Akofa Edjeani, a respected figure in the Ghanaian film industry, has voiced a compelling appeal to President John Dramani Mahama, urging him to prioritize expertise and experience when making appointments within the creative arts sector. She emphasizes the critical need to select individuals who possess a genuine understanding of the sector’s multifaceted impact, including its socio-economic contributions, its role in shaping national identity, and its potential for generating employment and fostering overall well-being. Edjeani advocates for a comprehensive dialogue, a “round table discussion,” to establish a clear vision and direction for the creative arts, effectively “resetting and rebuilding” the sector’s foundations. This, she believes, is crucial for achieving sustainable growth and maximizing the sector’s potential.
Central to Edjeani’s argument is the recognition of the creative arts, particularly film and theatre, as pivotal drivers of national development. She underscores their intrinsic value in shaping cultural identity and contributing to the overall progress of any nation. By emphasizing the vital role of arts and culture as the “soul” of a nation, she implicitly criticizes the current tendency to marginalize the sector, treating it as a separate entity detached from core national priorities. This disconnect, she suggests, is a major impediment to the sector’s growth and its ability to contribute meaningfully to the nation’s development. Edjeani’s call to prioritize the creative arts reflects a broader concern about the lack of strategic investment and the failure to recognize its potential for economic growth and cultural enrichment.
Edjeani’s advocacy for a “firm foundation” before erecting “structures” within the creative arts sector speaks to the need for a well-defined strategic framework. She argues that a robust foundation is essential for sustainable development and to avoid the recurring cycle of failures that have plagued the sector. This implies the need for clear policies, effective regulatory mechanisms, and the establishment of sustainable funding models. Without these fundamental elements in place, Edjeani suggests, any attempts to develop the sector will be akin to building on unstable ground, leading to inevitable collapse. Her emphasis on a strong foundation also highlights the importance of long-term planning and strategic vision, rather than ad-hoc interventions that often characterize the sector’s current state.
The actress’s appeal for qualified leadership within the creative arts sector underscores the need for individuals who possess a nuanced understanding of the industry’s intricacies. This includes not only artistic expertise but also a grasp of the business aspects of the creative industries, including marketing, distribution, and intellectual property rights management. Edjeani suggests that appointing individuals with a superficial understanding of the sector’s dynamics will only perpetuate the existing challenges and hinder its potential. Her call for qualified leadership also implies a critique of the prevailing patronage system, where appointments are often based on political connections rather than merit and expertise. This, she suggests, has contributed to the sector’s underdevelopment and its inability to reach its full potential.
Furthermore, Edjeani’s advocacy for a more integrated approach to arts and culture within the national development agenda reflects a growing recognition of the sector’s potential to generate economic growth and create employment opportunities. She argues that the creative arts are not merely a form of entertainment but a vital economic sector that can contribute significantly to national prosperity. This perspective aligns with the global trend of recognizing the creative industries as a key driver of economic growth, particularly in developing countries. Edjeani’s call for a more holistic approach also highlights the interconnections between the creative arts and other sectors, such as tourism, education, and technology, suggesting that a synergistic approach can unlock significant economic and social benefits.
In essence, Akofa Edjeani’s call to action is a plea for a paradigm shift in how the creative arts sector is perceived and managed in Ghana. She advocates for a move away from ad-hoc interventions and towards a more strategic, integrated, and sustainable approach. This includes prioritizing qualified leadership, establishing a strong foundational framework, and recognizing the sector’s multifaceted contributions to national development. Her appeal to President Mahama is not just a request for specific appointments but a call for a fundamental change in mindset, a recognition of the creative arts as a vital engine of economic growth, cultural expression, and national identity. Her message is a powerful reminder of the untapped potential of the creative sector and the need for strategic investment and visionary leadership to unlock its transformative power.
