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.
Entertainment
Shatta Wale hints at contesting Ablekuma South seat as independent candidate in 2028
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.
Entertainment
Legendary musician Sloppy Mike Gyamfi Accuses Kuami Eugene of Song Theft
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.
Entertainment
Police Arrest Counsellor Lutterodt Over Alleged Incitement in Viral Video About Late Highlife Star Daddy Lumba
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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