BullGod’s Police Custody Experience: One Month in a Cell and the ‘Adopt A Cell’ Initiative

In a candid and revealing television interview, prominent Ghanaian artiste manager, entertainment pundit, and graphic artist Lawrence Nana Asiamah Hanson, widely known as BullGod, shared a harrowing firsthand account of his time in police custody. His testimony, which included spending a month in a prison cell, provides a rare glimpse into the conditions of pre-trial detention in Ghana and has catalyzed a novel advocacy project aimed at humanizing these spaces through art.

Introduction: A Public Figure’s Private Ordeal

The intersection of celebrity, the justice system, and social advocacy in Ghana was thrown into sharp focus following BullGod’s disclosures on the day-time show “Changes” broadcast on JoyPrime on February 18, 2026. His narrative transcends a personal story of arrest and detention; it serves as a critical case study on the state of holding cells, the experience of remand prisoners, and the potential for creative interventions in correctional facilities. This article dissects his experience, examines the systemic issues it highlights, and explores the practical implications of his proposed solution, “Adopt A Cell.”

Key Points: Summary of BullGod’s Disclosure

• Duration: BullGod stated the longest he stayed in a single police/prison cell was one month, though he spent a total of several days in different facilities.
• Arrest Context: His initial arrest stemmed from alleged threatening comments directed at former President Nana Addo Dankwa Akufo-Addo regarding the completion of his term.
• Facility Sequence: He was first held at the Bureau of National Investigations (BNI) cells for three days, then transferred to a SWAT police cell for two days, and finally to a overcrowded general prison cell for approximately one month.
• Conditions Described: He described extreme overcrowding (up to 40 people in one cell), poor sanitation (blocked washrooms, pervasive stench), lack of state-provided food, and a climate of fear.
• Cell Dynamics: Inmates follow a routine dictated by a “cell leader,” and sharing of resources like food is a survival necessity.
• Catalyst for Action: This experience inspired the “Adopt A Cell” initiative, which proposes using graffiti and murals to transform the aesthetic and psychological environment of holding cells nationwide.

Background: The Arrest and Legal Context

The Initial Incident and BNI Interrogation

BullGod’s ordeal began with his arrest over comments perceived as threats against the then-former head of state. The specific remark, “He needed to pay the money before he finishes his term, if eno be so he no go finish his term and he go run away,” was the basis for the police action. After three days at the BNI—a facility typically used for state security interrogations—he was released into police custody because the BNI determined it could not prosecute the case. This sequence highlights a common procedural pathway where investigative bodies hand over suspects to the regular police for prosecution.

Transfer to Police Custody and the SWAT Cell

Upon transfer, BullGod was placed in a SWAT (Special Weapons and Tactics) unit cell for two days. His description of this cell is particularly stark: it housed suspected killers and kidnappers. The psychological impact of being confined with individuals accused of violent crimes, coupled with the intimidating environment, contributed to his sustained fear and inability to sleep during his initial detention.

The Overcrowded General Cell: A Month-Long Stay

The most significant portion of his detention occurred in a general holding cell within the regular prison system. Here, he witnessed the extreme overcrowding that plagues many Ghanaian detention centers. His account of finding two men asleep on the toilet bowl and another leaning against a partition because all floor space was occupied is a visceral illustration of the crisis. Inmates in this cell had varying remand periods—some held for two years, others for months—all awaiting trial in a system known for its backlog.

Analysis: Deconstructing the Conditions and Their Implications

Sanitation, Health, and Human Dignity

BullGod’s emphasis on the “stench” and non-functional washroom facilities points to a severe breach of basic human rights standards for detainees. The United Nations Standard Minimum Rules for the Treatment of Prisoners (the Nelson Mandela Rules) explicitly require adequate sanitation and ventilation. Blocked sewage and overcrowding create breeding grounds for disease, posing a public health risk not only to inmates but eventually to staff and the wider community upon release. The inability to bathe or use clean toilets for extended periods is a form of psychological and physical degradation.

The Economics of Incarceration: Self-Sufficiency and Hunger

A critical systemic failure he highlighted is that “the police is not responsible to feed the prisoners.” This places the burden of survival on family and friends. For those without external support, hunger is a constant companion. The communal sharing of food he described is a testament to inmate solidarity but also an indictment of a system that abdicates its basic care responsibilities. This economic dimension of incarceration disproportionately affects the poor and vulnerable.

Inmate Social Structure and Power Dynamics

His mention of a “cell leader” and a mandated routine reveals the informal governance that emerges in overcrowded, under-resourced prisons. These inmate hierarchies can regulate everything from bathroom access to food distribution, but they can also foster exploitation, violence, and abuse. New or vulnerable inmates, like BullGod who identified as an outsider (“we put our faces out there”), may be at risk within this parallel power structure.

Psychological Impact and Political Perception

BullGod’s belief that his arrest was politically motivated shaped his psychological state. The fear that “anything can happen at night” is a common trauma for political detainees or those who perceive their incarceration as unjust. This perceived lack of safety and the arbitrary nature of his detention (from BNI to SWAT to a general cell) can exacerbate feelings of powerlessness and anxiety, with long-term mental health consequences.

Practical Advice: Lessons from the “Adopt A Cell” Initiative

Concept and Vision: Art as Rehabilitation

In response to his trauma, BullGod launched “Adopt A Cell,” a nationwide project aiming to introduce graffiti, murals, and other artistic works into police holding cells. The core philosophy is that “Art has healing powers to calm the nerves.” This aligns with growing global evidence on arts in correctional settings, which shows that creative engagement can reduce aggression, improve mental well-being, foster prosocial identity, and create more humane environments for both inmates and officers.

Implementation Strategy: A Proposed Model

For such an initiative to be viable and impactful, a structured approach is necessary:

1. Stakeholder Engagement: Secure formal partnerships with the Ghana Police Service, Ghana Prisons Service, and the Ministry of Interior. Buy-in from authorities is non-negotiable for access and sustainability.
2. Artist and Volunteer Corps: Recruit professional graffiti artists, muralists, and art therapists willing to volunteer or work on a pro-bono basis. Collaborate with art schools and creative NGOs.
3. Design Collaboration: As BullGod noted, develop a “police cell design befitting for people in the holding cells.” This should involve input from current and former inmates, officers, and mental health professionals to ensure designs are appropriate, non-triggering, and durable.
4. Pilot Phase: Start with a limited number of cells in one region (e.g., Greater Accra) to test processes, materials, and reception. Document the process meticulously.
5. Monitoring & Evaluation: Implement metrics to assess impact: changes in inmate behavior, officer feedback, reduction in cell damage incidents, and qualitative feedback from inmates on their sense of environment.
6. Maintenance Plan: Address the long-term upkeep of artworks. Partner with local institutions or inmate work programs to ensure murals are preserved and not defaced.

Potential Challenges and Mitigation

• Security Concerns: Authorities may view art materials (spray paint, markers) as security threats. Solution: Use restricted, low-odor, water-based paints and supervise all sessions strictly.
• Bureaucratic Hurdles: Navigating government procurement and access protocols can be slow. Solution: Frame the initiative explicitly as a mental health and safety program for both inmates and staff to align with institutional goals.
• Funding: As a “nationwide project,” funding for materials, artist stipends, and logistics is crucial. Solution: Seek grants from corporate social responsibility (CSR) programs, international foundations focused on human rights and criminal justice reform, and crowd-funding.
• Cultural Sensitivity: Designs must be culturally appropriate and avoid symbols or messages that could be divisive or inflammatory. Solution: Establish a review committee with diverse representation.

FAQ: Addressing Common Questions

Q1: Is BullGod’s account verified?

A: BullGod’s narrative is a firsthand, self-reported testimony aired on a recognized media platform (JoyPrime). While it is one subjective account, the specific details about facility names (BNI, SWAT), procedural steps (transfer between agencies), and the general conditions described (overcrowding, food issues) are consistent with longstanding, widely documented reports from human rights organizations like Amnesty International and Commonwealth Human Rights Initiative (CHRI) regarding Ghana’s remand prison system. No official denial or correction of his specific experience has been published.

Q2: What are the legal rights of pre-trial detainees in Ghana regarding conditions?

A: Ghana’s 1992 Constitution (Article 15) guarantees the dignity of all persons and prohibits inhumane treatment. The Prison Service Decree, 1972 (NRCD 46) and subsequent regulations outline standards for accommodation, food, and sanitation. Furthermore, as a state party to the International Covenant on Civil and Political Rights (ICCPR) and the African Charter on Human and Peoples’ Rights, Ghana is obligated to ensure minimum standards for those deprived of liberty. BullGod’s described conditions likely fall short of these national and international benchmarks.

Q3: Can art really make a difference in such a challenging environment?

A: Yes, there is growing academic and practical evidence. Studies in prisons globally show that arts programs can reduce disciplinary infractions, improve literacy and cognitive skills, and provide a constructive outlet for trauma and expression. For holding cells—often transient spaces of high anxiety—even temporary visual transformation can break the monotony and bleakness, offering a momentary psychological respite. It is a low-cost, high-impact intervention that signals a shift from pure containment to a recognition of the humanity of those awaiting trial.

Q4: Is the “Adopt A Cell” initiative scalable nationwide?

A: Scalability depends on securing sustained partnerships with the Ghana Police Service and Prisons Service. A phased rollout, starting with pilot cells in major regional capitals, is the most feasible approach. Success in these pilots, with documented benefits for inmate behavior and staff working conditions, would build the case for national expansion. The initiative’s branding as a “nationwide project” is aspirational but requires significant resource mobilization and governmental approval to become a reality.

Conclusion: From Personal Trauma to Public Advocacy

BullGod’s narrative is more than a celebrity gossip item; it is a raw document of the Ghanaian remand prison experience. His description of fear, squalor, and overcrowding echoes the grievances of thousands of often-invisible pre-trial detainees. The transformation of his personal suffering into the “Adopt A Cell” project represents a powerful pivot from victimhood to advocacy. It proposes a pragmatic, creative, and humanizing solution to a deeply entrenched problem of decaying infrastructure and punitive culture.

While art alone cannot solve the fundamental issues of prison overcrowding, slow justice, and underfunding, it can be a critical component of a broader prison reform strategy. It challenges the notion that holding cells must be purely bleak and functional, arguing instead for environments that do not further break the human spirit. The onus now lies with policymakers, the security services, civil society, and potential donors to evaluate this proposal seriously. The question is not just whether BullGod “should have” gone through this experience, but whether society will allow such conditions to persist and whether it will support innovative, evidence-based efforts to change them.

Sources

• Primary Source: BullGod Interview on “Changes,” JoyPrime (Broadcast February 18, 2026).
• News Coverage: “The longest I’ve stayed in a police mobile is one month – BullGod,” Life Pulse Daily / MyJoyOnline.com (Published February 19, 2026).
• Reference Framework: United Nations Standard Minimum Rules for the Treatment of Prisoners (Nelson Mandela Rules).
• Contextual Reports: Amnesty International & Commonwealth Human Rights Initiative (CHRI) reports on prison conditions and pre-trial detention in Ghana.
• Legal Instruments: Constitution of Ghana, 1992; Prison Service Decree, 1972 (NRCD 46); International Covenant on Civil and Political Rights (ICCPR).