Mahama or Bawumia: Who is taking Ghana to Africa’s Tourism Elite?

Ghana stands on the brink of yet another election, its future hanging in the balance as the opposition National Democratic Congress (NDC) and the incumbent New Patriotic Party (NPP) vie for the nation’s trust.

In a country bursting with cultural wealth and tourism potential, both parties have long touted ambitious plans to transform these sectors into economic powerhouses. Yet, election cycle after election cycle, these promises often dissolve into a haze of unrealised dreams, leaving citizens questioning whether this time will truly be different.

Meanwhile, the world watches as other African nations surge ahead, raising the question: why is Ghana, with its unmatched cultural and historical treasures, still struggling to claim its rightful place as a tourism leader on the continent?

In this two-part series, I examine the promises and efforts made by both the NDC and NPP for the tourism, arts and culture sectors. Part one delves into their track records, highlighting successes and failures.

Part two, set for election day, will focus on their current pledges and explore how these can be leveraged to finally position Ghana as Africa’s premier tourism destination. We are focusing on these two parties because, let’s face it, none of the other contesting parties and individuals can win. 

The NDC: A vision rooted in heritage

Under the leadership of the NDC, including Jerry John Rawlings and John Dramani Mahama, the party’s approach to tourism and culture emphasised Ghana’s identity as a land steeped in history and heritage. PANAFEST and Emancipation Day stood as pillars of this vision, seeking to attract the African diaspora to reconnect with the continent.

These festivals were not merely celebrations but powerful statements about Ghana’s role in the global narrative of African unity and identity.

The NDC’s vision also extended to infrastructure development. Heritage sites such as the Cape Coast Castle and the W.E.B. Du Bois Centre were earmarked for restoration and modernisation, symbolising the party’s commitment to preserving Ghana’s cultural and historical treasures.

Yet, while these initiatives were well-conceived, many fell victim to funding shortages and bureaucratic delays, leaving some sites only partially completed or underfunded.

A significant policy during Mahama’s administration was the promulgating and signing of the Creative Arts Bill into law, which aimed to formalise the creative industry and offer support to those in the arts.

However, despite the promise, delays in passing the bill meant that many of the expected benefits – such as financial backing for artists and creators – could not materialise.

The NDC also sought to decentralise tourism, championing regional initiatives such as ecotourism in the Volta and Northern regions.

The aim was to ensure a more equitable distribution of tourism’s economic benefits, but inconsistent execution and lack of engagement with local stakeholders meant that these projects never reached their full potential.

The NPP: Modernisation and diaspora engagement

In contrast, the NPP, led by Nana Addo Dankwa Akufo-Addo, pursued a modernisation agenda, focusing on technology and private sector involvement.

The party’s flagship achievement, the Year of Return, in 2019, attracted significant global attention, especially from the African diaspora. 

It became a historic moment for Ghana, drawing tens of thousands of diasporans to the country to reconnect with their roots. The Year of Return not only boosted tourism numbers but also led to investments in real estate, arts and culture.

The lasting effects of this initiative cemented Accra as a cultural hotspot for the African diaspora, particularly during the Christmas season.

Building on this success, the NPP introduced “Beyond the Return”, a follow-up programme that shifted focus from cultural reconnection to economic opportunities. The programme sought to attract investments from the diaspora and to capitalise on Ghana’s increased visibility.

Unfortunately, the economic impacts were dampened by the COVID-19 pandemic and critics argue that the benefits were more concentrated in urban areas like Accra, with rural tourism still lagging.

Institutionally, the NPP established the Creative Arts Agency to regulate and promote the creative arts industry. While the agency’s formation was a positive move, its impact has been limited by a small budget and an inability to fully support Ghana’s burgeoning creative industries.

Critics have also pointed to the appointment of the president’s daughter to head the agency as a sign of nepotism, which has undermined its credibility.

A tale of two approaches

Both the NDC and NPP have acknowledged the transformative potential of Ghana’s tourism, arts and culture sectors, but their approaches have been marked by contrasting priorities.

The NDC’s vision, which is deeply rooted in Ghana’s heritage, emphasises culture and history as key to national branding. However, the execution of these initiatives has often been hindered by bureaucratic challenges and inadequate funding.

The NPP, on the other hand, has sought to modernise the sector through technology and global engagement. Their focus on diaspora connections has brought attention to Ghana’s tourism potential, but their initiatives often seem more focused on short-term gains than on creating sustainable growth in the sector.

Furthermore, their programmes have frequently left out rural communities, where there is untapped tourism potential. Both parties share a common ailment: a lack of continuity. 

Projects that were initiated under one administration are often sidelined or completely overhauled by the next, creating a fractured trajectory for Ghana’s tourism development.

For instance, PANAFEST, a key festival championed by the NDC, saw reduced prominence under the NPP while the NPP’s emphasis on digital initiatives has yet to be integrated into the broader cultural landscape envisioned by the NDC.

A call for continuity, coordination

As Ghanaians head to the polls, the tourism, arts and culture sectors are at a crossroads. The question remains: who between John Dramani Mahama and Dr Mahamudu Bawumia has the vision, leadership and commitment to propel Ghana into Africa’s tourism elite?

The path forward requires more than just ambitious manifestos – it demands long-term vision, sustained funding and effective institutional frameworks.

Sustained investment is necessary to complete heritage projects and support new, innovative programmes. Strong institutional coordination is equally important to ensure that tourism, arts and culture agencies work in tandem to maximise their impact. 

Most importantly, the next government must prioritise long-term goals over short-term successes, recognising that Ghana’s true tourism potential lies in its ability to marry its rich heritage with the demands of a modern, globalised world.

In next week’s edition, on election day, I will focus on the promises of both parties, examining how their current pledges could help position Ghana as Africa’s premier tourism destination.