Two times Theodosia Okoh has been embroiled in controversies under Mahama governments

Theodosia Salome Okoh, the celebrated designer of Ghana’s national flag, occupies an indelible place in the country’s historical and cultural landscape. Yet, despite her monumental contributions to national identity and sports development, her legacy has repeatedly intersected with public controversy during the administrations of President John Dramani Mahama. Spanning a thirteen-year period, two distinct incidents-one involving the renaming of a national sports facility and the other concerning her portrait on the newly unveiled national currency-highlight the complexities and sensitivities inherent in how the state honors its historical figures.

The first major controversy emerged in July 2013, when the Accra Metropolitan Assembly announced plans to rename the National Hockey Stadium after the late President John Evans Atta Mills. The decision, spearheaded by then Accra Mayor Alfred Oko Vanderpuije, was intended to commemorate the first anniversary of the former president’s death. However, the move provoked immediate and profound disappointment from Okoh and her family. The stadium bore her name not merely as a symbolic gesture, but in recognition of her foundational role in the sport; she had personally acquired the land on which the facility was built and served for years as the chairperson of the Ghana Hockey Association. The public backlash against the erasure of her living legacy was swift, forcing a reversal of the decision. Acknowledging the misstep, President Mahama personally visited Okoh at her home to convey his apologies, a gesture that temporarily quelled the public outcry and restored her rightful recognition.

Thirteen years later, Okoh’s name has once again become the focal point of a national debate, this time triggered by the unveiling of the Ghana Cedi Heritage Series on November 12, 2026. Her portrait was selected to grace the GH¢50 denomination, a prestigious honor intended to celebrate prominent Ghanaians who have shaped the nation’s development. However, the tribute quickly unraveled into a dispute over identity and accuracy. Dr. Eddie Obeng, a Ghanaian academic who identified himself as Okoh’s nephew, took to LinkedIn to assert that the image on the banknote was not his aunt, but rather his mother, who is renowned as the country’s first female PhD holder. Expressing his astonishment at the error, Obeng wrote, “Imagine my surprise when I took a look and realised that they have used a picture of my mother instead – she’s famous for being the country’s first lady PhD. You can’t make it up.” The claim rapidly gained traction, casting a shadow over the central bank’s highly publicized currency launch.

The controversy inevitably spilled into the political arena, with Minority Leader Alexander Afenyo-Markin seizing upon the alleged mix-up to question the government’s competence. Afenyo-Markin argued that such a fundamental error in identifying a national icon on the country’s legal tender raised serious concerns about the administration’s attention to detail, particularly in matters pertaining to the national economy. In response to the mounting pressure, the Bank of Ghana issued a robust defense of its design process. The apex bank explained that the portrait was not a single photograph but a carefully crafted composite derived from three authentic images of Okoh—two from her younger years and one taken later in life. According to the Bank, this artistic synthesis was intended to present her as a mature woman while preserving her distinct family resemblance. To address the family’s concerns directly, the Bank stated it is actively engaging with Okoh’s relatives to explain the technical and artistic processes involved in creating the portrait.

These recurring controversies underscore a broader institutional challenge in the curation and commemoration of national heritage. Whether through the hasty renaming of a facility or the disputed artistic rendering of a portrait on the national currency, the incidents reveal a recurring gap in the consultation and verification processes that should accompany state-sponsored tributes. Honoring a figure of Theodosia Okoh’s stature requires more than just good intentions; it demands meticulous historical accuracy and deep, respectful engagement with the families who guard these legacies. As Ghana continues to navigate the delicate task of memorializing its pioneers on its currency and public infrastructure, the lessons from these two episodes must serve as a reminder that the preservation of history is a precise science, not an afterthought.

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