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[FULL RELEASE] FOCAP’s One-Year Scorecard on President Mahama Administration’s Performance in the Creative Arts Sector

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The Foundation of Concerned Arts Professionals (FOCAP), a pressure and advocacy group, has spent the past year closely observing the Mahama administration. After twelve months in office, we believe it is only fair to present an annual assessment of government performance, particularly in relation to the Creative Arts Sector.

 

To begin, FOCAP commends President Mahama and the Minister for Finance for the relative stability and improvement of the economy. The strengthening of the cedi has had a positive impact on creatives, especially those who rely on dollar-denominated online subscriptions and digital platforms. This relief is acknowledged and appreciated, and we hope the cedi continues this upward trajectory.

 

That said, economic gains alone were not the reason creatives overwhelmingly voted for this government. The Creative Arts Sector voted based on clear, documented promises contained in the NDC’s official manifesto, and it is against this document that we must now assess performance.

Over the past one year, the administration executed several interventions, which we believe are Achievements:

Ghana’s National Theatre in Accra is scheduled for a major refurbishment starting in 2026, which we believe is a major milestone since it has been long overdue.

Funding was secured in 2025, with the Chinese government committing 30 million dollars for the project, with the Ghanaian government also allocating funds in the 2026 budget.

 

In 2025, the John Dramani Mahama-led government appointed the first-ever Executive Secretary for the Creative Arts Agency (CAA) as well as the board members since Act 1048 was gazetted. The erstwhile NPP government failed to appoint an executive secretary and a board, and rather, the President’s daughter, Gyankroma Akuffo Addo, illegally occupied the position.

 

Ghs20 million allocated in the 2026 budget as seed capital to support various creative industries and their value chain. This is a promise President John Dramani Mahama made in 2025 when he met the press at Jubilee House.

 

Under the NDC and John Dramani Mahama government, they appointed more creatives into governance to play critical roles, and we believe this is very commendable.  The President, in his 120 days, promised and delivered the launch of Black Star Experience, which is the banner of the creative, tourism, and cultural manifesto of the NDC.

In 2025, Ghana’s fashion contributed about $2.42 billion to the national economy, according to the minister for tourism, culture, and creative arts.

 

A listening government: FOCAP raised issues of the Creative Arts Agency website, which was directed to a private website, and it was fixed to bring stability and discipline within the agency.

The Ashanti Regional Minister, Dr Frank Amoakohene, actively started working to revive the Kumawood film industry, which faced struggles, by establishing a ministerial committee to revive the industry.  A 17-member committee was established in 2025. This has led to the formation of the Kumawood Ashanti Film Association.

 

GTDC launched Accra by Night, a popular government-backed night tour initiative offering an immersive experience of a tour of Ghana’s capital, highlighting culture and history.

 

Establishment of a Black Star Experience (BSE) office to serve as Ghana’s leading brand in culture, Arts, Tourism and creative engagement, bridging local and international audiences.

These are the achievements of the John Dramani Mahama-led administration over the one year they have been in office.

 

As we mentioned earlier, the Creative Arts Sector voted based on clear, documented promises contained in the NDC’s official manifesto, and it is against this document that we must now assess performance. We understand that a manifesto promise is scheduled to be achieved over the term of the administration, but as we say in the Ghanaian parlance, Agoro bɛso a, ɛfiri anɔpa! Literally: If the festival or carnival or party is entertaining, it starts in the morning.

 

The Black Star Experience: Promises vs. Reality

Under the Black Star Experience, the government promised the rollout of the following flagship programmes:

 

  1. Pan-African Month celebrates heritage, history, and diaspora engagement
  2. Ghana Film Festival and Awards Month
  3. Ghana Music World
  4. Culinary Month
  5. Architecture, Design, Arts and Crafts Month
  6. Fashion and Textiles Month
  7. Literacy/Literary Month

 

FOCAP states categorically that none of these initiatives were delivered or began within the first year of the administration. This is deeply disappointing. The only related activity, Taste the Culture, left much to be desired, and FOCAP has chosen, for now, to withhold comment on its execution.

 

Other Manifesto Promises

The second set of commitments included pledges to:

  1. Support young digital content creators to promote Ghanaian culture
  2. Revive the Creative Arts Fund to provide sustainable financial support for start-ups and struggling creative enterprises
  3. Review and strictly enforce broadcasting, digital media, and local content provisions
  4. Strengthen copyright administration and improve royalty collection and management
  5. Partner with the private sector to build an ultra-modern recreation village with auditoriums for films, concerts, and special events

 

Again, none of these promises were executed, or they began within the first year. This raises serious concerns about whether the Creative Arts Sector is being treated with the urgency and seriousness afforded to other sectors of the economy.

 

Indeed, all notable successes recorded in the sector over the past year were driven largely by individual artists, their management teams, and a handful of private sector sponsors, not by deliberate government intervention.

 

This is particularly troubling given that key appointments have already been made. The Creative Arts Agency now has a substantive board and an Executive Secretary, yet its core mandate, especially the registration of creative enterprises, has been neglected. Instead, the agency appears preoccupied with activities far removed from its primary responsibilities.

The government also pledged to support GHAMRO, yet ironically, GHAMRO recorded one of its lowest distributions in December.

FOCAP is fully aware of the immense job-creation potential of the Creative Arts Sector and believes the President himself understands this reality. We therefore appeal directly to H.E. John Dramani Mahama and the Minister of Tourism, Arts and Culture to take a personal and serious interest in the sector in the administration’s second year.

Additionally, the much-publicised promise of a new theatre in the Ashanti Region remains unfulfilled, with reports indicating that land for the project has not even been secured.

 

Indeed, under the one year of John Dramani Mahama, the creative sector never experienced any of these major achievements as espoused in their manifesto.   FOCAP, we believe, this did not mark a good year for the government within the creative arts sector.

 

The manifesto outlined some low-hanging fruit that FOCAP believed should have taken off by now

1- local content creation initiatives to drive job opportunities

2- Collection management system or copyright and royalties in Ghana.

3-“Digital content creators, especially the young, to develop content that promotes Ghanaian culture

4- Introduce tax breaks for Creative Arts Artists who have tax identification numbers (TIN).

5- Annual stakeholder dialogue with people in the creative arts industry.

6- Special events channel for the Creative Arts programs on digital terrestrial television (DTT) with pay-per-view technology to encourage content development.

7- Special rates to be given at cultural events at the Blackstar Square, Accra International Conference Centre

and other venues owned by the government.

 

These are some low-hanging fruits we expected the government to act on in its first year, but little or zero was done.

 

We hope the government will speed up through its agencies and ministries to take action on their tangible blackstar manifesto.

 

FOCAP, as an advocacy and pressure group, has its eagle eyes open to see and equally help grow the Orange Economy to see its full potential.

FOCAP will, as always, keep a close and watchful eye on this administration, continually reminding it of the promises made to the Creative Arts Sector. We expect measurable progress in the second year because the first year’s performance was not as expected.

 

Assessment of the Sector Minister’s performance will be addressed separately to avoid conflating issues.

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[EDITORIAL] Why Ghana Should Dedicate a Special Day as World Fugu Day: Projecting Culture and Inspiring the Diaspora

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In an era where culture has become a powerful tool for diplomacy, identity, and economic growth, nations that consciously preserve and project their heritage stand taller on the global stage. Ghana, a country celebrated for its rich traditions and creative ingenuity, has a unique opportunity to further solidify its cultural footprint by dedicating a special day as Ghana’s World Fugu Day, a day to honour, celebrate, and globalise one of its most iconic traditional attires: Fugu, also known as Batakari.

Fugu is not merely a piece of clothing. It is a living symbol of history, craftsmanship, and identity, deeply rooted in the northern regions of Ghana and widely embraced across the country. Over generations, it has evolved from a ceremonial and everyday garment into a powerful emblem of unity, dignity, and cultural pride. From traditional rulers and farmers to presidents, creatives, and the Ghanaian diaspora, Fugu has transcended class, geography, and time.

Fugu as Cultural Identity and Heritage

The weaving of Fugu represents indigenous knowledge systems passed down through generations. Each strip of handwoven fabric reflects patience, skill, and community labour. In a world increasingly dominated by fast fashion and mass production, Fugu stands as a reminder of sustainability, authenticity, and African excellence.

Dedicating a World Fugu Day would formally recognise this heritage and protect it from cultural erosion. It would encourage documentation, education, and intergenerational transmission of weaving techniques, motifs, and meanings, ensuring that younger generations understand not only how Fugu is worn but what it represents.

A Tool for Diaspora Engagement and Cultural Reconnection

For millions of Ghanaians and people of African descent living abroad, culture remains a vital link to home. Clothing, in particular, has become a powerful expression of identity among the diaspora. A World Fugu Day would offer a unifying global moment for Ghanaians and African-descended communities to reconnect with their roots through fashion, storytelling, exhibitions, and cultural exchange.

Such a day could be celebrated simultaneously in Ghana and in major cities across the world, London, New York, Toronto, Berlin, Johannesburg,g transforming Fugu into a global cultural symbol while reinforcing Ghana’s leadership in Pan-African cultural advocacy.

Economic and Creative Industry Opportunities

Beyond symbolism, a World Fugu Day holds significant economic potential. The creative economy thrives when culture is intentionally promoted. Local weavers, textile producers, designers, models, photographers, stylists, and fashion entrepreneurs would benefit from increased demand and visibility.

With the right policy support, Ghana’s World Fugu Day could stimulate:

  • Job creation along the textile and fashion value chain
  • Export opportunities for Ghana-made fabrics and designs
  • Fashion tourism, exhibitions, and trade fairs
  • Collaborations between traditional artisans and contemporary designers

This initiative aligns directly with Ghana’s broader creative-arts and cultural-tourism agenda, positioning heritage as a driver of sustainable development rather than a relic of the past.

Cultural Diplomacy and Nation Branding

Globally, countries such as India, Japan, and Scotland have successfully elevated traditional attire into national symbols that attract admiration and economic value. Ghana can do the same with Fugu. A World Fugu Day would serve as a soft-power tool, projecting Ghana as a nation confident in its identity and proud of its cultural diversity.

Through embassies, cultural centres, and international partnerships, Ghana could use World Fugu Day to host fashion showcases, panel discussions, and cultural festivals, strengthening bilateral relations and enhancing the country’s global brand.

A Call to Leadership and Vision

Dedicating a special day as Ghana’s World Fugu Day is not just a cultural gesture; it is a statement of vision. It affirms that Ghana values its heritage, its people, and its creative future. It signals to the world and to the diaspora that Ghana is intentional about culture as a pillar of national development.

Mr. President, by championing this initiative, Ghana would take another bold step in leading Africa’s cultural renaissance. Fugu is more than cloth. It is history, identity, and possibility woven together. A World Fugu Day would allow Ghana to tell its story proudly, globally, and on its own terms.

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AFRO CONNECT Unveils UP AND GRINDING EP: A Bold New Chapter for Ghana’s Emerging Music Talent

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Ghana’s music ecosystem is on the brink of an exciting transformation as AFRO CONNECT officially unveils its long-awaited music project, UP AND GRINDING, a seven-track EP designed to spotlight, nurture, and professionalise emerging talent across the country and the African continent.

At a time when conversations around sustainability, talent development, and creative infrastructure dominate Africa’s music discourse, UP AND GRINDING arrives not merely as a musical release but as a purposeful intervention. The project represents AFRO CONNECT’s strategic commitment to strengthening the foundation of Ghana’s music industry by identifying untapped artistes and guiding them through a structured creative and professional development process.

Unlike conventional compilation projects, UP AND GRINDING is rooted in mentorship, collaboration, and long-term vision. Each track reflects the raw ambition, resilience, and lived realities of upcoming artistes who are navigating the demanding journey from obscurity to recognition. The EP captures the spirit of the “grind”  the relentless pursuit of excellence against limited resources, exposure gaps, and structural challenges that many emerging African musicians face.

AFRO CONNECT’s approach goes beyond studio sessions and releases. The project is anchored on artist grooming, music business education, and industry readiness. From songwriting and vocal development to branding, performance discipline, and audience engagement, participating artistes are equipped with the tools necessary to transition from passion-driven creativity into sustainable music careers. This holistic model positions UP AND GRINDING as both a creative product and a developmental platform.

Musically, the EP draws from a rich blend of Afrobeat, Afropop, hip-hop, highlife influences, and contemporary African sounds, reflecting the diversity and evolving identity of Ghana’s new-age music culture. Each track offers a distinct sonic experience while maintaining a unifying narrative of ambition, growth, and self-belief. The production quality underscores AFRO CONNECT’s emphasis on professionalism, ensuring that emerging talents are presented at industry-competitive standards.

SOSO, Project Manager

Beyond entertainment, UP AND GRINDING speaks to a broader cultural and economic agenda. Ghana’s creative industry continues to expand its global footprint, yet many young artists struggle to access platforms that can amplify their voices. AFRO CONNECT positions itself as a bridge between raw talent and opportunity, fostering inclusivity and creating access points within an industry often defined by gatekeeping.

The project also aligns with Africa’s growing creative economy narrative, where music is increasingly recognised as a viable contributor to employment, cultural diplomacy, and national branding. By investing in emerging artists at the grassroots level, AFRO CONNECT contributes to the long-term sustainability of the music value chain from creators and producers to marketers, event organisers, and digital distributors.

UP AND GRINDING further reinforces the idea that success in the music industry is not instantaneous but built through consistency, discipline, and collaboration. The title itself reflects a mindset shared by many young Africans, a determination to rise, despite systemic limitations, through hard work and strategic support.

As the EP rolls out across digital streaming platforms and promotional circuits, AFRO CONNECT envisions UP AND GRINDING as the first of many initiatives aimed at reshaping how emerging talents are discovered, developed, and deployed within the industry. The project sets a precedent for private-sector-led creative development, demonstrating that intentional investment in talent can yield both artistic excellence and economic value.

In an era where African music continues to command global attention, UP AND GRINDING stands as a timely reminder that the future of the industry lies in nurturing the next generation. Through this project, AFRO CONNECT is not only releasing music but building careers, strengthening culture, and contributing meaningfully to Ghana’s creative future.

UP AND GRINDING is more than an EP; it is a movement, a mindset, and a statement that Ghana’s next wave of music stars is already on the rise.

 

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Renowned Gospel Music Icon Ron Kenoly Passes On at 81

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Renowned American gospel singer, worship leader, and pastor Ron Kenoly has passed away at the age of 81. The sad news was first announced by his longtime music director on social media, sparking an outpouring of tributes from fans and gospel ministers worldwide.

Renowned American evangelist, Bishop Francis Wale Oke, also confirmed the news in a heartfelt post on Facebook.

 

Farewell to a true worshipper, Ron Kenoly,” he wrote. “A man of humility, a vessel of grace, and a devoted servant who dedicated his life to the glory of God.

 

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