By Sharon Zoe Williams
The dust of Funsi does not merely settle; it dances. On the eve of Saturday, May 16, 2026, that legendary dust rose to meet the rhythm of a thousand beating drums, swirling into an atmosphere thick with pride, history, and the unmistakable scent of dyed northern cotton.
This was not just an event. It was a cultural resurrection.
They came from every corner of the Upper West Region, transforming the venue into a breathtaking sea of vibrant, hand-woven threads. It was a strictly Fugu-themed affair, and the people of Funsi did not disappoint. The women’s groups arrived in brilliant arrays of indigo, black, white, blue, crimson, and gold smocks, their headstings tilted like crowns.
The men walked with a regal, measured stride, the heavy folds of their tailored Fugus swaying in unison. Even the children darted through the crowd like tiny, multicoloured sparks, wearing miniature versions of the armor of their ancestors.
In the front rows sat the architects of the region’s future: the fiery NDC Youth Organizer for Wa, the Member of Parliament for Funsi, and a host of revered traditional rulers. Hovering at the flanks, capturing every heartbeat of the night, was the Ghana Broadcasting Corporation’s (GBC) digital platforms team, their lenses focused on documenting this historic chapter for the world to see.
Then, the drums fell into a deep, anticipatory roll. The Lioness of Africa was about to be crowned.
The Minister’s Decree
Stepping up to the podium with the grace of a seasoned matriarch was the Minister for Tourism, Culture and Creative Arts, Hon. Abla Dzifa Gomashie. She looked out at the kaleidoscope of colours before her, her eyes reflecting the emotional weight of the evening.
”I want to, on behalf of all the people who came with me, apologize to the Elders and to everybody who is here,” Hon. Gomashie began, her voice carrying a warm, familial resonance that instantly melted the crowd. She paused, looking toward the traditional dance troupes whose adrenaline still lingered in the air. “And congratulations to all the dancers. You remind me of my childhood… All that energy. Thank you very much.”
The Minister acknowledged the heavy presence of leadership—from District Chief Executives to her ‘sister’, Mary Haruna, and the officials from the Centre for National Culture (CNC). But she reserved a special, poignant praise for the press.
”Members of the media, who I must really ask you to applaud for the amazing support of my Upper West tour… their dedication on this trip…I’m truly, truly happy to be here.”
Turning her gaze to the guest of honour, the Minister’s expression softened with deep-seated pride.
”Wiyaala has consistently made Ghana proud on both the local and international stages through exceptional talent, authenticity, and dedication to promoting our culture,” she declared, her voice rising above the evening breeze. “I’ve known Wiyaala for close to almost 20 years—as far back as I can remember. This lady has always worn Fugu, before it became a matter of social media promotion!”
The crowd erupted into cheers. It was the absolute truth. Long before global stages beckoned, Wiyaala was a walking billboard for the northern loom.
More Than a Garment: A Symbol of Resilience
As Hon. Gomashie officially unveiled Wiyaala as Ghana’s new Fugu Queen and Tourism Ambassador, she reminded the gathering that the smock is far more than mere fabric.
”Every thread woven into Fugu tells a story—our story, and our resilience as a people,” the Minister said passionately. “When we wear and promote our culture, we create jobs for our weavers, our designers, our traders… It stimulates the local industries and the local economy. The economic benefits of supporting local products are enormous.”
Prior to the Minister’s speech, came the announcement that sent a thrill through the crowd, pointing directly toward a bright future for tourism in the region: The official announcement of a grand Fugu Festival, slated for 2027. It was a vision of sustainable development, a promise that the artistry of the Upper West would soon anchor a major destination festival for global travelers.
The Crowning of the Lioness
”So, Wiyaala, you may come down,” the Minister called out, gesturing to a magnificent, specially commissioned Fugu. “You’ll be joining me to present to her a gift here—not because she doesn’t have one, but because it is so fitting for me, as Minister for Tourism, Culture and Creative Arts, to donate Fugu to our dear Wiyaala.”
Wiyaala stepped forward. The international icon, usually bursting with fierce, untamed energy, moved with a rare, humbled reverence.
As the heavy, beautifully crafted Fugu was draped over her shoulders, signifying her dual mantle as Queen and Ambassador, the grounds of Funsi exploded. The women broke into piercing, joyful ululations. The traditional dancers leaped into the air, their bodies moving with an electric intensity that matched the quickening pulse of the talking drums.
Through the viewfinders of the GBC digital team, the image was striking: a daughter of the soil, rooted deeply in her heritage, crowned by the state, and fiercely protected by the love of her people.
The night ended, but the echo of the drums remained. With a Fugu Festival on the horizon for 2027 and a reigning Queen to lead the charge, the Upper West Region hadn’t just celebrated an artist—they had claimed their rightful place on the global cultural map.
