As a Ghanaian theatre practitioner, arts and culture critic, and researcher committed to advocating for Ghanaian culture on international platforms, I was particularly struck by the decision of the organisers of the Bradford African Festival of Arts (BAFA) to centre its third edition on NKOSOƆ, a Ghanaian word meaning progress. Amid the festival’s rich artistic programme, it was encouraging to see Ghanaian linguistic and cultural thought not simply referenced, but given a performative presence through the work of spoken-word artist Anthonio Ghattie.
Ghattie’s contribution to BAFA and to promoting Ghana on that level is best understood through the relationship between his two performances: “NKOSOƆ”, which opened the festival at the University of Bradford Great Hall on 3 August, and “Mama Africa, Your Children Have Gathered”, presented at the Grand Finale at Bradford Centenary Square on 8 August.
Ghattie’s performance of ‘NKOSOƆ’ was particularly effective because of its dramaturgical position as the festival’s opening performance. Before an audience of senior university leaders, civic figures, diplomats and international guests, he introduced the African concept of progress through which the day’s programme could be understood. His performance became an important act of cultural mediation, bringing Ghanaian language and thought into a British institutional setting without losing its cultural meaning.
This was reinforced when Festival Director, Dr Olushola Kolawole, acknowledged that Ghattie had set the tone for the day and helped him pronounce ‘NKOSOƆ’ correctly. In that moment, Ghattie moved beyond the role of performer to that of cultural interpreter, taking a Ghanaian word from the written programme and giving it a living voice within the festival.
At the Grand Finale of the festival, Anthonio Ghattie presented another spoken word piece titled “Mama Africa, Your Children Have Gathered” to a large and diverse audience from different racial and cultural backgrounds who gathered at Bradford Centenary Square.
The language and tone of his performance evoked ancestry and connection, while speaking directly to identity, migration and the continuing bonds between Africans across borders. Crucially, the idea of gathering was not merely described in the poem; it was being enacted around him.
For me, Ghattie’s contribution was significant because Ghanaian culture was actively performed at this prestigious festival rather than being merely represented. His two performances created a clear dramaturgical arc, moving from progress to belonging and from aspiration to collective identity, showing how spoken word can bridge poetry, theatre, oral tradition and cultural dialogue, giving Bradford a meaningful encounter with Ghanaian artistic expression.
Speaking to Anthonio at the end of the event, he explained that he was happy to use the opportunity to express, through his talent, where Africans have come from, where we are going, and our responsibility to carry our identity with us. He added, “I also wanted the audience to hear the Ghanaian word and feel what it represents.”
I left Bradford Centenary Square with a deep sense of pride, knowing that a Ghanaian had been crowned the Face of BAFA for the second consecutive year. These moments speak to something larger than one festival or one artist. They point to the growing visibility of Ghanaian culture on international platforms and the important role of artists in carrying our language, stories and identity across borders.
The writer is a creative arts director, researcher, playwright and critic. He is currently the Head of the Performing Arts Department at the Centre for National Culture.
