By Kwabena Asomaning(Goldsmith/PhD candidate)
Accra, Feb. 24, GNA — Ghana’s gold jewellery craftsmanship, rooted in centuries of indigenous knowledge and cultural identity, is at a critical turning point.
With over a millennium of goldsmithing traditions embedded in the soul of communities across the country, concerns are growing that the very heritage that once defined Ghana’s ornamental identity, is gradually fading, even as opportunities for gold value addition have never been greater.
A Legacy Spanning Generations
For more than a thousand years, gold smithing and design have shaped Ghana’s cultural, economic and artistic identity. Indigenous fabrication techniques, passed from master craftsmen to apprentices, created intricate designs that reflected the rich heritage of Akan and Ga traditions.
Bridal ornaments, royal regalia and ceremonial jewellery became not only symbols of wealth, but also markers of identity, authority and continuity. Towns such as Nungua, La, Teshie, Adabraka and Asafo in the Greater Accra Region, as well as Manhyia Ahenboboano, Asante Newtown and Dichemso in Kumasi, and ancient towns in the Central and Western Regions, evolved into vibrant jewellery-making hubs.
Within these communities, skills were transferred from one generation to the next, sustaining a thriving ecosystem of artisans, apprentices and gold traders.
Post-Independence Vision and Institutional Support
At independence, Dr Kwame Nkrumah recognised the strategic importance of gold and the potential of local craftsmanship. His vision encouraged higher institutions to align academic programmes with national development priorities, including gold value addition.
The Kwame Nkrumah University of Science and Technology (KNUST), Ghana’s premier technology university, introduced and strengthened programmes such as Chemistry, Geological Engineering, Metallurgical Engineering and Metal Product Design, with a focus on jewellery.
The KNUST Jewellery programme consistently produced trained jewellers while fostering periodic collaborations with master craftsmen, including the late Nana Boakye of Dichemso, Kumasi, whose influence bridged academia and traditional practice.
Graduates established jewellery shops within the established hubs and across the country, while others filled roles in the jewellery workshops of the former Precious Minerals Marketing Company (PMMC).
The Golden Era of Production
Between the late 1970s and the late 1990s, Ghana experienced increased jewellery production, driven by a strong human resource base from both traditional hubs and university-trained professionals.
Design approaches were deeply heritage-based, reflecting indigenous motifs and fabrication techniques. Recycled gold and locally mined gold served as primary sources of raw material, with master craftsmen and graduate jewellers maintaining karatage standards and quality control.
This era cemented Ghana’s reputation for culturally rich, handcrafted gold jewellery.
The Millennium Shift
The turn of the millennium brought significant changes. Indigenous gold production surged and global gold prices rose sharply. More individuals moved into small-scale mining, sometimes at the expense of cocoa farms and environmental sustainability.
Gold trading and export became increasingly profitable. Around the same time, the importation of machine-made jewellery from Asia and Europe intensified. As imported pieces became more accessible, local jewellery production began to decline.
Many jewellery workshops experienced reduced patronage. Some shops transitioned from fabrication to gold trading, while others closed down entirely. Apprenticeship intake dropped, and the once vibrant hubs gradually weakened.
Calls for Revival
By 2020, industry leaders and researchers were calling for urgent measures to revive the jewellery sector. Proposals included the establishment of a Jewellery Council to regulate, promote and protect the industry.
The objectives were clear: resuscitate a declining sector, boost employment, safeguard cultural heritage, actualise gold value addition policies and protect royal regalia from foreign design influences that dilute indigenous symbolism.
Policy Gaps and Industry Concerns
In 2025, the emergence of the Ghana Gold Board (Goldbod) was seen as an opportunity to strengthen regulation and promote value addition.
However, some industry stakeholders argue that insufficient emphasis has been placed on establishing critical support systems such as a design resource centre, tools and materials hubs, and structured industry support frameworks. Instead, concerns have been raised over the refurbishment of a gold jewellery subsidiary perceived to compete directly with the private jewellery sector it is meant to regulate and support.
A Paradox of Plenty
Today, an ounce of gold sells at over 5,100 dollars. Ghana remains Africa’s leading gold producer. The country boasts one of the largest pools of trained jewellery professionals on the continent, with nearly three universities running GTEC-approved jewellery programmes.
Yet, despite these advantages, stakeholders say Ghana appears to be missing strategic steps in gold value addition.
Machine-made jewellery imports continue to rise. Apprenticeship numbers remain low. Some jewellery benches have been abandoned, and a number of graduate jewellers have transitioned into other professions.
Heritage at Risk
After centuries of craftsmanship, metaphorically described as “age 1111”, Ghana’s indigenous jewellery fabrication techniques and heritage-based design philosophies are increasingly endangered.
Industry players are urging traditional hubs such as Nungua, La, Teshie, Adabraka, Asafo, Kumasi Asante Newtown, Manhyia Ahenboboano, Dichemso and Alabar to reclaim their historic prominence.
They argue that revitalising these centres through coordinated policy, industry collaboration and structured support systems could reignite employment, preserve cultural heritage and ensure that Ghana fully benefits from gold value addition.
As gold prices soar and global markets demand authenticity and traceability, stakeholders maintain that the time to act is now, before a heritage centuries in the making fades into history.
GNA
24 Feb. 2026
Edited by Samuel Osei-Frempong