“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 exile ended on November 19, 1918, when he passed away in Mahé after 18 years far from his homeland.
The book donation forms part of a cultural exchange between Seychelles and Ghana, aiming to provide African literature and educational resources to Seychellois youth. By introducing stories rooted in African history and identity, these books will inspire younger generations to connect with their heritage while enriching local education with diverse perspectives. It is an act of cultural preservation—bridging continents, honoring history, and ensuring the resilience of tradition.
The hidden hands of weavers, traders, and photographers directly correlate to the next set of people I will introduce you to.
Much like the weaver, the photographer, and the trader — who quietly shape the fabric of what we see, hold, and value — the work of the Honorary Consul of Seychelles in Ghana- Honourable .Kwame Acquah, the Permanent Secretary of the Seychelles National Institute for Culture, Heritage and the Arts, Ms. Cecille Kalebi, and the curator- the Executive Director of Creative Seychelles Agency,Emmanuel D”Offay,often goes unnoticed. Their contributions remain in the background, yet they are essential to bringing an exhibition to life.
It often begins with the Honorary Consul , whose role is to forge international ties and promote cultural exchange. The spark of an idea might arise from a desire to share a story, a tradition, or a piece of history across borders. This initial thought — rooted in diplomacy, education, and a belief in the power of culture — sets the wheels in motion. But for the idea to become reality, it must pass through many hands.
The curator brings the exhibition to life by weaving together the artistic, administrative, and public-facing aspects of the project. The curator must do far more than select works to display; they must understand the machinery of cultural diplomacy, balancing the demands of bureaucracy, the vision of the artist, and the needs of the public. Without this delicate negotiation of art, administration, and audience, the dream of an exhibition risks falling flat.
Supporting this work is the Permanent Secretary for Culture, who operates behind the scenes to balance diplomatic relations and ensure that the necessary frameworks — funding, agreements, and institutional support — are in place. The Permanent Secretary’s role ensures that cultural projects are not just conceived, but made possible, creating the conditions for the curator’s vision to take form.
Together, these roles — the Honorary Consul sparking the idea, the Permanent Secretary laying the groundwork, and the curator crafting the final experience — result in cultural and educational exchanges that have the power to shape how we see the world.
The following conversations offer a glimpse into this intricate process.
First, we hear from the Permanent Secretary, who works to secure the diplomatic and administrative foundations that make cultural projects possible.
Building Cultural Bridges
An Exclusive Conversation with PS Cecille Kalebi, Permanent Secretary of the Cultural Institute of Seychelles
PS Cecille Kalebi opens up about Seychelles’ growing cultural ties with Ghana, the importance of African literature for youth, the legacy of The King in Exile exhibition, and her vision for promoting Pan-African unity through cultural diplomacy.
The Book Donation: A Bridge to African Literature
Q: What can you share about the book donation on January 20, 2025? How did this initiative come about?
PS Kalebi: This book donation is part of a cultural exchange between Seychelles and Ghana, designed to introduce African literature to our youth. It’s inspired by our shared history, particularly through King Prempeh I’s legacy, and aims to connect young people in Seychelles with African heritage while enriching their education.
Q: What impact do you hope these books will have on Seychelles’ youth?
PS Kalebi: I hope they’ll spark a connection to African culture and history, instilling a sense of pride in their heritage. For schools, these books provide new perspectives that enrich the curriculum and broaden students’ understanding of the world.
Q: Why is African literature important for Seychelles’ youth?
PS Kalebi: It offers a unique lens into African identity and culture, celebrating our shared richness while encouraging empathy and critical thinking. These stories help young people see themselves and their history reflected in meaningful ways.
Q: In a digital age, why focus on physical books?
PS Kalebi: Physical books carry a timeless value. They’re tangible connections to history and tradition, offering an immersive experience that digital formats often can’t replicate.
Q: Are there plans to involve schools or communities in this initiative?
PS Kalebi: Absolutely. This isn’t just about distributing books; it’s about starting conversations. Schools and communities will host activities to encourage collaborative learning and cultural exchange.
Q: How will the government maximize the impact of this donation?
PS Kalebi: We’re building on this momentum by fostering ongoing collaboration with Ghanaian institutions. These efforts will ensure long-term cultural exchanges that benefit both nations.
The King in Exile: Reflecting on Legacy
Q: What stood out for you about The King in Exile exhibition?
PS Kalebi: For me, it was seeing how King Prempeh I’s story deeply resonated with Seychellois visitors. The emotional connection people felt to this shared history was incredibly powerful.
Q: How did the Seychellois respond to this shared history?
PS Kalebi: The response was overwhelmingly positive. Many were surprised to learn about this connection but felt a renewed sense of pride in our shared African heritage.
Q: What part of King Prempeh I’s story resonated most with visitors?
PS Kalebi: His resilience. Despite his exile, he maintained his dignity and leadership, which deeply inspired people and left a lasting impression.
Q: Why is it important for Seychelles to reclaim colonial narratives?
PS Kalebi: Reclaiming these narratives ensures African voices are celebrated and shared. Initiatives like nominating Venn’s Town as a UNESCO World Heritage Site show our commitment to preserving these untold stories of resistance and triumph.
Cultural MOUs: Strengthening Ties Between Ghana and Seychelles
Q: Can you summarize the recent MOUs on cultural collaboration with Ghana?
PS Kalebi: These agreements focus on cultural exchange—literature, music, art, and heritage preservation. They create opportunities for shared projects and collaborative platforms for creatives from both nations.
Q: How do these MOUs reflect growing cultural diplomacy?
PS Kalebi: They symbolize our commitment to deepening cultural ties, ensuring our shared histories and artistic traditions gain recognition on global stages.
Q: What benefits do you see for creatives in both countries?
PS Kalebi: The MOUs open doors for cross-cultural collaborations, allowing artists, musicians, and writers to explore and showcase their talents internationally.
Culture and Pan-African Unity
Q: Why is collaboration between African countries like Ghana and Seychelles important?
PS Kalebi: It strengthens our shared heritage and promotes Pan-African unity. These partnerships highlight Africa’s cultural and historical contributions to the world.
Q: How does cultural diplomacy build connections beyond politics?
PS Kalebi: It fosters genuine, human connections based on shared values and experiences. These relationships often outlast political or economic alliances.
Q: What’s your vision for Seychelles in Pan-African cultural diplomacy?
PS Kalebi: I see Seychelles as a cultural bridge, using our unique position in the Indian Ocean to promote Pan-African unity through art, education, and heritage preservation.
Final Thoughts: Inspiring Futures
Q: What legacy does the book donation leave?
PS Kalebi: It nurtures a love for African literature, inspiring youth to embrace their heritage and fostering stronger ties between Seychelles and Ghana.
Q: What future collaborations would you like to see?
PS Kalebi: I’d love to see joint art exhibitions, musical performances, and literary exchanges. Projects that focus on heritage preservation and knowledge-sharing would also be invaluable.
Q: What’s your message to Ghana about Seychelles’ commitment to shared history?
PS Kalebi: Seychelles deeply values its ties with Ghana and is committed to preserving our shared African heritage for generations to learn from and celebrate.
PS Kalebi’s reflections highlight the powerful role of cultural diplomacy in connecting nations, preserving history, and inspiring future generations. Her vision underscores Seychelles’ dedication to Pan-African unity and its commitment to meaningful collaborations with Ghana.
“We deeply value our ties with Ghana,” she concludes. “These initiatives show how, together, we can preserve our histories and inspire our futures.”
Now, we turn to the curator, who takes these frameworks and, through careful choices and unseen labor, brings the exhibition to fruition — transforming an idea into an experience that resonates with the public.
Curating Cultural Narratives: A Conversation with Emmanuel D’Offay
Emmanuel D’Offay on Curating The King in Exile Exhibition and Strengthening Ties Between Seychelles and Ghana
In a compelling interview, Seychellois artist and curator Emmanuel D’Offay shares his journey of curating The King in Exile exhibition and discusses the growing cultural exchange between Seychelles and Ghana. His reflections shed light on the shared histories of the two nations, the role of art in preserving memory, and the power of collaboration.
Seychelles’ Role in African History
Q: Curating The King in Exile was a significant undertaking. What did it reveal to you about Seychelles’ place in African history?
Emmanuel D’Offay: This exhibition deepened my understanding of Seychelles’ unique role in African history, particularly through the story of King Prempeh I. I learned so much about his life in exile and uncovered photographs that added fresh perspectives to the narratives we’re familiar with. It became clear that Seychelles wasn’t just a passive space but a significant location where African leaders, like King Prempeh I, experienced both exile and resilience.
Reflections on Displacement and Identity
Q: How did working on this exhibition shape your understanding of Seychelles’ colonial past and cultural identity?
Emmanuel D’Offay: Personally, this project didn’t introduce entirely new reflections on colonial history—I’ve long engaged with those themes as an artist. Instead, it clarified and expanded the narrative. King Prempeh’s exile wasn’t a traditional imprisonment. He lived in one of the most beautiful homes in Les Mamelles, often described as a “prison without bars.” This nuanced story of displacement resonated deeply with my artistic focus on uprooting and cultural imposition.
Balancing History and Accessibility
Q: The stories of displacement and survival carry emotional weight. How did you balance honoring the past while making it accessible to today’s audience?
Emmanuel D’Offay: That’s one of the biggest challenges as a curator. It’s about more than just displaying photographs or artifacts—it’s about creating narratives that connect emotionally with the audience. To achieve this, you have to approach the story with both passion and sensitivity. Without that deep connection, the exhibition wouldn’t resonate the way it should.
Curatorial Responsibility and Perspective
Q: As a curator, you’re shaping memory and identity. Do you feel a sense of responsibility in how you present these stories?
Emmanuel D’Offay: Absolutely. Curating is an immense responsibility. It’s not simply about arranging items; it’s about crafting narratives that are authentic to the story and the people it represents.
Being a Seychellois curating an African history project added another layer of complexity. Some questioned why a white Seychellois was taking on this role. But I saw my position as an opportunity to bring a unique perspective—one that bridges both Seychellois and Ghanaian insights.
Connecting Seychelles and Ghana
Q: This was Seychelles’ first major collaboration with a Ghanaian team. What did you learn about our shared stories through this experience?
Emmanuel D’Offay: It revealed how deeply connected our histories are. King Prempeh’s exile is one part of the story, but it’s also about the enslaved Africans, including Ghanaians, who were brought to Seychelles. This project made those connections more visible and reminded us of the importance of embracing our African heritage.
Africa is experiencing a cultural renaissance—its music, films, and art are thriving globally. It’s essential that we, as African nations, work together to reclaim our stories and reshape global narratives.
Future Collaborations and Cultural Exchange
Q: Do you see the partnership with Ghana growing beyond The King in Exile exhibition?
Emmanuel D’Offay: Absolutely. This is just the beginning. We’re already discussing plans for future cultural exchanges, including trips to Ghana to scout artists and organize exhibitions. These collaborations are vital, especially for nurturing emerging talents in both nations.
Q: How does this upcoming exhibition build on the legacy of The King in Exile?
Emmanuel D’Offay: While The King in Exile focused on historical narratives, the next exhibition will expand into contemporary Ghanaian art, textiles, and photography. It’s about inspiring Seychellois creatives and continuing to strengthen the cultural ties we’ve established.
Closing Reflections
Emmanuel D’Offay’s reflections emphasize the role of curators as storytellers and bridge-builders. Through The King in Exile and future collaborations, he’s helping to connect Seychelles and Ghana, highlighting their shared histories and fostering a deeper appreciation for African culture.
“We must embrace our shared heritage and work together to reclaim our narratives,” Emanuel concludes. “These partnerships not only preserve our histories but inspire creativity and unity for future generations.”
We continue with Emmanuel D’Offay in Part 2, and we hear from the artists themselves. Kwadwo Owusu Acheampong and Emmanuella Opoku Asante embody the very themes of Hidden Hands, revealing stories of craft, resilience, and identity through their work.
Araba Hackman, Ghanaian fashion designer, cultural advocate, and founder of Alabah and Zaida Mansa, has dressed global icons like Beyoncé and Serena Williams and Akon. She champions African heritage through her designs and initiatives like The King in Exile, Hidden Hands of Kumasi – Weaving Stories Through Textiles And Lenses exhibitions, bridging history and identity with modern expression.
