‘Ibrahim Mahama sat by me at the hospital and that was healing by itself’ – Jane Naana

The Vice President of the Republic, Professor Naana Jane Opoku-Agyemang, has returned to Ghana in good health after spending some time abroad for medical treatment. Her return brings joy and relief to many Ghanaians who had been praying and hoping for her quick recovery.

Prof. Opoku-Agyemang arrived at the Kotoka International Airport on Thursday, 22nd May 2025, where she was warmly welcomed by President John Dramani Mahama, First Lady Lordina Mahama, senior government officials, and loved ones.

In a heartfelt speech at the airport’s Presidential Lounge, the Vice President expressed deep gratitude to God, her doctors, her family, and especially President Mahama for their support during her time of illness. She also gave special thanks to Mr. Ibrahim Mahama, brother of the President, for the personal care and kindness he showed her while she was being treated overseas.

“Your Presence Alone Was Healing”

Speaking with emotion, Prof. Opoku-Agyemang shared how Mr. Ibrahim Mahama supported her not only by making sure she had all the medical care she needed but also by simply being there.

“I want to thank all of you—your prayers, your good wishes. How can I thank you enough? I am very grateful. But I must single out, beyond family and friends, your brother Ibrahim Mahama. He spared no effort to ensure I had everything I needed,” she said.

“He also came to the hospital and sat by me, and that in itself was healing. So, my little boss, I am very grateful. I am very happy to be back, and there is so much we all have to do. I know that with our collective will, we will achieve much more for our country.”

Warm Welcome at Kotoka

The arrival of the Vice President was filled with smiles, hugs, and gratitude. President Mahama and the First Lady were present to personally receive her, showing the strong bond and unity among the nation’s leaders.

Also at the airport were the Chief of Staff, Julius Debrah; Vice President’s Chief of Staff, Alex Segbefia; the Presiding Bishop of the Methodist Church; and other senior officials and family members.

Many described the scene as “heartwarming,” noting how the presence of both political leaders and religious figures symbolized the unity of faith, politics, and community in moments of national importance.

A Period of Recovery, A Time for Reflection

Prof. Opoku-Agyemang had been away in the United Kingdom for several weeks, following her doctors’ advice to take medical leave and focus on her health. While specific details about her condition were not shared publicly, her team remained hopeful and thankful throughout her recovery journey.

Ghanaians from all walks of life—including religious groups, women’s groups, student associations, and political organisations—kept her in their thoughts and prayers during this period. Her safe return is seen by many as a sign of divine favour and strong resilience.

What Comes Next

Now that she is back, the Vice President is expected to resume her official duties. According to sources close to her office, she will begin meeting with various national stakeholders in the coming days.

Updates on her schedule will be shared soon, but her team has indicated that she is ready to get back to work and continue pushing forward with government policies, especially in the areas of education, women’s empowerment, and national unity—causes she has championed passionately over the years.

A Message of Hope

Prof. Opoku-Agyemang’s return is more than just the end of a medical leave—it is a moment that has lifted the spirits of many Ghanaians. Her words at the airport show humility, strength, and a deep sense of duty.

As she said, “There is so much we all have to do. I know that with our collective will, we will achieve much more for our country.”

Indeed, her message serves as a reminder that leadership is not only about policy and power—it is also about care, compassion, and human connection.

Welcome back, Madam Vice President. Ghana missed you, and we are glad to see you well.

About Ibrahim Mahama

Ibrahim Mahama, born in 1987 in Tamale, Ghana, is a renowned contemporary artist celebrated for his monumental installations that transform everyday materials into powerful visual narratives. Educated at the Kwame Nkrumah University of Science and Technology in Kumasi, where he earned both his BFA and MFA, Mahama’s artistic journey has been marked by a deep engagement with themes of globalization, labor, and post-colonial identity.

Mahama’s signature works

Mahama’s signature works often involve draping buildings with patchworks of repurposed jute sacks—materials once used to transport cocoa, Ghana’s primary export. These sacks, bearing the marks of their previous use, are stitched together by teams of collaborators and envelop architectural structures, creating a dialogue between the materials’ histories and the spaces they cover. This practice not only highlights the socio-economic narratives embedded in these objects but also challenges viewers to reconsider the value and significance of discarded materials.

His installations

His installations have garnered international acclaim, featuring in prestigious exhibitions such as the Venice Biennale, Documenta 14 in Kassel and Athens, and the Sydney Biennale. Notably, Mahama was the youngest artist to participate in Ghana’s inaugural national pavilion at the 2019 Venice Biennale, a testament to his significant impact on the global art scene.

Beyond his artistic creations, Mahama is deeply invested in fostering contemporary art in Ghana. In 2019, he established the Savannah Centre for Contemporary Art (SCCA) in Tamale, an artist-run space dedicated to exhibitions, research, and residencies. This initiative was followed by the opening of Red Clay Studio in 2020 and Nkrumah Volini in 2021, both serving as hubs for artistic and cultural exchange. These centers not only provide platforms for artists but also engage local communities, emphasizing Mahama’s commitment to making art accessible and relevant to his compatriots.

Mahama’s work often intersects with historical and political themes. For instance, his installation “Parliament of Ghosts” comprises repurposed train seats and archival materials, evoking reflections on Ghana’s colonial past and post-independence aspirations. Similarly, his 2024 installation “Purple Hibiscus” at London’s Barbican Centre, crafted from traditional Ghanaian batakari robes, juxtaposed vibrant textiles against the venue’s brutalist architecture, prompting discussions on labor, migration, and cultural identity.

Through his art and institutional initiatives, Ibrahim Mahama continues to challenge conventional narratives, using reclaimed materials to weave stories that resonate both locally and globally. His work stands as a testament to the transformative power of art in addressing complex socio-political issues and fostering community engagement.