Should Ghana give Daddy Lumba a state burial?

The death of Highlife legend Charles Kwadwo Fosu, popularly known as Daddy Lumba, has ignited a profound national conversation—one that goes far beyond funeral arrangements. It has become a moment of cultural reflection, challenging Ghana to reconsider how it acknowledges the contributions of non-political heroes.

From Accra to the diaspora, a powerful question now echoes:
“What does this moment reveal about Ghana’s values?”

A Turning Point for National Recognition

The call for a state burial by former Vice President Dr. Mahamudu Bawumia has brought this issue into the spotlight, pushing Ghana to re-evaluate how national honours are bestowed. The discussion isn’t simply about whether Lumba deserves a state burial, but what that decision would say about the country’s priorities.

Highlife music—a blend of traditional Ghanaian rhythms with Western influences like jazz and brass bands—has long been a defining element of Ghana’s cultural identity. Daddy Lumba wasn’t just a musician; he was a musical institution, and for many, his death feels like the end of an era.

The Case for a State Funeral

Lumba’s career spanned over four decades, with more than 30 albums and 200 songs to his name—an extraordinary achievement even by African standards. His music told the story of Ghana: its love, struggles, spirituality, and triumphs.

His songs, almost entirely in Twi, became cultural touchstones both locally and internationally. A recent highlight was his track “Mpempem Do Me”, which appeared on King Charles III’s Commonwealth Day Playlist on Apple Music—placing him in the ranks of Beyoncé and Bob Marley.

Leaders across the political and entertainment spectrum have paid glowing tributes:

• John Mahama described his work as the “soundtrack to our lives.”
• Nana Akufo-Addo called him “a pantheon among musical greats.”
• The BBC quoted a Ghanaian cultural figure who called Lumba “the greatest from Ghana in the last 100 years.”

A state funeral, therefore, would not just be a farewell. It would be a public affirmation of cultural value, declaring that artistic contributions matter just as much as political or military service.

A Question of Fairness

But this call isn’t without controversy.

Critics point to highlife legends like Nana Ampadu and Jewel Ackah, who received state-assisted, not state, funerals—highlighting a fine but important distinction. State-assisted funerals offer limited government support without the full honours of a state burial.

Awarding Daddy Lumba a state burial, some argue, would be an unspoken devaluation of those artists’ legacies.

This exposes a deeper issue: Ghana lacks a clearly defined national policy on cultural honours. Decisions are often influenced by political connections, public emotion, or timing—rather than a transparent, merit-based system. Lumba’s supporters note his close ties with the New Patriotic Party (NPP), particularly through campaign songs like “Nana Yɛ Winner.”

While this may not be the official reason, perceptions matter. If political affiliations influence who receives national recognition, it undermines the integrity of the entire process.

The Human Side of a Legend

Beyond policy debates, Daddy Lumba’s passing is deeply personal for many Ghanaians. Celebrities and fans alike have shared emotional tributes.

Media personality Serwaa Amihere said: “I am heartbroken and sad because a friend has passed. RIP to the legend, Daddy Lumba.”

Rapper Sarkodie confessed that he had been struggling to process the news:
“Only if I had the words to express how I’ve been feeling since early this morning, but I don’t.”

Lumba’s music connected across generations. Whether controversial, soulful, or prophetic, his songs mirrored real life. Tracks like “Aben Wo Ha”—with its playful but daring lyrics—proved he could provoke, entertain, and inspire in equal measure.

Learning from the World

How other countries honour cultural icons may offer Ghana a useful roadmap.

• In the U.S., state funerals are reserved for presidents and a select few, while cultural giants like Michael Jackson receive large public tributes organized privately.
• In the UK, even Princess Diana’s funeral was ceremonial, not a full state funeral, despite its global scale.
• Globally, universities like Yale, Harvard, and NYU have introduced courses on artists like Beyoncé and Taylor Swift, recognizing them as cultural figures worthy of academic study.

This shift shows that cultural impact is now being recognized as part of national identity, not just entertainment.

Time for a New Framework

Rather than debating on a case-by-case basis, Ghana could establish a tiered honours system:

• A National Cultural Honour for artists, musicians, and creatives who have shaped the nation’s identity.
• This could include state-sponsored tribute concerts, national awards, or government-funded legacy foundations in their name.
• A Daddy Lumba Museum of Highlife Music, for instance, could serve both as a cultural archive and an educational hub for future musicians.

As cultural critic Kwame Sarpong puts it:
“Lumba’s music isn’t just about him; it’s about us. His story is Ghana’s story. A museum would validate that.”

Curricula in music schools could also incorporate Lumba’s unique style and lyrical storytelling, preserving not only his music but his method and philosophy for generations.

A Defining Moment

The decision surrounding Daddy Lumba’s funeral is more than ceremonial—it’s a test of Ghana’s values. Will the nation recognize artistic excellence with the same reverence it gives political service? Will it create a fair, lasting system to honour those who shape its cultural soul?

This is more than mourning a legend. It’s a chance for Ghana to affirm that its cultural identity matters, and that the people who shape it deserve lasting honour.

What Ghana does next will not only define Lumba’s legacy—it will echo through generations.