Ghana Elevates Artists to Diplomats.

Staff Writer
Sep 20
3 min read

by artweb

Zimbabwean artist Richard Mudariki with Ghanaian artist Ibrahim Mahama in London (image courtesy of artHARARE)

The Government of Ghana recently announced the granting of diplomatic passports to five leading cultural figures - Wode Maya, Ibrahim Mahama, Rocky Dawuni, Anita Erskine, and entrepreneur Dentaa Amoateng - in recognition of their contributions to cultural diplomacy, unity, and trade. This unprecedented gesture positions artists and cultural workers as vital agents of national representation, sending a powerful signal that creative practice is not merely symbolic, but a tangible force for shaping global perception.

For the visual arts world, the inclusion of Ibrahim Mahama, a celebrated contemporary artist known for his monumental installations, is particularly significant. It validates the idea that artists are not just commentators on society, but also architects of international dialogue and soft power.

This development resonates strongly with the vision behind the ArtWorld Passport, an artistic project conceived by Zimbabwean artist Richard Mudariki. The ArtWorld Passport explores how art and artists transcend borders, raising questions of access, movement, and cultural diplomacy in a globalised but divided world. Ghana’s recognition of its artists as cultural ambassadors affirms the core premise of Mudariki’s artistic project: that art is a form of mobility, a tool for building bridges, and a passport in itself. It offers evidence that what has been imagined conceptually is beginning to be realised practically in state policy.

For Zimbabwe, this moment holds lessons. The country has a rich history of artists carrying its image into the world, often under difficult circumstances. Musicians like Jah Prayzah have recently faced travel restrictions that curtailed opportunities to project Zimbabwe’s cultural vitality globally, and yet others have found ways to elevate the nation’s presence abroad. At Expo 2025 in Osaka, Japan, an event attended by the head of state, Zimbabwe’s cultural showcase provided a glimpse of how the arts could play a more central role in shaping narratives beyond the country’s borders. Similarly, Zimbabwean artists have been visible at the world’s foremost platforms: the Venice Biennale has hosted multiple Zimbabwean pavilions since 2011, with this year’s edition even drawing a visit from the country’s Vice President, Kembo Mohadi. That gesture, though symbolic, may signal a growing recognition of the arts as part of Zimbabwe’s diplomatic toolkit.

The examples are numerous. Sculptor Dominic Benhura, whose stone works are celebrated internationally, has been honoured with a commemorative day in the United States, an acknowledgment of his role in global cultural life. Zimbabwean visual artists continue to feature prominently in important international museum exhibitions and biennales, representing the nation in ways that extend beyond official diplomacy. These instances demonstrate that artists have long been performing the work of cultural ambassadorship, even if not formally recognised as such.

It may be time to redefine who qualifies as an “ambassador.” While career diplomats and political envoys play their part, artists, musicians, writers, and cultural entrepreneurs are often the first point of contact through which the world engages with Zimbabwe. They shape perceptions, generate goodwill, and inspire curiosity. Ghana’s move to elevate cultural figures to the rank of diplomatic representatives shows what is possible when states embrace this broader vision of diplomacy. For Zimbabwe, recognising and supporting its artists as global ambassadors could help build a more nuanced, positive narrative of the country, one rooted in creativity, resilience, and the power of culture to connect people across borders.

Ghana Elevates Artists to Diplomats.

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