Entertainment
The Exposé that Redefined the Creative Vote: Inside Kojo Preko Dankwa’s Deep Dive into the Creative Arts Agency
For years, Ghana’s creative sector occupied a paradoxical space celebrated rhetorically by politicians yet structurally neglected in practice. Despite campaign promises, policy declarations, and public endorsements, many creatives experienced weak institutional support, unclear funding pathways, poor stakeholder engagement, and limited accountability within the Creative Arts Agency (CAA).
By the later years of the NPP administration, dissatisfaction had quietly hardened into distrust. What was missing was a credible, organised, and persistent voice capable of articulating the sector’s grievances in a way that could not be ignored.
That voice emerged forcefully in Kojo Preko Dankwa, President of the Foundation of Concerned Arts Professionals (FOCAP).
The Exposé: From Complaint to Documentation.
Unlike routine criticism that often circulates on social media and quickly fades, Kojo Preko Dankwa’s intervention took a different route. It was methodical, public-facing, and sustained.
Through press conferences, policy statements, interviews, and sector briefings, he laid out a detailed critique of the Creative Arts Agency, focusing on:
- Institutional opacity in decision-making
- Exclusion of key creative stakeholders from policy formulation
- Lack of measurable impact despite budgetary allocations
- Failure to build sustainable industry frameworks for artists and practitioners
- Political symbolism without structural delivery
Crucially, these were not framed as partisan attacks but as industry-based assessments, backed by lived experiences from practitioners across music, film, visual arts, theatre, fashion, and events.
The power of Kojo Preko Dankwa’s exposé lay not only in its content but in its timing and credibility.
By the time the critique gained national attention, creatives were already frustrated. The exposé simply gave language, structure, and leadership to sentiments that had long existed beneath the surface.
FOCAP’s platform amplified voices that had previously been fragmented. What once sounded like individual complaints now emerged as a collective indictment of institutional failure.
This reframing was critical. The issue was no longer about personalities within the Agency it became a referendum on how the ruling party related to the creative economy as a whole.
While it would be simplistic to claim that one exposé alone “lost” the NPP power nationally, within the creative sector, the impact was unmistakable.
The ruling party gradually lost:
- Moral authority among creatives
- Narrative control over its creative-sector record
- Trust as a stakeholder-friendly government
Creative professionals who double as influencers, cultural opinion leaders, and community mobilisers began openly distancing themselves. Endorsements dried up. Public enthusiasm softened. Silence replaced solidarity.
In political terms, this amounted to a collapse of soft power within a sector that shapes youth culture, public discourse, and national image.
At the heart of the controversy was the perception that the Creative Arts Agency had become politically ornamental rather than functionally transformative.
Kojo Preko Dankwa’s critique consistently returned to one central question:
What measurable value has the Agency delivered to creatives since its establishment?
The inability of authorities to convincingly answer this question deepened suspicion and reinforced the exposé’s credibility.
Why This Moment Matters Beyond Party Politics
This episode marked a turning point in Ghana’s creative advocacy. It demonstrated that:
- The creative sector can organise beyond individual celebrity voices
- Policy critique can be evidence-driven and sustained
- Cultural workers can influence political outcomes without partisan alignment
In effect, the exposé elevated creatives from campaign accessories to policy stakeholders.
A Warning to Future Governments
The fallout from the Creative Arts Agency exposé sends a clear message to any administration:
The creative sector is no longer satisfied with symbolism, appointments, or occasional grants. It demands structure, accountability, inclusion, and results.
Any government that ignores this does so at its own risk.
Kojo Preko Dankwa’s deep dive into the Creative Arts Agency did more than expose institutional weaknesses; it redefined the political consciousness of Ghana’s creative sector. What emerged was not just criticism, but a shift in power: from political patronage to sector-led accountability.
And in that shift lies the real reason the NPP lost ground within the creative community, not because creatives turned political, but because politics failed to keep faith with creativity.
Culture
“We Entertain Stupidity in This Country” — GHOne’s Lilly Mohammed Slams Foreign Affairs Minister Ablakwa Over IShowSpeed Passport Saga

Broadcast journalist Lilly Mohammed has descended on Ghana’s Minister for Foreign Affairs, Samuel Okudzeto Ablakwa, over the decision to issue a Ghanaian passport to American streamer IShowSpeed.
Speaking on GH Today, GHOne TV’s morning show, the host expressed strong dissatisfaction with the minister’s action, questioning the justification for granting Ghanaian citizenship to the internet personality after a brief visit to the country.
“Let’s get serious as a country. It’s like we’re not serious at all. Somebody comes to Ghana, he’s a streamer, he’s putting Ghana on the global map, he’s doing whatever. He comes for a day or two, and then you shove a Ghanaian passport into his hands. You’re not serious,” she said.
Lilly Mohammed stated that she could not see the importance of IShowSpeed’s visit that warranted the issuance of a Ghanaian passport.
“You’re not serious. Samuel Okudzeto Ablakwa, you were somebody we had high expectations of. You shoved a Ghanaian passport into the hands of somebody who came here streaming and embarking on his own personal thing. Coming to step on our jollof, jumping on the Black Stars Square, what has that done to our GDP? What has it added to our economy?” she questioned.
The media personality further compared the situation to Ghanaian YouTuber Wode Maya, who has consistently promoted Africa on the global stage, asking whether any country had rewarded him with citizenship for his efforts.
“Wode Maya has been putting Ghana on the map globally. Have you seen America give him an American passport? Even Nigeria, has Nigeria given him a Nigerian passport? You entertain stupidity so much. You’ve given him a Ghanaian passport for what achievement? What has he done for Ghana?” she asked.
She also criticised the public reaction surrounding the visit, particularly an incident where some Ghanaians reportedly ate jollof rice that IShowSpeed had stepped on during his visit.
“You give him a Ghanaian passport because he sat on our jollof, and the moment he steps away, Ghanaians rush to eat it. You are not serious. With the greatest respect, let’s put some value on our passport. Let’s put value on this country,” she stressed.
Lilly Mohammed further lamented the difficulties faced by Ghanaian citizens in acquiring passports, contrasting it with the ease with which the streamer was allegedly granted one.
“Meanwhile, Ghanaians are queuing for passports. Ghanaian citizens born in this country, who by the Constitution are entitled to citizenship, are struggling. You say you have opened the passport system to eliminate goro boys, yet people are still finding it difficult to get a basic passport,” she said.
While clarifying that she had no personal issue with the streamer, she maintained that the decision to issue him a Ghanaian passport was unjustified.
“I have no problem with him. I didn’t even know him until he came to Ghana. It’s a beautiful thing what he’s doing, and it’s risky. For a young man, he’s very bold and deserves a pat on the back. However, to give him a Ghanaian passport, what has he done to deserve it? Let’s get serious in this country, for real,” she concluded.
Background
On Tuesday, January 27, Ghana’s Minister for Foreign Affairs, Samuel Okudzeto Ablakwa, announced that the Ministry had approved the issuance of a Ghanaian passport to popular American streamer and internet personality IShowSpeed. According to the minister, the decision followed confirmation of what he described as the influencer’s “irrefutable ties” to Ghana.

IShowSpeed, an American streamer currently on an African tour highlighting the continent’s culture and lifestyle, arrived in Ghana on Sunday. He was officially welcomed on Monday, January 26, with a traditional Akan naming ceremony held in the Eastern Region.
Entertainment
Ghana Music Awards Europe Appoints Mona Gucci as Chief Operations Officer
Ghana Music Awards Europe has officially announced the appointment of Abigail Monalisa Semaha, widely known as Mona Gucci, as its new Chief Operations Officer.
The announcement, made in Accra and Europe, marks a significant milestone in the organization’s efforts to strengthen its operational leadership as it expands its footprint across Europe and the global Ghanaian music community.
According to the organizers, the appointment reflects Ghana Music Awards Europe’s commitment to excellence, innovation, and forward-thinking leadership. Mona Gucci brings with her extensive experience in media, branding, communications, and creative industry management. She is widely respected for her deep understanding of entertainment culture, audience engagement, and strategic leadership.
In her new role, Mona Gucci will oversee the day-to-day operations of Ghana Music Awards Europe, lead strategic planning, manage partnerships, and supervise the execution of key initiatives aimed at elevating the awards scheme’s brand. Her leadership is expected to improve organizational efficiency, strengthen industry relationships, and enhance the overall experience for artists, stakeholders, and audiences.
Speaking on the appointment, organizers of Ghana Music Awards Europe expressed strong confidence in her ability to drive growth and innovation within the organization. They noted that her professionalism, experience, and insight into the entertainment landscape make her a valuable addition to the executive team.
Mona Gucci also expressed her excitement about the new role, stating that she looks forward to contributing meaningfully to the celebration and global promotion of Ghanaian music and culture.
Ghana Music Awards Europe remains dedicated to recognizing and honoring Ghanaian musical excellence while creating platforms that connect artists to international audiences. The annual awards scheme was established to celebrate and promote Ghanaian music and creatives in Europe and beyond, fostering cultural exchange and global recognition for Ghana’s vibrant music industry.

Entertainment
High Court Confirms No Will on Record for Late Highlife Icon Daddy Lumba
The High Court in Accra has confirmed that there is no record of a last will belonging to the late highlife musician Charles Kwadwo Fosuh, widely known as Daddy Lumba, at the Probate and Administration Division’s registry.
This confirmation followed an official search conducted as part of the legal process surrounding the administration of the musician’s estate.
According to court documents, the registry search was initiated to determine whether Daddy Lumba had deposited a will with the High Court. The request also sought details such as the date of deposit, the individual who submitted the document, and the lawyer who prepared it, should such a will exist.
However, a formal response from the registry, dated January 19, 2026, at 2:37 pm, stated that no will associated with the late musician is on record. The document, signed and stamped by the Registrar of the Probate and Administration Division, confirmed that the court’s registry holds no such record.
The absence of a registered will indicates that Daddy Lumba’s estate may be administered under Ghana’s intestate succession laws, unless a valid will is produced from another source. This development introduces additional legal considerations for the family and legal representatives managing his affairs.
Daddy Lumba, one of Ghana’s most influential and celebrated highlife musicians, left behind an extensive musical catalogue that continues to shape the country’s music industry. Since his passing, public attention has remained focused on the handling of his estate, reflecting both his stature and the enduring impact of his legacy.

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