FDA Warns Public Against Use of Cement in Bean Preservation
A wave of concern swept across Ghana after a viral video surfaced on social media, allegedly showing the use of a white powdery substance, suspected to be cement, to preserve beans. The footage quickly drew public attention, prompting the Food and Drug Authority (FDA) to issue a firm warning on February 16, 2026. In its press statement, the FDA categorically dismissed the preservation method depicted in the video, stating that it is neither approved nor practiced in Ghana. The authority clarified that the procedure, featuring beans treated with what appeared to be concrete cement, does not align with any food safety or agricultural standards endorsed by Ghana’s Plant Protection and Regulation Services Directorate (PPRSD) of the Ministry of Food and Agriculture. Delving deeper, the FDA revealed that a review of the video suggested the language spoken was not Ghanaian. A translation of the narration exposed a series of unsafe and unhygienic handling practices, including the direct application of chemicals with bare hands and the absence of protective clothing. The video also showed an individual standing directly on a heap of beans without any protective gear, an image that alarmed food safety officials. The FDA stressed that using cement for food preservation is strictly prohibited under Ghana’s regulations. “The FDA, together with its stakeholder institutions, does not approve of food preservation practices that compromise food safety and public health,” the statement emphasized. The authority also condemned poor hygiene and the use of unapproved substances as violations of national food safety standards. Reassuring the public, the FDA made it clear that such hazardous practices are not encouraged or permitted in Ghana. The authority urged farm produce aggregators and retailers to avoid unsafe preservation methods and reminded consumers to remain vigilant. Anyone witnessing suspicious food handling or preservation practices was encouraged to report them to the FDA for swift investigation and possible sanctions. Through this decisive response, the FDA reaffirmed its commitment to protecting public health and maintaining the highest standards of food safety across the country. Source: Apexnewsgh.com
U.S. Embassy in Accra Opens Over 1,000 Visa Appointment Slots
A wave of excitement swept through Ghana’s travel community on Tuesday, February 17, 2026, as the U.S. Embassy in Accra made a major announcement: more than 1,000 non-immigrant visa appointment slots were now available for booking, offering prospective travellers the rare chance to secure interview dates within the next week. In a notice shared on Facebook, the embassy revealed that a significant number of B1/B2 visa appointments, designed for business and tourism, were open. Officials encouraged applicants to move quickly and take advantage of the newly available slots. The move, embassy representatives explained, was part of broader preparations by the United States to facilitate increased travel ahead of the 2026 FIFA World Cup, which it will co-host alongside Mexico and Canada. “There are more than 1,000 B1/B2 visa appointment slots available in the next week – one of those could be yours,” the embassy’s notice read. Those who already had appointments scheduled for later in the year were advised to reschedule for an earlier date if it suited their plans. “Book a new appointment – or move up one scheduled for later in the year – we want to interview you now!” the statement urged. Prospective applicants were directed to the Embassy’s official visa page for comprehensive details on application requirements and the booking process. This swift move by the U.S. Embassy is expected to ease frustrations among would-be travellers who, in recent months, have endured long waits for interview appointments. For many, the sudden availability of slots represents a welcome opportunity to pursue business, tourism, and World Cup dreams in the United States. Source: Apexnewsgh.com
COCOBOD Leaders Slash Salaries Amid Cocoa Sector Liquidity Crunch
On Monday, February 16, 2026, a decisive announcement echoed through the corridors of the Ghana Cocoa Board (COCOBOD) headquarters. In a bold response to persistent liquidity challenges in the cocoa sector, the executive management and senior staff declared immediate salary cuts that would span the remainder of the 2025/26 crop year. According to a formal statement signed by Dr Randy Abbey, Chief Executive of COCOBOD, executive management would take a 20% reduction in their pay, while senior staff would see their salaries trimmed by 10%. The move, Dr. Abbey explained, was part of a comprehensive set of cost-saving measures designed to steer the organisation through current financial headwinds. These salary cuts are just one aspect of a wider strategy. COCOBOD is also tightening its belt in procurement and initiating a staff rationalisation exercise—each step aimed at slashing overall expenditure and ensuring that costs are better aligned with fluctuating revenues. Behind these tough choices lies a singular goal: safeguarding the sustainability of Ghana’s cocoa industry. COCOBOD’s leadership underscored the importance of maintaining operational efficiency and protecting the livelihoods of cocoa farmers, even as economic pressures mount. As the new measures take effect, the message from the top is clear—shared sacrifice and prudent management are essential for navigating the sector’s challenges and securing a stable future for Ghana’s cocoa industry. Source: Apexnewsgh.com
The Minister’s Call: Fugu and Kente as Symbols of Unity
On Wednesday morning, the vibrant energy at the Ministry of Trade, Agribusiness and Industry was unmistakable. Journalists gathered in anticipation as Abla Dzifa Gomashie, the Minister for Tourism, Culture, and Creative Arts, stepped forward with a message that resonated far beyond the walls of the conference room. Her voice carried conviction as she addressed the crowd, urging all Ghanaians to embrace fugu and kente, not as mere ethnic symbols, but as cherished national treasures. Both textiles, she reminded everyone, have been recognised by UNESCO as elements of cultural heritage, a source of pride not just for specific regions, but for the entire nation. The minister’s passionate appeal came at a pivotal moment. The government was ramping up efforts to popularise the wearing of fugu on Wednesdays, a campaign designed to boost local textile patronage and invigorate the domestic industry. The initiative had already begun to capture public imagination, especially after President John Dramani Mahama’s recent appearance in a fugu during his state visit to Zambia. Speaking on the sidelines of a meeting between the Smock Weavers’ Association and ministry officials, Ms. Gomashie explained the significance of “Fugu Wednesday.” She noted with satisfaction how Members of Parliament and other prominent figures had joined the movement, turning the traditional garment into a symbol of national pride. But her message was about more than clothing. “It is not about tribe. It is not about a language. It is about Ghana,” she declared. “For this fugu and kente that have been listed on UNESCO sites as a heritage product that we are offering the world, it should be a rallying round of the red, gold, green, and the black star.” She called on citizens to look beyond regional or ethnic lines and see fugu and kente as enduring expressions of Ghana’s collective identity. “It is not about any particular tribe. It is about what it is that identifies us as Ghanaians. I am using your platform to thank all the people who bought into the idea and wore fugu on Wednesday. Come Wednesday, let’s be even bigger,” she encouraged. With her words, the minister painted a vision of unity, one where every stitch of fugu and kente tells the story of a nation woven together by heritage, pride, and hope for the future. Source: Apexnewsgh.com
MTN Ghana Foundation Brings Valentine’s Day Blood Drive to Upper East Region Schools
In the spirit of Valentine’s Day, MTN Ghana Foundation extended a life-saving gesture to the Upper East Region by organizing a large-scale blood donation exercise aimed at replenishing the Bolgatanga Regional Hospital blood bank. The initiative, part of the Foundation’s annual Valentine activities, drew enthusiastic participation from students at Bolgatanga Senior High, Zamse Technical, and Bolgatanga Technical Senior High schools. Speaking to the media during the event, Martin Yaw Kumobah, Territory Sales Controller for the Upper East Region, explained the Foundation’s motivation. “The MTN Ghana Blood Donation Exercise isn’t new; we’ve been doing this for years across the country. This year, in the Upper East, we’re targeting about 400 pounds of blood to support the regional blood bank. The best love we can show humanity is by donating blood to save lives. You never know who might benefit; it could be you or someone close to you.” The blood drive was conducted simultaneously across the three schools, with students lining up to contribute and share in the cause. Kumobah emphasized that the campaign is a nationwide effort, with parallel exercises happening in all regional capitals. Students who participated echoed the importance of donating blood for the good of others, noting the unpredictability of emergencies and the need for a well-stocked blood bank to save lives in critical moments. MTN Ghana Foundation’s initiative not only celebrated the month of love but also fostered community spirit and social responsibility among the region’s youth, reinforcing the message that a single act of kindness, like donating blood, can make a difference in countless lives. Source: Apexnewsgh.com
Multiple Vulnerabilities on the Rise Despite Decline in Severe Food Insecurity
While Ghana has recorded a slight national decrease in severe food insecurity, from 5.1% in the second quarter of 2025 to 4.6% in the third quarter, the latest data from the Ghana Statistical Service (GSS) reveals a troubling surge in the number of citizens facing compound vulnerabilities. According to the GSS, 227,519 Ghanaians were found to be simultaneously food insecure, multidimensionally poor, and unemployed in Q3 2025. This marks an increase of 19,455 people compared to the previous quarter, reflecting a 9.4% rise in just three months. The number of those classified as only food insecure also hit a high of over 4 million in Q2, underscoring the persistent challenge of ensuring consistent food access across the country. The report draws attention to enduring gender and geographic disparities. Among rural female-headed households, severe food insecurity peaked at 8.1%, highlighting the disproportionate impact on women living in rural communities. These trends come as Ghana intensifies its push towards the 2030 Sustainable Development Goals, particularly the target to achieve Zero Hunger. Despite improvements in macroeconomic indicators, the benefits are being unevenly distributed, leaving many at risk of falling through the cracks. Analysts caution that unless targeted policy interventions are implemented, the rising number of households experiencing overlapping vulnerabilities could threaten national gains in food security, poverty alleviation, and decent work. At a press briefing in Accra, Government Statistician Dr. Alhassan Iddrisu urged policymakers to rethink one-size-fits-all approaches and prioritize tailored solutions for high-burden regions. “Target high-burden regions with tailored food security, agricultural, and market-access solutions instead of one-size-fits-all approaches,” he advised, emphasizing the urgent need for more focused and responsive interventions. Source: Apexnewsgh.com
Gurensi Clay Pots: Indigenous Science, Art, and Sustainable Technology of Northern Ghana
Long before electricity reached the villages of Northern Ghana, long before refrigerators hummed in kitchens, communities discovered a simple, sustainable, and ingenious way to keep water refreshingly cool: the clay pot. Among the Gurensi people, as with other northern communities, the clay pot was not only a household necessity; it was a symbol of practical wisdom, scientific observation, and deep knowledge of the natural environment. It demonstrates how technology does not always need circuits, motors, or complex machinery. Sometimes, it is about listening to the earth, understanding its properties, and working in harmony with nature. These clay vessels are crafted from local earth, carefully selected by the potters for its particular qualities. In many cases, the clay is mixed with kaolin, a fine white clay that lends the vessel strength while retaining microscopic porosity. This porosity is the secret behind the clay pot’s cooling ability. Even after firing in open pits or small kilns, the walls of the pot remain slightly porous, capable of allowing tiny amounts of water to seep through to the surface. When These droplets reach the outer surface of the pot, they begin to evaporate, carrying away heat and leaving the remaining water inside noticeably cooler. For the Gurensi, the creation of these pots is a craft learned over generations, passed from mother to daughter, aunt to niece, and sometimes from elder potters to apprentices. There are no written manuals, no textbooks; the knowledge is tacit, embedded in gestures, rhythms, and careful observation. The potter kneads the clay, feeling its texture and consistency, shaping the vessel by hand using traditional techniques such as coiling or pinching. The form is guided by both utility and aesthetic preference. Some pots are simple and functional, designed for storing and cooling water. Others are decorated with incised patterns, geometric motifs, or symbolic shapes reflecting personal taste, family identity, and cultural expression. The cooling process itself is a marvel of indigenous science. As water slowly seeps through the walls, it evaporates into the air. This phase change—from liquid to vapor—requires energy, and this energy is drawn from the water inside the pot and the surrounding clay walls. The effect is immediate: the water temperature drops, providing refreshment that seems almost magical to those unfamiliar with the principle. In essence, the clay pot operates as a natural refrigerator, a technology powered entirely by the sun, air, and earth. The kaolin mixed into the clay enhances this process. Its mineral structure makes the walls fine-grained and durable, yet still porous enough to allow controlled evaporation. The result is a vessel that cools effectively while remaining long-lasting and resilient under daily use. The “cold taste” of water drawn from a clay pot is not magic—it is physics in action, observed and applied by generations of Gurensi people long before formal science documented it. In a region where the dry season brings soaring temperatures, often exceeding forty degrees Celsius, the simple clay pot is a lifesaver. It provides hydration, preserves health, and supports the demanding daily routines of farming, herding, and household work. Its value is both practical and cultural, connecting people to their environment in an intimate, interactive way. Crafting a clay pot requires more than technical skill; it demands patience, intuition, and a deep understanding of natural materials. The potter must know when the clay has reached the right consistency, how thick the walls should be, and how to shape the opening for optimal use. During firing, the potter controls the heat by adjusting the placement of wood, grass, and other combustible materials, ensuring that the vessel does not crack and that the kaolin’s properties are preserved. Firing is as much an art as a science, requiring keen observation, timing, and experience. The reddish-brown colour that emerges is a signature of the firing process, indicating the pot is ready for everyday use. Beyond their scientific function, these clay vessels carry deep cultural significance. They are central to household life and communal activities. In many Gurensi homes, clay pots stand in the compound, shaded under a tree or placed on a raised platform to keep the water clean. They are used during communal gatherings, ceremonies, and festivals, serving both practical and symbolic roles. A well-made pot signals skill, care, and attentiveness to household needs, while also representing the continuity of cultural knowledge and craftsmanship. Through such objects, the everyday lives of the Gurensi are linked to generations past, connecting present households to their ancestors in an unbroken chain of practice and understanding. The artistry of the clay pot is also significant. Many pots are decorated with simple incised lines, grooves, or textured patterns. These designs are more than decorative—they often carry symbolic meaning, reflecting local cosmologies, agricultural cycles, or community identity. Women, who are traditionally responsible for decoration and finishing, use these designs to express creativity, communicate status, and reinforce social norms. The decorated vessel becomes a living canvas, a medium through which cultural narratives are inscribed onto functional objects. The clay pot is also an example of sustainable technology. Unlike modern appliances, it requires no electricity, no refrigeration, and no synthetic materials. When a pot eventually breaks or reaches the end of its life, it returns to the earth without polluting it. Its production and use exemplify a closed-loop system, one that minimizes waste and harmonizes with the natural environment. In this respect, the clay pot offers lessons for contemporary discussions on sustainability, climate adaptation, and low-impact technologies. It is an object that embodies ecological intelligence embedded in cultural practice. The process of using the pot is equally instructive. Water is poured in, allowed to settle, and gradually cooled by evaporation. There is a rhythm to its use, a daily interaction that teaches observation, patience, and respect for natural processes. Children grow up understanding how the pot works, not through formal instruction but by participating in its care and use. They learn that simple materials can achieve complex results, that nature can be a partner in human comfort, and that technology can
Apexnewsgh Honored as 2025 Best Media Advocacy Institution in Upper East Region
At a special awards ceremony organized by the Narcotics Control Commission (NACOC) in Ghana’s Upper East Region, Mr. Ngamegbulam Chidozie Stephen and his media platform, Apexnewsgh, were recognized as the “2025 Best Media Support and Advocacy Institution in Prevention of Illicit Drug Abuse.” The accolade was awarded in acknowledgment of the platform’s impactful advocacy work, particularly through Ngamegbulam’s recent documentary titled “Swallowed by Drugs,” which was sponsored by Endswell Pharmacy Limited, to explore the growing issue of youth drug abuse in the region and beyond. Mr. Ngamegbulam expressed his surprise and gratitude upon receiving the award. Recalling the moment, he shared, “I was shocked when I received a call from the NACOC media department. When I arrived, I was told that my story had been selected for an award. I was speechless.” He expressed satisfaction at seeing other media outlets in the region begin to address illicit drug issues more seriously following the airing of his documentary. “I was happy to see some of the media platforms engaging the same resource persons I featured in my documentary. That, to me, is the way forward. It shows that Apexnewsgh, in its own way, is making a meaningful impact.” The official citation from NACOC commended Apexnewsgh for its outstanding contributions to public health and advocacy, stating: “In recognition of your outstanding contributions to public health and advocacy activities on prevention of drug abuse, Apexnewsgh is commended for its tireless efforts in educating the public, reducing stigma, and shining a light on the dangers of substance abuse. We extend our sincere appreciation to Apexnewsgh for elevating the national dialogue on drug abuse, providing vital information on recovery, and fostering a community-wide commitment to a drug-free future through its latest video documentary, ‘Swallowed by Drugs.’ We appreciate your exemplary commitment to social responsibility and honor you for using your platform to drive awareness, share stories of hope, and actively combat the spread of drug addiction.” The event drew prominent security officials from the Immigration Service, CEPS, Police, and Military, as well as representatives from the Food and Drugs Authority (FDA), Upper East Youth Association, and Municipal and District Chief Executives (MDCEs) from Bongo, Kassena Nankana, and Bolgatanga. Delivering a speech on behalf of the Upper East Regional authorities, the Bolgatanga MCE congratulated awardees for their dedication and hard work in the fight against illicit drug abuse. He also expressed concern over the alarming rate of youth drug addiction, emphasizing its negative impact on society. Commander DCOI Mr. Felix Bosopem Agyamang, Upper East Regional Commander of the Ghana Immigration Service and chairman of the ceremony, highlighted the strong collaboration between the Narcotics Control Commission and the Immigration Service at the region’s borders, particularly regarding migration and related issues. Standing before the assembled crowd, SNCO Saeed Abdul-Aziz, Upper East Regional Commander of NACOC, delivered a speech that moved hearts and minds. His words echoed the spirit of the evening: “Tonight is not only a moment of celebration, but also a time of reflection, a time to appreciate the teamwork, discipline, and sacrifices made by all officers and partners in the fight against illicit drugs.” He paused to acknowledge the presence of distinguished guests, community leaders, agency partners, and fellow officers, whose support had been pivotal throughout the year. “We are deeply grateful to you all for your influential support. This demonstrates the strong collaboration and shared commitment we have towards impacting our communities and protecting the future of our youth.” Apexnewsgh’s recognition highlights the crucial role of the media in shaping public health discourse and mobilizing communities in the fight against drug abuse. Source: Apexnewsgh.com
Modern Day Social Media Slavery: The Monetization Dilemma Facing African Content Creators
Ngamegbulam Chidozie Stephen Email: apexnewsgh@gmail.com In the digital age, social media has become a global equalizer, bridging continents, cultures, and communities. Platforms like Facebook, TikTok, Instagram, and YouTube have revolutionized how we interact, share stories, and even build livelihoods. Yet, beneath this veneer of democratization, a troubling disparity persists, one that many African content creators and digital entrepreneurs are finding increasingly difficult to ignore. The question that lingers: Why are African creators still largely excluded from direct monetization opportunities offered by these very platforms? Recently, media personality Ngamegbulam Chidozie Stephen voiced his concerns about what he describes as “modern-day social media slavery,” a term that resonates deeply with many across the continent. His frustration and that of countless others stems from the ongoing marginalization of African voices in the digital economy, particularly when it comes to earning money from content creation. Africa’s social media landscape is nothing short of remarkable. TikTok, for example, boasts over 189 million users across the continent, an impressive 11.9% of its global audience. The surge is most notable among Gen Z, with Egypt and Nigeria leading in user numbers at 32.9 million and 27.4 million, respectively, closely followed by South Africa’s 17.5 million. Facebook’s dominance is even more pronounced, with between 290 and 377 million African users as of 2025-2026, representing a staggering 82% market share among all social platforms. Instagram and YouTube also enjoy robust growth, driven by widespread smartphone adoption and improving internet infrastructure. YouTube alone counts roughly 180 million African users, with Egypt, Nigeria, and South Africa topping the charts. These statistics highlight Africa’s immense contribution to the global digital community. The continent’s youth, in particular, are not just passive consumers; they are active creators, trendsetters, and influencers. Yet, despite their numbers and creativity, a significant barrier remains: the inability to directly monetize their creativity on major platforms like TikTok. For millions of African content creators, the lack of direct monetization options is not just an inconvenience; it’s a structural disadvantage. TikTok, in particular, has come under scrutiny for not enabling direct monetization for African users, despite the platform’s rapid growth and deep penetration across the continent. While some African countries have recently gained access to Facebook’s monetization features, TikTok’s policies still leave many creators in the lurch. This exclusion means that, for now, the only way for an African TikTok creator to earn from their content is through complex workarounds. Typically, creators must rely on intermediaries based in the US or Europe, who register accounts, enable monetization, and then share the proceeds with their African partners. This not only complicates the process but also perpetuates a dependence on Western gatekeepers, a scenario that many, including Mr. Stephen, liken to a new form of digital servitude. The frustration is palpable, especially when considering the influence of African content creators on global trends. Figures like Mark Angel, Itsyaboymaina, Carter Efe, Ilyas El Maliki, Wode Maya, Mihlali Ndamase, Aisha Yesufu, and others have amassed millions of followers and generated content that resonates far beyond the continent’s borders. They are proof that African creativity is not only vibrant but also commercially viable. Yet, these same heroes are now being called upon to leverage their influence for change. As Mr. Ngamegbulam passionately argues, they have a responsibility, not just to themselves, but to the broader African creator community, to advocate for policy reforms that will allow direct monetization for all African users. Their collective voices could pressure tech giants to recognize Africa’s value not just as a market, but as an essential part of the global creative economy. Describing the situation as “modern-day slavery” is not mere hyperbole. The current dynamics effectively relegate African creators to second-class status in the digital world. While creators in the West enjoy seamless access to monetization features, sponsorships, and brand partnerships, their African counterparts are forced to navigate a maze of bureaucratic hurdles and rely on international connections just to earn a share of the same opportunities. This is particularly egregious when considering that Africa’s youth are among the most engaged and dynamic users of these platforms. The West reaps the benefits, both in terms of advertising revenue and cultural capital, while Africans are left scrambling for scraps. The exclusion is not only economically damaging, but it also sends a troubling message about whose voices and stories are considered valuable in the digital age. For many young Africans, social media represents more than just entertainment; it’s a lifeline to economic empowerment, self-expression, and global visibility. The inability to monetize content directly stifles entrepreneurship, discourages innovation, and perpetuates existing inequalities. It also means that Africa’s digital economy is not reaching its full potential, with billions of potential revenue lost to foreign intermediaries. Moreover, the absence of direct monetization deepens the digital divide between Africa and the rest of the world. It prevents local creators from reinvesting in their communities, building sustainable businesses, or even supporting themselves and their families. This is especially critical given the continent’s burgeoning youth population and high unemployment rates, conditions that make the promise of digital entrepreneurship all the more appealing. The reasons behind this exclusion are complex. Some platforms cite issues like payment infrastructure, regulatory challenges, or concerns about fraud. Others may simply be slow to adapt their policies to regions outside their primary markets. But whatever the rationale, the effect is the same: African creators are systematically denied the same opportunities afforded to their peers elsewhere in the world. This disparity is all the more galling given the relentless growth of social media usage in Africa. The continent is one of the fastest-growing markets for platforms like TikTok, Instagram, and YouTube. Its users are young, tech-savvy, and eager to engage. They create viral trends, generate massive view counts, and shape conversations on a global scale. The data is clear: Africa is not just a consumer market; it is a creative powerhouse. It is both ironic and troubling that, to monetize their creativity, African content creators must rely on Western infrastructure and intermediaries. This not
DVLA Reiterates Strict Guidelines for Use of DV Number Plates
The Driver and Vehicle Licensing Authority (DVLA) has issued a firm reminder on the correct use of DV number plates, emphasizing that these plates are strictly reserved for licensed car dealers and vehicle manufacturers and are not intended as a substitute for full vehicle registration. Stephen Attuh, Director of Communication at the DVLA, addressed the issue on the Citi Breakfast Show on Thursday, February 5, in response to increasing public confusion and misuse of DV plates on roads nationwide. He clarified that DV plates are designed for limited, temporary use, such as moving vehicles from a dealer’s lot for repairs, defect fixing, or test drives before final sale. Attuh highlighted a widespread misconception among motorists who believe DV plates can be used indefinitely, even after purchasing a vehicle. He stressed, “You are not required to have a DV plate on your vehicle so long as it is not for purposes of fixing a defect on it or test driving. Once the vehicle is sold to you and you are off the dealer’s facility, you are required by law to register the vehicle to be duly identified before it can be on our roads.” He attributed the growing misuse of DV plates to some car dealers who flout regulations, allowing buyers to use the plates unlawfully. Citing Regulation 23 of Legislative Instrument (LI) 2180, Mr. Attuh underscored that the rules governing trade licences are clear, and any breach is a violation of the law. “The DV plate has many limitations, and its use for ordinary driving is not permitted,” he reiterated. The DVLA’s renewed advisory seeks to curb unlawful practices and ensure that vehicles on Ghana’s roads are properly registered and identifiable, in line with existing legal requirements. Source: Apexnewsgh.com