By Lord Fiifi Quayle

Kumasi, Ghana – The Great Hall of the Kwame Nkrumah University of Science and Technology (KNUST) was abuzz with creativity and inspiration on 12 November 2024, as former President John Mahama headlined the “Creative Connect” program spearheaded by Kofi Okyere Darko and key stakeholders from the creative arts industry. The event brought together a diverse array of talents, including renowned figures like Amandzeba, Rex Omar, Wayoosi, Ola Micheal, Kala Kumasi, Jak Alolome, Bessa Simons, and many others, both established and emerging.

The program commenced with Parliamentary Candidate Baba Sadiq delivering a poignant opening address. He lamented the current government’s apparent neglect of the creative arts sector, highlighting the confusion surrounding a newly launched streaming app that was mischaracterized as a creative management platform.

Sadiq expressed concern over the state of Kumawood, stating, “Kumawood is now dead,” and criticized the government’s failure to understand the current distribution systems. He emphasized that under the Mahama administration, the National Theatre would be rehabilitated, alongside the establishment of a new National Theatre in Kumasi. He took a swipe at the current government for their unfulfilled promise of building ten large sitting theatres, asserting, “Not even one has been built.”

Sadiq also touched on the critical need for funding in the creative arts, promising that the creative arts fund would be revitalized under Mahama’s leadership. He highlighted the NDC’s role in establishing copyright laws that would be reviewed to better support artists, as well as the introduction of a broadcasting bill prioritizing local content.

Next to speak was Abeiku Santana, who praised the Tourism Act of 2011 (817), an initiative from the NDC that catalyzed a boom in Ghana’s tourism industry. He noted that under Mahama’s administration, citizens from 52 countries could travel to Ghana without visas. Santana raised concerns about the management of tourism levies, questioning the absence of a Tourism Development Fund and the potential misappropriation of funds. He emphasized the need to harness the Ashanti region’s rich creative potential, citing attractions like Ahwia, Sokoban, Ntonso, and Bonwire. Santana proposed initiatives such as a Pan-African month for each region, film festivals, fashion shows, and food fairs, along with tax incentives for hotels and restaurants.

The highlight of the event was John Mahama’s address, where he candidly discussed the downturn of Ghana’s creative arts sector and its ripple effects on other industries, including sports. Mahama assured attendees that these challenges would be addressed, promising the operationalization of the creative arts fund and the establishment of a film village to reduce production costs for filmmakers. He reiterated the commitment to rehabilitating the National Theatre and constructing a second National Theatre in Kumasi, recognizing the city as the heart of Ghana’s arts scene.

Mahama further proposed a budgetary allocation for the creative arts and announced plans for a digital television station dedicated to local content. He pledged to rehabilitate the Ghallywood structure on Aflao Road to nurture a new generation of artists and actors. The “Blackstar Experience,” a multifaceted project encompassing fashion, film, festivals, tourism fairs, and more, was introduced as a means to bolster the creative industry.

In closing, Mahama proposed the establishment of an annual dialogue for the creative arts, committing to personally participate to ensure progress. He emphasized the immense potential of the tourism and creative arts sectors to generate significant revenue for Ghana, asserting that they should be prioritized in national development plans.

As the event concluded, it was clear that the vision for revitalizing Ghana’s creative arts industry is essential for the nation’s cultural and economic growth.

THERE IS STILL HOPE FOR GHANA