Kpando Gadza Celebrates Five Years of Service and Impact Under Queen Mother Mama Ambadza III

By Prosper Wise Amegbe | Akpini News

The people of Kpando Gadza are celebrating a significant milestone as their Queen Mother, Mama Ambadza III, marks five years since her installation to the revered traditional position.

The fifth anniversary provides an opportunity to reflect on five years of service, challenges, growth and community development under her leadership.

In a message marking the anniversary, Mama Ambadza III expressed gratitude to Almighty God for His grace, strength and protection throughout the journey.

According to her, the past five years have not been without challenges, but through faith and perseverance, she has continued to serve her people and contribute to the development of Kpando Gadza.

Five Years of Community Impact

Over the past five years, the Queen Mother has championed and supported a number of initiatives aimed at improving the lives and opportunities of people within the community.

Among the key initiatives highlighted are:

• An ICT Laboratory, established in collaboration with Achrow Engineering and the Accra Premier Lions Club.
• A community library project, undertaken in partnership with the Delali Foundation and Accra Sankofa Leo Club, with book support from the Rainbow Foundation and Book Aid International’s Books To Go project.
• Women empowerment and skills training programmes, including training in detergent and pain-relief ointment production for members of the Kpando Gadza Women Association.
• Teenage Mothers Back-to-School and Skills Training Programme, implemented in collaboration with the Emo Foundation.
• Annual free health screening exercises for members of the community.
• Annual Christmas celebrations for children, creating opportunities for young people in the community to celebrate the festive season.
• The introduction of a Women’s Football Gala, aimed at promoting unity, participation and healthy living among women.

These initiatives, according to the Queen Mother, represent only some of the milestones achieved during her five-year journey of service.

Gratitude to Supporters

As she celebrates the anniversary, Mama Ambadza III has expressed her appreciation to her family, friends, traditional elders, development partners, supporters and the entire Kpando Gadza community for their continued support.

She acknowledged the prayers, encouragement and collective efforts that have helped sustain her vision and enabled her to continue serving the people.

More Community Support Ahead

The fifth-anniversary celebration is also expected to extend beyond reflection, with another major community initiative planned in the coming weeks.

A massive free health and eye screening exercise is expected to be organised, with free reading glasses to be provided to persons who require them.

The initiative is expected to further reinforce the Queen Mother's commitment to supporting the health and wellbeing of residents.

Five Years of Service

Five years after her installation, Mama Ambadza III's journey reflects a combination of traditional leadership, community service and development-oriented initiatives.

From education and skills training to healthcare, women's empowerment, youth engagement and community welfare, her anniversary offers the people of Kpando Gadza an opportunity to celebrate the journey so far while looking ahead to the years ahead.

As she puts it, five years have brought challenges, growth and impact — and by God's grace, the journey continues.

Akpini News & Tours congratulates Mama Ambadza III, Queen Mother of Kpando Gadza, on her 5th anniversary and celebrates her continued commitment to the development and well-being of her people.

Happy 5th Anniversary, Mama Ambadza III! 👑🎉

Read More

Emo Foundation Celebrates Girls Empowerment after three years Skills Training in Kpando

 

Kpando, Volta Region — A significant milestone in youth and women’s empowerment was celebrated at Wizzy’s Emo Restaurant in Kpando, as the Emo Foundation graduated 13 young women who successfully completed a three-year vocational training programme designed to equip teenage mothers with practical skills and opportunities for economic independence.

The graduates comprised six hairdressers and seven seamstresses, all of whom were sponsored by the Emo Foundation throughout their three years of training.

The graduation ceremony brought together traditional leaders, education officials, sponsors, trainers, representatives of the Foundation, community members and other stakeholders to celebrate the achievements of the young women and reflect on the importance of empowering girls and young mothers through skills development.

From Research to an Empowerment Project

The journey behind the programme can be traced to 2022, when Caitlin Weyns, a graduate student in Social Work from Belgium, undertook an internship with the Emo Foundation.

During her internship, Weyns conducted research into teenage pregnancy, examining issues surrounding teenage mothers and the challenges they face.

Her research findings, together with the Emo Foundation’s existing plans for supporting girls, contributed to the development and launch of the Teenage Mothers Empowerment Project.

The initiative was subsequently renamed the Girls Empowerment Project, reflecting the Foundation’s broader commitment to empowering girls and young women.

The programme has since provided beneficiaries with an opportunity to acquire practical vocational skills that can serve as a foundation for self-reliance and income generation.

Three Years of Training, Now a New Beginning

For the 13 graduates, the ceremony marked the culmination of three years of apprenticeship training.

The Graduates

Six of the graduates were trained in hairdressing, while seven received training in dressmaking and sewing.

Throughout the programme, the Emo Foundation sponsored their training, providing the beneficiaries with an opportunity to acquire skills that could enable them to establish their own livelihoods.

The graduation therefore represented more than the completion of an apprenticeship. It marked the transition of the beneficiaries from trainees to skilled young women prepared to enter the world of work.

A Call to Independence

One of the key messages delivered during the ceremony came from Mama Ambadza III, Queenmother of Kpando Gadza, who chaired the occasion and is also one of the sponsors of the programme.

Mama Ambadza III (In the middle)

In her acceptance speech, Mama Ambadza III reflected on the origins of the teenage mothers' initiative and the contribution of the Foundation's international supporters from Belgium.

She encouraged the graduates to make meaningful use of the skills they had acquired and to pursue productive livelihoods.

Her message centred on the importance of young women having something meaningful to do, becoming economically independent and building confidence through their own abilities.

Foundation Explains Purpose of the Gathering

The Manager of the Emo Foundation, Moses Agbotse, also explained the purpose of the gathering, emphasising that the event was not simply a graduation ceremony but an opportunity to recognise the achievements of the beneficiaries and celebrate the impact of the Foundation's investment in skills development.

Moses Agbotse (The gentleman you can see)

The Foundation's work extends beyond vocational training. Located in Kpando at the shores of Lake Volta, Emo Foundation operates a guesthouse, restaurant and bar and offers tourism-related activities.

Its broader objective is to create employment and use proceeds from its activities to support young people and communities.

The Foundation's guiding philosophy is captured in its statement:

“We think global, but act local.”

Programme Overview Presented by Madam Fafa Asamany

A brief overview of the training programme was presented by Madam Fafa Asamany, who highlighted the journey of the beneficiaries and the purpose of equipping them with practical vocational skills.

Madam Fafa Asamany (In the white dress)

The presentation offered an opportunity for guests to understand the significance of the training and the transformation that the beneficiaries had undergone throughout the three-year apprenticeship period.

Support from Education and Traditional Leadership

The ceremony also featured Madam Peace Attah, Municipal Girls Education Officer for Kpando, who served as the second Chairperson.

Madam Peace Attah (on the left)

Madam Peace Attah is also a sponsor of the programme and served as a resource person during the preparatory stages before the project began.

Her involvement highlighted the importance of collaboration between community stakeholders and organisations working to improve opportunities for girls and young women.

The event further received support from traditional leadership.

Semanu Ama Dzesi attended as a special guest representing Mama Ankua II, Anyigbe Nyonufiaga (Queenmother) of Kpando Fesi.

Semanu Ama Dzesi (On the left)

Her presence demonstrated the support of traditional leadership for programmes aimed at equipping young people with skills and creating pathways towards greater independence.

Symbolic Graduation Rites

The ceremony featured several symbolic moments marking the transition of the apprentices from training into professional life.

The hairdressing graduates participated in a ceremonial removal of their scarves, while the seamstress graduates also underwent a symbolic cloth-removal ceremony.

The moments represented the completion of their apprenticeship journey and their readiness to begin applying the skills they had acquired.

A particularly significant part of the ceremony came when the trainers blessed each graduate and formally released them to go out and work.

The blessing and release constituted the actual graduation rites, symbolising the transition from apprenticeship to professional life.

The young women were encouraged to carry the knowledge, discipline and skills acquired during their training into the next chapter of their lives.

A Gesture of Gratitude to Their Trainers

In a touching display of appreciation, the graduates presented their madams with food gifts.

The gesture was intended to recognise the trainers for their patience, guidance, mentorship and dedication throughout the three-year training period.

The graduates also presented a special gift to the Emo Foundation in gratitude for sponsoring their training and supporting their journey.

Donation to Emo Foundation

The presentations provided an emotional reminder that the success of an apprenticeship programme depends not only on the learners but also on the trainers, sponsors and institutions that invest in their development.

Celebrating Skills, Resilience and Opportunity

The graduation of the 13 young women represents an important example of how vocational education can create opportunities for young mothers to develop practical skills and pursue economic independence.

For beneficiaries who entered the programme as teenage mothers, completing three years of training represents a significant personal milestone.

Their graduation demonstrates the potential of targeted skills development programmes to provide young women with practical tools to rebuild their confidence, establish livelihoods and contribute to their families and communities.

The Emo Foundation's approach also demonstrates the value of connecting social intervention with sustainable economic activities.

By operating its guesthouse, restaurant, bar and tourism activities while directing resources towards community development, the Foundation seeks to combine enterprise, employment creation and social impact.

Looking Ahead

As the 13 graduates leave their apprenticeship programmes, the next phase of their journey will be about putting their skills into practice.

Whether through employment, establishing their own businesses or continuing to develop their expertise, the graduates now have a foundation upon which to build their future.

The ceremony at Wizzy's Emo Restaurant was therefore not simply a celebration of certificates or the completion of training. It was a celebration of second chances, skills, resilience and the power of investment in young women.

For Emo Foundation and its partners, the graduation reinforces a continuing commitment to empowering girls and young people in Kpando and contributing to the wellbeing of the wider community.

And for the 13 graduates, the message is clear: the training may be over, but the real journey has just begun.

By: Prosper Wise Amegbe

Read More

VIDEO: Meet Kpando Gadza Heritage Troupe

 Kpando Gadza Heritage Troupe is a vibrant children's cultural performance group dedicated to preserving and showcasing the rich traditions of the Akpini people and Ghana through music, drumming, dance, and cultural performances.

Under the guidance and patronage of the Queenmother of Kpando Gadza, Mama Ambadza III, the troupe performs at a wide range of occasions, bringing energy, discipline, and authentic Ghanaian culture to every event.

Whether you are organizing a:

💍 Wedding

🕊️ Funeral

👑 Traditional Festival

🎉 Durbar

🏛️ Cultural Event

🎂 Birthday Celebration

🏫 School Programme

🎓 Graduation

🏢 Corporate Event

🎊 Community Celebration

Kpando Gadza Heritage Troupe is available for bookings.

📞 Book the Troupe

055 952 3040

054 231 0515

Support our young cultural ambassadors as they preserve our heritage for future generations.

Presented by Akpini News & Tours

Our Heritage. Our Stories. Your Destination.

🌐 Website: www.akpininews.com

📧 Email: info@akpininews.com

Please Like, Comment, Share, and Subscribe for more stories celebrating the rich culture, history, and tourism of Kpando, the Volta Region, and Ghana.

Read More

VIDEO: Meet the Jama Warriors | Kpando Dzoanti's Vibrant Youth Performance Group

 🎶🔥 The Jama Warriors of Kpando Dzoanti once again proved why they are one of the most energetic and exciting youth performance groups in the Volta Region.

During a funeral ceremony in Kpando Dzoanti, the group delivered an outstanding Jama performance filled with vibrant chants, synchronised movements, powerful drumming, and unmatched energy that captivated everyone present. The Jama Warriors are more than just performers—they are passionate ambassadors of community spirit, youth unity, and Ghanaian cultural expression. Their lively performances add excitement and unforgettable memories to every occasion. Whether you're organising a: ✅ Funeral ✅ Wedding Ceremony ✅ Festival ✅ Homecoming ✅ School Event ✅ Political Rally ✅ Community Celebration ✅ Corporate or Social Event The Jama Warriors are available to perform and make your event truly memorable. 📞 Bookings & Enquiries: 0547002730 🎥 Coverage by Akpini News & Tours Our Heritage. Our Stories. Your Destination. If you enjoyed this performance, please LIKE 👍, COMMENT 💬, SHARE 📤, and SUBSCRIBE 🔔 to Akpini News & Tours for more cultural performances, tourism features, historical documentaries, and inspiring community stories from Kpando, the Volta Region, and beyond.

Read More

VIDEO: PABS African Kitchen is serving up Local & Continental dishes in Kpando Konda, Volta.

 Taste the Tradition. Experience the Flavour. 🔥

 

  PABS African Kitchen is serving up local and continental dishes in Kpando Konda, Volta. From weddings to corporate events, we cater it all. 📞 0548345290 | WhatsApp Available

Read More

💥ABOUT OUR HISTORY BANKING PROJECT

 

At Akpini News & Tours, we have embarked on a long-term History Banking Project aimed at preserving, documenting, and sharing the rich histories of our people for present and future generations. We began this journey in Kpando among the Akpini people and intend to extend it across the Volta Region and eventually throughout Ghana. Through interviews with elders, chiefs, queen mothers, kingmakers, historians, and custodians of tradition, we seek to gather as many historical accounts as possible and preserve them for posterity. It is important to note that this project is not intended to create division, distort historical records, or declare one version of history as the absolute truth. History is often passed down through generations by word of mouth, and different families, clans, communities, and individuals may preserve events from different perspectives and sources. As a result, some accounts may agree while others may differ. We believe these differences are part of the richness of our heritage and provide opportunities for learning, dialogue, and deeper understanding. Our role is to document and preserve these voices. We encourage viewers to listen carefully, engage respectfully, compare perspectives, and draw informed conclusions while appreciating the value of every contribution. Together, let us preserve our heritage, understand our roots, and pass our stories on to future generations. Akpini News & Tours Our Heritage. Our Stories. Your Destination.

Read More

BORBORBOR: The Dance That Carries the Soul of Eweland

Borborbor, also known as bɔbɔɔbɔ, is a vibrant recreational dance and drumming genre performed by the Ewe people, primarily in the Volta Region of Ghana and southern Togo.

Originating in the mid-20th century in what was then British and French Togoland, it evolved from traditional Ewe forms such as tuidzi and akpese, rapidly incorporating European brass instruments like the trumpet and bugle to create a distinctive sound influenced by Ghanaian highlife music. This dance-drumming idiom, particularly the Norvinyo variant from Kpando among the Ewedome subgroup, serves as a social and celebratory expression that merges indigenous rhythms with Christian themes and modern Ewe identity, resonating widely among youth in contemporary Ghanaian society.

The term Borborbor, orthographically rendered in Ewe as bɔbɔɔbɔ (pronounced with a repetitive "boh-boh-boh" cadence), originates from the Ewe language spoken by the Ewe people of southeastern Ghana and southern Togo. This name is onomatopoeic, evoking the echoing and repetitive sounds inherent to the dance's communal performance, such as layered vocal calls and percussive motifs that symbolize unity and vitality in Ewe expressive culture.

Historically, the name emerged in the early 1950s in Kpando, Ghana, coined by Francis Kɔdzo Nuatrɔ, a retired police sergeant who founded the first ensemble, drawing from Ewe oral accounts of adapting urban highlife influences into local forms. These oral traditions emphasize phonetic repetition as a linguistic device in Ewe naming practices, mirroring the dance's essence of rhythmic cohesion and social bonding without direct ties to pre-colonial myths. Alternative designations include Akpese, its original name in some Ewe communities, denoting a precursor style, while it remains distinct from related dances like Agbadza.

Borborbor emerged in the early 1950s among the Ewe people in Kpando, located in the Volta Region of what was then British Togoland (present-day Ghana), as a neo-traditional dance form blending rural Ewe rhythms with urban highlife influences introduced during the colonial period. This development was spearheaded by Francis Kɔdzo Nuatrɔ, a retired police sergeant who formed the Kpando Konkoma group, incorporating European brass instruments like the bugle alongside traditional Ewe drums such as the pati (tom-tom) and ʋugã (master drum) to create a new ensemble style. The dance's rhythms drew from earlier local adaptations of colonial-era military brass bands, which had been domesticated by native musicians since the late 19th century through garrisons, police bands, and mission ensembles in the Gold Coast. Key events in Borborbor's establishment reflect the transition from colonial military signaling patterns to recreational and social functions, influenced by the broader socio-cultural shifts in Ewe communities during the mid-20th century push toward Ghanaian independence.

Initially performed by local troupes for community gatherings, it evolved by the 1960s into a prominent feature at Ewe funerals and festivals, where competitive bands showcased original compositions, choreography, and brass-led interludes to foster unity and youth engagement. While direct wartime functions are not documented for Borborbor itself, its instrumentation and structures were shaped by lingering colonial military legacies, including bugle calls adapted from British administrative practices rather than immediate post-World War II shifts. No verified records of performances date to the 1920s or 1930s, as the form's formalization postdates these periods. Documentation of Borborbor's early history relies on ethnographic accounts and oral traditions preserved within Ewe communities, with scholarly analyses tracing its roots to Nuatrɔ's innovations in Kpando. From its Volta Region origins, the dance spread rapidly to neighboring Ewe areas like Hohoe and Ho in Ghana, and across the border to Togo via migration and cultural exchange, forming bands such as Agbeyeye and Nɔvisi to promote social cohesion. By the late 20th century, it had become a symbol of Ewe identity while adapting to broader Ghanaian and Togolese contexts, including church integrations and national events.

Borborbor evolved from traditional socio-recreational Ewe dances such as akpese and tuidzi, which were popular among communities in the Volta Region and incorporated elements of urban highlife music. These predecessor forms, rooted in everyday social expressions rather than militaristic traditions, featured rhythmic drumming, singing, and group movements that emphasized community participation and joy. Following the cessation of major intertribal wars in the late 19th and early 20th centuries, Borborbor built on akpese's structure originally performed in Kpando communities to create a more inclusive and vibrant dance. Key changes included the adoption of circular patterns that encouraged participation by men, women, and youth, fostering social bonding and celebration. In the early 20th century, these evolutions incorporated improvisational elements drawn from highlife influences, transforming the recreational style into a modern expression of Ewe culture.

Many older Ewes recall that Borborbor was originally a social gathering activity. At the end of the day, men, women and children assembled in open spaces to sing, dance and celebrate life together. The dance helped strengthen social bonds within communities.

Unlike war dances, Borborbor is a dance of happiness and inclusion. It welcomes everyone regardless of age, social status, occupation or religion. This openness partly explains why it remains popular today.

Borborbor is famous for its graceful yet energetic waist movements. The dance requires coordination between the feet, hips, shoulders and hands. Women especially showcase remarkable agility and elegance while performing synchronized movements.

The dancers usually perform in rows or semi-circular formations. They move rhythmically forward and backward while responding to drum patterns and lead songs.

Colourful attire is an important feature of Borborbor. Women often wear beautiful cloths and carry white handkerchiefs that accentuate their movements. Men may wear traditional cloths or matching cultural outfits depending on the occasion.

Music is the heartbeat of Borborbor. Traditional drums, bells, rattles, handclaps and vocal responses combine to create an atmosphere that encourages participation.

One of the most important aspects of Borborbor is call-and-response singing. A lead singer delivers a line while the entire group responds in unison.

The songs often carry messages about morality, love, hard work, leadership, family values and current social issues.

Borborbor is performed at numerous social occasions including weddings, funerals, festivals, naming ceremonies, anniversaries and chieftaincy events.

At funerals, Borborbor serves a special purpose. Instead of dwelling solely on grief, the dance celebrates the life of the deceased and strengthens communal support among mourners.

At festivals, Borborbor showcases the pride and unity of the community. Chiefs, elders and visitors often witness spectacular performances.

The dance has become an important educational tool. Schools and cultural groups across Ghana teach Borborbor to preserve indigenous heritage.

Researchers consider Borborbor one of the cultural treasures that bridge traditional African music with contemporary influences. Modern ensembles sometimes incorporate trumpets and brass instruments into performances.

Today, Borborbor is no longer confined to the Volta Region. It is performed nationally and internationally at cultural festivals and Ghanaian diaspora events.

Despite modernization, Borborbor continues to thrive because communities deliberately pass it from one generation to another.

For the Ewe people, Borborbor is more than a dance. It is a language without words.

It tells stories of migration, perseverance, togetherness and joy.

It reminds younger generations that culture is not something to be stored in museums but something to be lived every day.

Borborbor is one of the most popular Ewe dances performed in both Ghana and Togo.

It is especially associated with communities in central and northern Eweland.

It evolved from older Ewe dance traditions and later absorbed Highlife and brass band influences.

Women are often the most visually prominent performers due to the dance's signature waist movements.

Every drumbeat tells a story. Every movement celebrates life. Borborbor is not just a dance; it is the heartbeat of the Ewe people and a symbol of unity that has survived generations.

Our culture is our identity. Let us preserve it, celebrate it and pass it on.

Tell us in the comments.

Like | 💬 Comment | 🔄 Share |

 Credit: The Heritage Chronicle Africa 

Read More

VIDEO: ASAFO MARADONA SPEAKS! | Exclusive Interview on "The Rising Sun – Agudze" Album |

 In this exclusive interview with Akpini News & Tours, talented Kpando-born musician Asafo Maradona (formerly known as Spigot Kulkid) sits down with host Sage Noah to discuss his musical journey, inspirations, challenges, and the release of his highly anticipated 11-track album, "The Rising Sun – Agudze."

Born Reagan Edu-Yao, Asafo Maradona shares how his passion for music began at an early age, balancing his career as a Mechanical Engineer with his love for music, and what inspired some of his popular songs, including No 9 No 10, My Bless, and Hossana. The conversation also explores: ✅ His upbringing in Kpando and the Western Region ✅ His education at Ho Technical University (HTU) ✅ The message behind "The Rising Sun – Agudze" ✅ Challenges facing underground artists in Ghana ✅ His vision for the future of his music career This interview offers a rare opportunity to hear directly from one of Akpini's emerging musical talents as he shares his story, ambitions, and hopes for the future. 🎵 Support Asafo Maradona by streaming, sharing, and promoting his music. 📺 Subscribe to Akpini News & Tours for more exclusive interviews, cultural stories, documentaries, tourism content, and community conversations.

Read More