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Nana Ofosuaa Ayim honoured as ‘Woman of the Year in Cultural Arts’

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Nana Ofosuaa Ayim honoured as Woman of the Year in Cultural Arts

Nana Ofosuaa Ayim, a well-known writer, filmmaker, and arts historian who is also the founder of the ANO Institute of Arts and Knowledge, has been awarded the ‘Woman of the Year’ in Cultural Arts Award.

She got the award on Sunday night, during a ceremony honoring a number of female leaders who have had a major effect on Ghanaian society.

Nana Ofosuaa Ayim has earned a slew of accolades in recent years, including Woman of the Year.

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Okayafrica called her one of the 12 African women creating history in 2016 and one of the 100 women of 2020.

She was also named one of Apollo’s ’40 under 40,’ one of The Africa Report’s 50 African Trailblazers, and a Quartz Africa Innovator in 2017.

She was also honored by LACMA with the 2015 Art & Technology Award and the 2016 AIR Award.

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The event recognized Abena Osei-Poku, the MD of Absa Bank Ghana, Doreen Andoh of the Multimedia Group, Shirley A. Botchway, the Foreign Affairs Minister, actress Akofa Edjeani, and musician Becca.

The honorees were chosen by a savvy panel of achievers who applied clear and objective criteria to ensure that the final list included the most deserving women in diverse areas.

Nana Ofosuaa Ayim’s biography

Nana Ofosuaa Ayim is the founder of the ANO Institute of Arts and Knowledge and is a writer, filmmaker, and art historian. She is the founder of the Pan-African Cultural Encyclopaedia, the Mobile Museums Project, and the curator of Ghana’s first pavilion at the Venice Biennale.

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Her debut novel, The God Child, was released by Bloomsbury in 2019 and Penguin in German in 2021.

She has created award-winning videos for Tate Modern, LACMA, and The New Museum, among others. She is a lecturer at the Architectural Association in London, where she teaches a history and theory course.

She received the Art & Technology Award from LACMA in 2015; the 2016 AIR Award, which seeks to honor and celebrate extraordinary African artists who are committed to producing provocative, innovative, and socially-engaged work; a 2018 Soros Arts Fellowship; and was appointed to the Advisory Council of Oxford University’s Cultural Programming.

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She is presently serving as an unpaid Special Advisor on Museums and Cultural Heritage to Ghana’s Minister of Tourism, Arts and Culture, where she is monitoring efforts to reform the museum system.

Her major focus is how to make museums relevant to all communities in Ghana, not just a select few, and to transform them into spaces where Ghanaians can see themselves reflected and have their views heard.

She’s traveled the length and width of the nation, speaking with fisherman, weavers, charcoal merchants, farmers, professors, and attorneys, among others, about what they want to see and do.

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This will be depicted in a film that will be on Ghanaian television soon. She’s also assembled a team of legal, financial, and structural specialists to examine the present museum environment and propose reforms to establish museums that are appropriate for Ghana.

The study may be seen at www.ghanaheritagefuture.com.

On her website, www.nanaoforiattaayim.com, on Instagram @nanaoforiattaayim, on Twitter @OforiattaAyim, and on Facebook @nanaoayim, you can keep up with her activities.

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Portia Nana Akua Pinamang Calls for Greater Attention to the Boy Child’s Mental Health

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As the world marks Men’s Mental Health Awareness Month each June, Ghanaian writer Portia Nana Akua Pinamang is urging society to broaden the conversation on gender and wellbeing by giving greater attention to the mental health needs of boys and young men.

In her post, The Boy Child Is Crying. And Nobody Is Listening., Pinamang argues that while global efforts to protect and empower girls remain both necessary and commendable, the emotional wellbeing of boys has received far less attention. She contends that the consequences of this imbalance are increasingly reflected in rising suicide rates, untreated mental illness, substance abuse, and emotional isolation among men and boys worldwide.

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Drawing on international research, Pinamang highlights findings from First Therapy’s 2026 Men’s Mental Health Report, which indicate that men account for approximately 80 percent of suicides globally while only a small proportion seek professional therapy. She also cites data from the American Foundation for Suicide Prevention showing that men continue to die by suicide at significantly higher rates than women, with suicide remaining one of the leading causes of death among young adults.

According to the essay, the National Institute of Mental Health estimates that nearly one in five men experiences a mental health condition annually, while millions live with depression without seeking treatment. Research from the United Kingdom and Australia similarly points to low rates of psychological service utilization among young men despite substantial mental health needs.

Portia Nana Akua Pinamang argues that these statistics reveal a broader societal problem. Rather than viewing men’s reluctance to seek help as a personal choice, she suggests that many boys are raised in environments that discourage emotional expression from an early age. Messages such as “man up” and “boys don’t cry,” she writes, teach boys to suppress vulnerability instead of developing healthy emotional coping mechanisms.

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The essay devotes particular attention to Africa, where Pinamang describes mental health systems as critically under-resourced. Using data from Ghana’s Mental Health Authority, she notes a significant increase in reported suicide deaths and attempts, particularly among young people. She further references World Health Organization estimates indicating that Ghana has only a few dozen psychiatrists serving millions of people who require mental health care.

Nigeria, she argues, faces similar challenges. Citing comparative mental health studies and national survey findings, She points to severe shortages of mental health professionals and low treatment rates for individuals living with mental illness. Across sub-Saharan Africa, she notes, access to psychiatrists remains among the lowest in the world, leaving many young people without meaningful support.

According to Pinamang, these systemic gaps leave vulnerable boys exposed to environments where emotional distress often manifests through substance abuse, violence, crime, or suicide. Rather than finding accessible counselling services, many instead encounter social pressures that reinforce silence.

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Despite the urgency of her message, Pinamang emphasizes that her argument is not intended to diminish advocacy for girls and women. Instead, she frames the issue as one of balance.

She argues that boys and girls are not competitors but future partners, parents, colleagues, and citizens whose wellbeing is interconnected. Building emotionally healthy societies, she writes, requires nurturing both girls and boys with equal intentionality.

The essay concludes with a call for coordinated action from families, schools, communities, and governments. Parents, Pinamang argues, should teach boys emotional literacy alongside resilience. Schools should provide safe spaces where boys can discuss their feelings without fear of ridicule. Communities should reject cultural norms that equate suffering with strength, while governments particularly across Africa should increase investment in accessible mental health services.

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For her, mental health funding should be viewed as essential public infrastructure rather than an optional social service. She maintains that supporting boys before they reach crisis benefits not only individuals but entire communities.

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