Entertainment
Kojo Preko Dankwa Writes: Misconception by Kwame Dadzie on the Relevance of CAFOG
I have read with keen interest the article by Kwame Dadzie titled “Why the Creative Arts Federation of Ghana is a Needless Formation.” While I respect your right to express an opinion, I must firmly state that your arguments are flawed and misrepresent the purpose and significance of the Creative Arts Federation of Ghana (CAFOG).
1. On the So-Called Duplication of Mandates
The notion that CAFOG is a duplication of existing bodies like the Ghana Culture Forum (GCF) is misplaced. Just as there are multiple political parties with shared objectives but different ideologies and methods, associations within the creative space may share common interests but operate with unique mandates and focus areas.
For example, the Ghana Tourism Federation (GHATOF) focuses on the tourism domain. Similarly, CAFOG is established to unify and represent the interests of creative arts associations, not cultural or tourism-focused institutions. It complements existing structures, not competes with them.
2. Differentiating CAFOG and GCF
GCF has played a valuable role in the past. However, it is fundamentally a civil society consultative forum, not a federation of creative arts associations. It serves as a platform for dialogue and advocacy, but does not speak directly for the diverse associations within the creative arts industry in a structured and federated manner.
Moreover, you mentioned executives within GCF and their sectoral representation as though this validates GCF’s claim to sole representation. Many of those individuals were appointed by GCF, not elected or nominated by their sector associations. That distinction matters greatly when we talk about legitimate representation.
3. Why CAFOG Matters: Representation Under Act 1048
Act 1048, which established the Creative Arts Agency, clearly mandates creative sector representation on its board. The law doesn’t call for individual associations to be represented—it calls for the sector to have a voice. CAFOG offers a solution to this requirement by forming a unified body capable of nominating qualified representatives through a legitimate and broad-based structure.
Who else, if not CAFOG, can take up this role? Who should speak for creatives on this legally mandated board? Fragmented associations with no collective voice, or a federation structured to coordinate and lead?
Let us not be distracted by personal preferences or rivalries. The sector needs unity, not division disguised as critique.
4. The GCF Silence and Selective Outrage
Kwame, I must ask: how many times has GCF spoken against the irregularities involving the Creative Arts Agency under Gyankroma Akufo-Addo’s leadership? Where was the loud advocacy when Act 1048 was being rendered ineffective? GCF’s silence in the face of political interference and agency stagnation was loud and telling.
You accuse CAFOG of redundancy, yet you ignore the existence of overlapping associations like the Art Writers Association, Bloggers Association of Ghana, and the New Media Association—all operating in similar spheres with shared membership. If CAFOG is a duplication, then by that logic, these associations are too.
Even Minister Dzifa Gomashie’s recent inauguration of the Culture and Creative Arts Committee—headed by Nanahemaa Adwoa Awindor—shows another layer of representation. Was this committee formation not a duplication? Were all associations consulted? Why was there no public outcry?
5. Clarifying the Misleading Claims of Dissociation
It is especially disappointing to see names like Mr. Bessa Simons disassociating themselves from CAFOG after having formally accepted roles within its interim leadership. If indeed he was not consulted, why submit an acceptance letter? These contradictions only feed confusion and suspicion within the industry.
6. Support the Vision, Not the Personalities
This is not about who leads. It is about building a viable, united front for the creative arts sector in Ghana. The CAFOG leadership is interim; there will be room for elections, reorganisation, and collective decision-making. But it begins with support and belief in the purpose, not sabotage driven by personal biases.
Let’s stop tearing down what we refuse to understand. Let’s build together for the future of Ghana’s creative arts industry.
Kojo Preko Dankwa
Communications Officer
Creative Arts Federation of Ghana (CAFOG)
📞 0550077040 / 0575655656
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.
Ghanaian versatile artist CityGod Aruu has publicly expressed disappointment over what he describes as his unexplained exclusion from the hit song “Monto,” a track widely associated with Kweisey Pee, in which he was featured.
In a recent interview on Despite Media’s NEAT F.M with Abena Moet, CityGod Aruu lamented that despite his alleged involvement in the creative process behind the song, his name was not featured or credited when the record gained mainstream attention. According to him, the situation has left his fans questioning the circumstances surrounding the release.
“Only Kweisey Pee can explain why my name was not included on ‘Monto,’” Aruu stated, hinting at unresolved issues behind the scenes. While he stopped short of making direct accusations, his remarks suggest a deeper concern about recognition and fairness within collaborative projects.
The song “Monto” has enjoyed notable success since its release, gaining traction across streaming platforms and within Ghana’s music circles. However, Aruu’s statement has now shifted part of the conversation toward transparency in crediting contributions, an issue that continues to surface in the creative industry.
Industry observers note that such disputes are not uncommon, especially among rising acts navigating collaborations without clearly defined agreements. Situations like this often highlight the importance of proper documentation, communication, and mutual understanding among artistes and their teams.
As of now, Kweisey Pee has not publicly responded to the claims. Fans and stakeholders alike will be watching closely to see whether clarification or resolution emerges in the coming days.
CityGod Aruu’s remarks add to the ongoing dialogue about artist recognition in Ghana’s evolving music landscape, where talent, collaboration, and credit must align to sustain trust and growth within the industry.
CityGod is currently out with two singles, “ Obaa Hemaa” and “Day Dreaming, Featuring Qwesi Ded Buddy.
Amerado returns with Obiaa Nte Mase, a new single that strips things down to the core of real life, real pressure, and the reality of being misunderstood.
Over a soulful production by IzJoe Beatz, Amerado speaks from a place of experience, touching on criticism, survival, and the constant need to keep going even when people don’t fully see your journey. There’s no attempt to dramatise, just honesty, delivered with clarity and conviction.
The record leans into Amerado’s strength as a storyteller, capturing the everyday tension between doing what you must and being judged for it. It’s reflective, grounded, and relatable, especially for anyone navigating expectations while trying to stay true to themselves.
“Obiaa Nte Mase” is now available on all major streaming platforms. Fans may stream via https://music.apple.com/gh/album/obiaa-nte-mase-single/1894543625
Nigeria mourns the death of Nollywood actor Solomon Akiyesi
Kweisey Pee must Explain why I was left off “Monto Song” – CityGod Aruu Speaks Out
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