“The present is where we get lost — if we forget our past and have no vision of the future” — Ayi Kwei Armah, The Beautiful Ones Are Not Yet Born
Dreamers, storytellers, and unseen hands have always shaped the cultural narratives that endure. These are the figures whose quiet, persistent work ensures that history is preserved, stories are told, and traditions remain alive.
In November 2024, after years of unwavering effort, priceless gold artefacts looted from the Asante Kingdom during the British invasion of Kumasi in 1874 were finally returned to their rightful home. This significant cultural victory was driven by the tireless dedication of Ivor Agyeman-Duah, a renowned cultural historian, curator, author, and cultural advocate,whose efforts made the repatriation possible. Ivor, who co-curated The King in Exile exhibition at the National Museum in Seychelles, missed its opening as he was deep in the bureaucratic process of negotiating the artefacts’ return — a mission some have described as heroic in its sheer determination to overcome institutional inertia.
The return of the artefacts is a significant step in reclaiming Ghana’s cultural heritage, echoing the themes of preservation explored in The King in Exile exhibition. While these treasures reclaim their rightful place, they also remind us that safeguarding history extends beyond the tangible to the symbols, traditions, and stories that shape identity.
Just a month later, in December 2024, another milestone in this ongoing effort was reached: Kente was inscribed on UNESCO’s Intangible Cultural Heritage list. This recognition marked the end of a long and arduous journey to safeguard one of Ghana’s most significant cultural expressions. The path to protection had not been smooth — from imitations and wrongful use to commercialisation without credit, Kente endured years of distortion. Its motifs were replicated and diluted, stripped of their original context and cultural significance. With UNESCO’s recognition, Kente now stands protected on the world stage — a statement of its enduring legacy and the stories it continues to carry.
These efforts to reclaim Ghana’s cultural identity find a parallel in The King in Exile exhibition, which brings the stories of resilience and resistance to life through history and art.
Initially displayed at the National Library on November 11 and now showing at the National Museum, the exhibition recounts the stories of King Prempeh I and Nana Yaa Asantewaa. These towering figures of Ghanaian history stood as symbols of resistance to British colonial rule, preserving Asante traditions and sovereignty in the face of immense adversity.
The stories of King Prempeh I and Nana Yaa Asantewaa echo through time, representing a continuum of cultural preservation. Their resilience safeguarded Asante identity, language, and customs during a period of colonial oppression. More than a century later, their legacy endures—affirmed through the return of the artefacts and the protection of Kente on UNESCO’s Intangible Cultural Heritage list.
This connection between past and present deepens with the opening of Hidden Hands of Kumasi on January 20th at the Seychelles National Library. Expanding on its debut at Kumasi’s AA Gallery, this iteration shifts focus to the artistry of weavers, traders, and creatives—the hidden hands whose quiet craftsmanship weaves Ghanaian identity into vibrant expressions of tradition.
On the same day, the Tom Boatin Foundation in Ghana made a symbolic book donation to the Seychelles Library. This donation commemorates the life of Nana Kwame Boatin, the Ankaasehene Kyidomhene of Ashanti, who was exiled by the British to Seychelles alongside King Prempeh I in 1900. Nana Kwame Boatin’s life in e…