Ghana GHS50 Note: Bank of Ghana Says the Woman on the Money Is Theodosia Okoh

The Bank of Ghana has responded to growing public confusion over the portrait on the new GHS50 banknote, insisting that the woman pictured is indeed Theodosia Salome Okoh, the designer of Ghana’s national flag. The central bank explained that the image was created as a composite from multiple photographs of Okoh, a common practice in banknote production. However, the bank acknowledged that artistic adjustments made during the process changed her appearance significantly—so much so that many Ghanaians now believe the portrait looks remarkably like her sister, Dr. Letitia Obeng.

According to the Bank of Ghana, the adjustments were made to meet banknote production and security requirements. One of the most noticeable changes was the replacement of Okoh’s familiar head-tie with a hairstyle that was common during the period in which she lived. The bank explained that this change, combined with the composite nature of the image, altered her appearance in ways that were not fully anticipated. The result is a portrait that, while technically based on Okoh, bears a strong resemblance to her sister rather than the national icon Ghanaians know.

For many Ghanaians, the explanation has not fully settled the matter. Theodosia Okoh is a beloved figure in Ghana’s history, and her image on a banknote is meant to honor her legacy as the woman who designed the flag that symbolizes the nation’s independence. Her signature head-tie was not just a personal style choice—it was part of how she was recognized and remembered. Replacing it with a different hairstyle, even for technical reasons, has made it harder for people to see her in the portrait. Critics argue that if the adjustments distorted the image so much that it resembles a different person, then the design process should be reconsidered.

The Bank of Ghana’s explanation also raises broader questions about how national heroes are represented on currency. Banknotes carry symbols of national pride and identity, and when a portrait is altered—even unintentionally—it can feel like a distortion of history. Supporters of the design point out that engraving and composite imaging always involve some level of interpretation, and the bank’s transparency about the changes is a positive step. But for many, the resemblance to Dr. Obeng is not a minor detail—it is a sign that something went wrong in the process and that the final image does not truly reflect the woman it is meant to honor.

So, looking at both portraits, the question remains: should the design stay as it is, or should the Bank of Ghana bring back Theodosia Okoh’s signature head-tie? Keeping the design means accepting the bank’s explanation and moving forward, but it also means living with a portrait that many feel does not truly represent the woman it honors. Bringing back the head-tie would restore a recognizable feature of Okoh’s identity and likely reduce the confusion. For a nation that takes pride in its history and its heroes, the choice is about more than aesthetics—it is about respecting the legacy of a woman whose flag still flies high across Ghana.

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