Entertainment
[FULL RELEASE] FOCAP’s One-Year Scorecard on President Mahama Administration’s Performance in the Creative Arts Sector
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:
- Pan-African Month celebrates heritage, history, and diaspora engagement
- Ghana Film Festival and Awards Month
- Ghana Music World
- Culinary Month
- Architecture, Design, Arts and Crafts Month
- Fashion and Textiles Month
- 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:
- Support young digital content creators to promote Ghanaian culture
- Revive the Creative Arts Fund to provide sustainable financial support for start-ups and struggling creative enterprises
- Review and strictly enforce broadcasting, digital media, and local content provisions
- Strengthen copyright administration and improve royalty collection and management
- 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.
Entertainment
From Lekzy’s “A Fool in April” to Parrot Mouth’s “Laugh it Off”: Albert Bondah’s Rise as a Creative Force in the comedy industry
In Ghana’s creative arts space, talent alone is not enough. What keeps the industry moving are people who can adapt, solve problems on the spot, and hold a production together when things get uncertain. That is where a true utility player stands out. And in recent times, Albert Bondah has proven exactly why that role matters, especially with his work on “Laugh It Off” by Parrot Mouth.
Fresh off the momentum of successfully steering Lekzy De Comic’s “A Fool in April”, Albert stepped into “Laugh It Off” with both confidence and pressure. The expectations were higher this time. The audience anticipated a seamless experience. The team itself included seasoned practitioners, many with years more experience. It was not just another show. It was a test of leadership, adaptability, and execution under pressure.
And the challenges came early.
From coordinating a diverse team to managing creative differences, Laugh It Off demanded more than technical know-how. There were moments when plans had to change on short notice. Timing had to be adjusted. Resources had to be stretched. At certain points, the weight of leading experienced hands could have easily unsettled the process. But this is where Albert’s strength as a utility player became clear.
Instead of resisting the pressure, he leaned into it. Drawing from his journey across theatre, comedy, and production, Albert approached each challenge with a calm, solution-driven mindset. His experience from past productions, especially handling unpredictable situations like adverse weather in earlier shows, helped him stay grounded.
On Laugh It Off, he knew when to step in, when to delegate, and when to simply let creativity flow. More importantly, he listened. Working with experienced professionals taught him the value of collaboration at a deeper level. He understood that leadership in creative spaces is not about control, but about direction.
By blending his own ideas with the input of others, he created an environment where everyone could contribute effectively. The result was a show that felt cohesive, engaging, and well-executed.
There were lessons too. Laugh It Off reinforced the importance of preparation, but also the need to stay flexible. It highlighted the value of clear communication within a team. And above all, it showed that experience is not just about how long you have worked, but how well you can apply what you know in real time. Albert brought all of that to bear.
From his early days as a student producer at Cape FM to working across major productions in Ghana’s creative arts industry, he has built a reputation for reliability and versatility. But with Laugh It Off, he did more than just contribute; he led, adapted, and delivered under pressure.
Albert Bondah- Comedy Promoter
This is what makes him a creative utility player. He is not confined to one role. He understands the full scope of production. He can move between responsibilities without losing focus on the bigger picture. And when it matters most, he shows up with solutions, not excuses.
As the curtains closed on “Laugh It Off”, one thing became clear: the success of the show was not accidental. It was the result of experience, meeting preparation, and preparation meeting preparation.
For brands, producers, and creatives looking to execute high-quality productions, Albert Bondah represents something valuable: a dependable force behind the scenes who ensures that ideas do not just stay ideas but come to life, even in the face of challenges. In an industry that thrives on unpredictability, that kind of consistency is rare. And it is exactly why Albert continues to stand out.
Written by: Lord Kofi Amoabeng [Creative Writer & Digital Media Marketer]
Entertainment
Haruna Rashid Yussif vrs Africa University of Communication and Business; SRC Presidential Aspirant Challenges Election Outcome
Tension is rising within the Africa University of Communication and Business (AUCB) following a dispute involving SRC presidential aspirant Haruna Rashid Yussif, who has raised concerns over the conduct and outcome of the recent Student Representative Council (SRC) elections.
Haruna Rasfid Yussif, a prominent contender in the race, is reportedly contesting aspects of the electoral process, questioning both transparency and fairness. His grievances are believed to stem from irregularities observed before and during the voting process, which he argues may have influenced the final results.
According to emerging reports, sections of his campaign team have also expressed dissatisfaction, calling for a thorough review of the election procedures. While full official details remain limited, discussions circulating within student circles suggest that the matter could escalate if not addressed by university authorities.
The SRC election, a key democratic exercise within the institution, is expected to reflect the voice and choice of the student body. However, controversies such as this risk undermining confidence in the process, particularly among candidates and their supporters.
Observers note that disputes of this nature are not uncommon in student politics, but the response from university management will be critical in determining how the situation unfolds. Calls for dialogue, transparency, and possible redress mechanisms are already gaining traction.
As of now, the leadership of the Africa University of Communication and Business has yet to issue a comprehensive public statement addressing the concerns raised by Haruna Rashid Yussif.
The coming days are expected to be decisive as stakeholders await clarity, accountability, and a resolution that preserves the integrity of student governance on campus.
The silence from authorities at the Africa University of Communication and Business is only adding to the pressure. Students across campus are beginning to ask tough questions about accountability, fairness, and whether the SRC election truly reflected the will of the people.
Student politics may often mirror national dynamics, but this situation is fast escalating beyond routine disagreement. If not addressed swiftly, it risks eroding trust in the very system meant to represent student voices.
For now, all eyes are on the university’s leadership. Will they step in to investigate and restore confidence, or allow the controversy to deepen?
One thing is clear: this isn’t just about an election anymore. It’s about credibility.
Nigeria is mourns the death of Nollywood actor Solomon Akiyesi, whose passing was confirmed on Monday.
The President of the Actors Guild of Nigeria, Abubakar Yakubu, disclosed that the actor died in his sleep on Sunday in Abuja.
According to Yakubu, Akiyesi “slept and did not wake up.” He added that the late actor’s body has been placed in a morgue in the capital as the guild awaits further information from his family. The exact cause of death has not yet been made public.
Akiyesi, who began acting in the late 1990s, appeared in more than 100 movies and became known for roles in Marry Who You Love, Deadly Affair, and Desperate Ladies. Tributes have continued to pour in on social media, with colleagues and fans celebrating his impact on Nigeria’s film industry.
From Lekzy’s “A Fool in April” to Parrot Mouth’s “Laugh it Off”: Albert Bondah’s Rise as a Creative Force in the comedy industry
Haruna Rashid Yussif vrs Africa University of Communication and Business; SRC Presidential Aspirant Challenges Election Outcome
Nigeria mourns the death of Nollywood actor Solomon Akiyesi
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