth major power on the world stage? Iran's resilience in the face of the U.S.-Israeli war is already shifting the global balance of power, says American political scientist Robert Pape. "What you are seeing with Iran is that its geography, in combination with a level of drone technology that we simply cannot destroy," is demonstrating to other countries that they may not have to stay beholden to U.S. hegemony. "What makes us think we're really going to stop Iran from becoming a nuclear power in the next six months or a year?" asks Pape. "Iran is far stronger than it was just 40 days ago. It is in control of 20% of the world's oil. It is now an emerging fourth center of power. … The United States is on one side, and the rivals are China, Russia and now Iran."
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They remain silent and blame black men when brad beats them up or send them to the lower room.
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