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In 2024, Ghana’s ever-faithful political pendulum swung back, as it tends to do every eight years or so, gently nudging the National Democratic Congress (NDC) back into power after the New Patriotic Party (NPP) completed its full choreography on the governance stage. The baton passed hands, the banners changed color, and the speeches were dutifully dusted off and redeployed—hope, as always, made a grand entrance.
For the creative sector, there was cautious optimism that this change might finally be more than cosmetic. Artists, musicians, filmmakers, and cultural entrepreneurs dared to dream—again—that this time, someone in power might actually listen, invest, and deliver. But as the confetti settled and the sound of campaign drums faded into bureaucratic shuffling, reality began to sink in.
Four months into the NDC’s administration, what was billed as a renaissance is starting to look suspiciously like a rerun—complete with the usual suspects: recycled policies, recycled promises, and the ever-reliable “we’re still assessing the situation” press statement. The revolution that was advertised is beginning to resemble a reboot of an old series, just with updated fonts and a slightly better social media team.
To many in the creative industry, it feels like watching a well-worn play with a new cast but the same tired script. The paint may be fresh, but the walls are the same. And while hope hasn’t been entirely evicted, it’s definitely sleeping with one eye open.
The Black Star Experience: A Star is (Re)born… or Just Recast?
Launched with pomp and plenty of patriotic pageantry on May Day 2025 at the iconic Freedom and Justice Monument, the Black Star Experience strutted onto the national stage as the NDC’s glittering flagship initiative—an ambitious effort to reposition Ghana as Africa’s cultural crown jewel. Think year-round festivals, vibrant diaspora homecomings, curated history trails, and all the creative trimmings. On paper, it’s a masterstroke. But as many in the industry will tell you, the devil is always in the details—and in this case, the devil may have simply changed his outfit.
Scratch beneath the glossy brochures and ceremonial speeches, and a different narrative emerges. Insiders are whispering—some shouting—that this “experience” feels more like a rebranded rerun than a bold new chapter. “Same script, different title,” quipped one seasoned creative, who’s clearly seen enough administrations roll in with glittering slogans and roll out with nothing but selfies and unfinished pilot projects.
The creation of a new secretariat tucked neatly inside the presidency was meant to signal gravitas. Instead, it’s raised more than a few skeptical eyebrows. Why, critics ask, do we need yet another office—especially one that seems to mirror the mandates of the Ghana Tourism Authority and the Ministry of Tourism, Arts, and Culture like a bureaucratic doppelgänger? Is this streamlining or simply stacking?
To many observers, it’s not so much a visionary leap as it is a redundancy roadshow—complete with overlapping job descriptions, circular consultations, and a chorus of creatives wondering if anyone’s actually listening. The Black Star may be back, but whether it’s rising or just rotating in orbit remains to be seen.
GHAMRO: Music Royalties Held Hostage
Meanwhile, Ghana’s music industry is stuck on pause. The Ghana Music Rights Organization (GHAMRO) still lacks a valid operating license, revoked by the Attorney General over long-standing compliance failures. That includes ignoring key reforms recommended by a 2017 Mediation Committee, like structural transparency and financial accountability.
GHAMRO’s leadership insists politics is to blame. But whether it’s red tape or red flags, the musicians pay the price. No license means no royalties—only rising frustration among artists who feel abandoned by both their regulators and the new administration.
Demolition Blues: The Fantasy Dome Fiasco
As if that wasn’t enough, the creative sector was dealt a heavy blow with the abrupt demolition of the $25 million Fantasy Dome in Accra, despite a court injunction. Once a beacon of promise for large-scale events, the Dome’s destruction sent shockwaves through the industry. Entrepreneur Baba Sadiq called it a “monumental setback,” underscoring the government’s mixed signals on infrastructure investment.
To add insult to injury, plans to shutter the Grand Arena and the Palms by November have only deepened uncertainty. What was supposed to be a renaissance for creative spaces now feels more like a retreat.
Creative Sector or Creative Neglect?
Ghana’s creative industry has long punched above its weight—from music and film to fashion and festivals. It’s a cultural powerhouse and a source of livelihood for thousands. Yet the same obstacles persist: poor infrastructure, erratic funding, and a lack of political will.
When the NDC returned to power, many hoped it would prioritize the arts—not just as campaign candy, but as a serious economic and cultural pillar. So far, the results have been underwhelming.
Time for Talk to Meet Action
Rhetoric is no longer enough. The creative sector doesn’t need another committee, press release, or launch party. It needs action. Here’s what the NDC must do to walk its talk:
• Develop a Real Strategy: Create a comprehensive roadmap for the creative economy—one that’s driven by data, designed with stakeholder input, and backed by actual funding.
• Fix GHAMRO, Fast: Resolve the license crisis and put transparent systems in place so that musicians can earn what they’re owed.
• Invest in Infrastructure: Replace words with bricks. The sector needs performance venues, recording studios, and exhibition spaces—not bulldozers.
• Provide Real Funding: Support creatives with grants, soft loans, and tax incentives. Passion alone won’t pay the bills.
• Listen to the Industry: Bring creators to the table. Their insights are invaluable—and often, more grounded than government consultants.
The Bottom Line
Culture is not a luxury—it’s an economic engine, a source of national pride, and a powerful tool for soft power. The NDC’s Black Star Experience could still become a defining initiative. But without decisive action, it risks becoming yet another chapter in Ghana’s long saga of political showmanship and artistic sidelining.
The creative sector is watching, waiting—and increasingly weary of recycled promises. The question is no longer what will be done, but when. Ghana’s artists have shown resilience. It’s time their government matched it with results.
Nii Noi has called on gospel musicians to see TGMA as a platform for spreading the word of God
