While many in Ghana prefer modern medical systems, others use indigenous means such as those emanating from shrines and indigenous sects. Today, many religious practices in Ghana focus a greater part of their services on healing and the general wellbeing of its members. The formation of African Indigenous Churches (AICs) has played a central role in bridging the gap between indigenous and Christian concepts of worship, healing, and wellbeing. The Twelve Apostles Church, first of the AICs in Ghana, is prominent as far as good health and the wellbeing of its members are concerned. These indigenous musical healing practices are seldom recognised for their significant contribution towards good health and wellbeing. In this article, I use an ethnographic approach, employing interviews and participant observation, to describe the significance of the musical healing rituals of the Twelve Apostles Church in Ghana. The question is, how does drumming, dancing, and singing in the Twelve Apostles Church contribute to good health and wellbeing?

In this article, I apply a gendered analysis to a healing phenomenon understood through indigenous musical performances in a ritual context. Ghanaian indigenous music has been widely researched and documented, however, a contextual analysis of the gendered musical roles associated with the healing rituals of the Twelve Apostles Church (TAC) is scant. In this research, the data was obtained from six congregations of the TAC, between 2014 to 2019. Based on participation, observations and interviews, the analysis is a description of how music is gendered in the indigenous healing rituals of the TAC. The main question I seek to answer is: how is gender constructed and how are the gender roles ascribed to musical performances in the healing rituals of the TAC? In answering this question, I discuss the cultural interpretations ascribed to gender in a musically informed healing ritual. The findings revealed that in the TAC, singing is mostly initiated by females who sing about illnesses. Males, on the other hand, are mostly in charge of playing the dondo, an hourglass drum. However, the mfoba, an enmeshed rattle is played by both males and females and it is the mfoba that aids spirit possession. Spirit possession is an integral part of the healing rituals of the TAC and females are more susceptible to being possessed by spirits than males. Based on various rules I argue that the healing ritual of the TAC is based on complementary rather than opposing musical roles of males and females.

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Amos Darkwa Asare is dedicated to the question: What are the political promises of these parties towards the creative arts and their level of implementation? He answers the question by analyzing the 2016 manifestos of the NDC and the NPP with a critical look at their political promises towards the development of the creative arts. The findings reveal that these political parties have great promises for the creative arts, however, they fail to enumerate when and how they are going to implement and finance such promises leaving them, ultimately, unfulfilled.