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Rethinking National Budgets: Why Ghana Must Prioritize the Creative Economy- FOCAP Vice President Mel Kwesi Davis

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When Sarkodie’s Rapperholic lit up Kumasi, it was more than just a concert. It was proof that Ghana’s creative sector isn’t a fringe industry, it’s an engine of growth, employment, identity and global relevance. The evidence is mounting: culture does drive commerce. Yet, paradoxically, our national budgets keep postponing the investment that’s already paid for itself many times over.
Here’s what recent data tells us and why immediate structural funding for the creative economy is not just desirable but essential.
https://youtu.be/S29XDWzzGOs?si=ctj5cLGLbJIWzRXq
Youth Unemployment & Underemployment.
The unemployment rate among youth aged 15-35 is around 19.7% as of 2023.
Among those aged 15-24, the rate is about 32%.
In the broader 15-35 age group, 22.5% are without employment.
Gender and geography matter: young women face higher unemployment (≈ 22.3%) compared with young men (≈ 17.4%). Urban areas show somewhat worse rates than rural ones.
There are also large numbers of youth classified as “NEET” (Not in Education, Employment, or Training). For example, about 1.8 million youth (roughly 28.8% of those aged 15-24) fell into this category in recent surveys.
The youth population continues to grow: in the 2020 Population & Housing Census, youth made up 38.2% of Ghana’s population.
The Creative Sector and the GDP of Ghana.
In 2022, the Global Citizen Festival held in Accra injected over USD 15 million into Ghana’s economy via production spending, hotels, transport, advertising, security and related services.
Creative sector share of GDP: The last formal estimate (UNESCO, 2010) placed Ghana’s cultural & creative industries at 1.53 % of GDP, counting only formal industries. Experts believe the figure is notably higher if informal creative activity is included.
Government stakeholders and commentators have posited that the creative industry could be leveraged to generate US$4 billion by 2028 in revenue for Ghana, if properly supported
In 2023, the Ministry of Tourism, Arts and Culture was allocated GH¢115,694,000; in 2024, this rose to GH¢260,948,961. Strikingly, in the 2025 budget, the tourism and creative arts sector was not mentioned or allocated any funds..
Other African countries offer models: Rwanda’s creative & arts sectors reportedly contribute 5.3% of GDP. Kenya has set objectives (through its arts & digital innovation strategies) for double-digit contributions (10%) in the near term.
The Global Citizen Festival example (2022) saw increased hotel occupancy (75%), over 5,000 international travellers coming for the event and over 1,000 local people employed for the event.
“December In GH” (a mix of concerts, festivals, fashion shows and cultural events) is increasing in scale: about 115,000 people in Dec 2023 vs 108,000 in Dec 2022, highlighting growing demand for cultural-tourism moments
Armed with the information stated and other research materials, below are some proposed allocation spends for the government to consider.
1. Component: Creative Sector Emergency Fund
Purpose: Immediate relief for event promoters, artists, and venue owners to help with production, logistics, safety, licensing, etc.
Proposed Allocation: Set aside ≈ GH¢150-200 million ring-fenced within mid-year budget or via supplementary funding to MoTAC (Ministry of Tourism, Arts & Culture). This could be matched with private sector/donor contributions.
2. Component: Annual Creative Infrastructure Budget.
Purpose: Build and maintain venues (concert halls, studios, outdoor amphitheatres) especially in regions outside Accra; upgrade lighting, acoustics, seating, security.
Proposed Allocation: Over 3 years, allocate GH¢500 million total with phased rollout: e.g., GH¢150 million in Year 1, GH¢175 million in Year 2, GH¢175 million in Year 3. Prioritise regional hubs (e.g., Kumasi, Takoradi, Tamale).
3. Component: Skills Development, Training & Mentorship.
Purpose: Since many youth are unemployed or underemployed, targeted creative sector training (sound engineering, stage production, digital content creation, event management) can upskill them; mentorship to help professionalise creative work.
Proposed Allocation: Allocate GH¢30-40 million annually for this purpose; partner with YEA (Youth Employment Agency), private sector, NGOs; include accelerator or incubator programs.
4. Component: Tax Incentives & Support for Youth Creative Startups.
Purpose: Young people often struggle with the cost of equipment, licensing, and venue booking; incentives would reduce barriers to entry.
Proposed Allocation: Introduce tax rebates for young creative entrepreneurs; matching grants; subsidised access to public venues; GH¢50-70 million/year set aside for these incentives.
5. Component: Data & Monitoring with Youth-Specific Indicators.
Purpose: To track how many youth are employed in creative sectors, rates of underemployment, gender splits, informal vs formal status, and help policy targeting.
Allocation: Commission Ghana Statistical Service, in collaboration with MoTAC, to design and implement a youth creative employment survey; GH¢10-15 million/year.
6. Component: Emergency & Youth Creative Fund. 
Purpose: 30,000–50,000 youth (across event production, artist support, promotion, media)
Proposed Mechanic: Based on scaling existing small festivals and creative businesses, plus matching private sector investment.
7. Component: Infrastructure & Venues in Regions.
Purpose: 50,000–80,000 youth employed in construction, maintenance, event services, and venue management
Mechanic: Assumes phased build-out of regional creative hubs, studios and public performance spaces.
7. Component: Skills Development / Masterclasses / Incubation. 
Purpose: 70,000–100,000 youth upgraded into formal or semi-formal creative sector roles (production, sound engineering, video, design, digital media)
Mechanic: With regular cohort training, mentorship, and accredited programs.
8. Component: Incentives & Startup Seed Capital.
Purpose: 20,000–30,000 youth can start small creative enterprises and sustain them over 2-3 years
Mechanic: With tax breaks, grants/subsidies, capital support, and business training.
Why Waiting Is Costing Ghana.
Each systemically underfunded event or delayed infrastructure means local businesses lose out on income (hotels, food vendors, transportation) that do not get recovered..
Branding & tourism relations: Cultural festivals, concerts, and artist branding help attract international visitors. Ghana has already seen successes like “Year of Return” and “Global Citizen” having a spillover into tourism. Failing to capitalise means losing to competing African countries.
Inflation / rising costs: The cost of production, importation of equipment, venue maintenance, security, etc., is rising. What seems viable now may be unaffordable later. Early investment often gets more “bang for cedi.”
With the 2025 budget notably omitting allocations for tourism & the creative arts, the government sends the wrong signal: that promises are more valuable than follow-through, but budget mechanics exist; policies can be structured; allocations can be made. Nations are built in the present.
Mel Kwesi Davis.
Vice President of the Foundation Of Concerned Art Professionals (FOCAP).

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Shatta Wale hints at contesting Ablekuma South seat as independent candidate in 2028

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Musician Shatta Wale

Ghanaian dancehall star Shatta Wale has opened up about the possibility of venturing into politics, revealing that he may consider running for office as an independent parliamentary candidate if there is significant public demand ahead of the 2028 elections.

 

He said this during an interview on Asempa FM’s Ekosii Sen talk show with OB. Government name, Charles Nii Armah Jnr., said he does not intend to affiliate with any political party should he decide to enter the political arena.

 

According to him, his interest in politics would be driven by a desire to serve the people rather than by personal wealth. He disclosed that if the opportunity arises, he would consider contesting the parliamentary seat for Ablekuma South as an independent candidate.

 

“If the people push me to go into politics, I will consider it. I won’t do it because I’m rich, but because I want to serve the people. I would contest the Ablekuma South seat, but I won’t join any political party. I would prefer to run as an independent candidate if the calls become stronger by 2028,” he said.

 

Shatta Wale also spoke about his strong attachment to Ghana, explaining that his love for the country is one of the reasons he continues to live here despite opportunities to travel or relocate abroad.

He noted that traveling outside the country can be quite costly for him, which makes him more comfortable staying in Ghana.

“I love Ghana so much. Anytime someone asks me to travel abroad, I feel a bit uneasy because I end up spending more money there. Life outside is expensive,” he explained.

The musician added that living in Ghana allows him to enjoy a level of freedom that he values.

“In Ghana, I feel free. Sometimes I go to certain places and I’m able to walk around without any problem,” he said.

He also urged Ghanaians to cultivate a positive mindset, emphasizing that a constructive outlook can drive meaningful change in society.

“If you keep a positive mindset, you can influence change in many ways,” he added.

 

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Legendary musician Sloppy Mike Gyamfi Accuses Kuami Eugene of Song Theft

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Legendary Highlife musician Sloppy Mike Gyamfi has accused fellow Highlife artiste Kuami Eugene of using his song without authorization.

According to the veteran musician, Kuami Eugene performed his song word for word and uploaded it on YouTube without seeking permission from him. He explained that although the younger artiste sang the song well and added some flavour to it, he did not contact him beforehand to seek clearance.

Speaking on the flagship Ekwanso Dwoodwoo drive time show on Okay FM with host Nana Romeo, Sloppy Mike Gyamfi said he was surprised when he heard the rendition of his song Asem Kakra Bi online.

“Kuami Eugene has taken my song. Visit his YouTube platform; he did it very well.

He sang the song so nicely, and I was awed when I heard it. Just Google Asem Kakra Bi and you’ll find it. He did a very good job on the song though. But Kuami never spoke to me about the song. It’s not like he sampled it or took some parts of it; he sang it word for word,” he said.

When asked by Nana Romeo whether Kuami Eugene was supposed to seek permission before using the song, the veteran musician responded that the right procedure would have been to request clearance.

However, Sloppy Mike Gyamfi indicated that he does not hold any personal grudge against the Angela hitmaker, describing him as someone he sees as a son.

“I won’t fault him that much. He’s like my son, so if he admires my work and uses it, I have no problem with it,” he noted.

Despite his forgiving stance, the veteran musician maintained that proper respect and due process should have been followed.

He added that although Kuami Eugene may know his work, the artiste has never personally introduced himself to him.

“I have forgiven him, but if someday he introduces himself to me, I will be happy. He should bring me my portion of the earnings. Not giving me even a penny is not right,” he added.

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Police Arrest Counsellor Lutterodt Over Alleged Incitement in Viral Video About Late Highlife Star Daddy Lumba

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Marriage counsellor and public commentator Cyril George Carstensen Lutterodt, popularly known as Counsellor Lutterodt, has been arrested by the Ghana Police Service over remarks made in a viral video that allegedly incited youth to storm the residence of late highlife legend Daddy Lumba.

The arrest was carried out by the Criminal Investigations Department (CID) following investigations into comments authorities say were offensive and capable of disturbing public peace.

In a press release issued on March 10, 2026, and signed by Chief Inspector Brigitte Babanawoo, Public Relations Officer of the CID, police indicated that Lutterodt’s remarks were linked to issues surrounding the late musician.

“Police investigations indicate that the suspect made some comments in relation to issues surrounding the late musician which are considered offensive and capable of causing a breach of the peace,” the statement said.

Although the police did not disclose the exact content of the viral video, reports suggest the remarks targeted the memory of Daddy Lumba and circulated widely on social media, sparking public outrage. Lutterodt is alleged to have encouraged some youth to exhume the musician’s body from his residence in East Legon.

Counsellor Lutterodt is a well-known figure in Ghana’s media landscape, frequently appearing on radio and television programmes to provide relationship advice and commentary on social issues. His outspoken style has often generated both support and controversy.

Police confirmed that he has since been granted bail but will be arraigned before court on Wednesday, March 11, 2026.

According to the CID, Lutterodt will face charges of offensive conduct conducive to the breach of the peace under Section 207 of the Criminal Offences Act, 1960 (Act 29), as well as inciting violence under provisions of the Public Order Act, 1994 (Act 491).

The offences relate to behaviour or speech that could provoke violence, public disorder, or actions likely to disturb societal peace.

Daddy Lumba, widely regarded as one of Ghana’s most influential highlife musicians, died on July 26, 2025, leaving behind a celebrated musical legacy and a large fan base across the country and beyond.

Lutterodt is expected to appear before an Accra court on Wednesday, where the charges will be formally read and his legal team will respond.

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