The recent National Film Dialogue, organized by the National Film Authority (NFA) of Ghana, aimed to address critical challenges and shape future policies for the nation’s film industry. However, the event became a source of contention, particularly for stakeholders in the Kumawood film industry, a significant sector of Ghanaian cinema known for its Twi-language productions. The primary point of contention arose from the NFA’s decision to conduct the entire dialogue in English, effectively excluding a substantial number of Kumawood actors, producers, and other contributors who primarily speak Twi. This linguistic exclusivity sparked criticism, with prominent Kumawood actor, Kwadwo Nkansah, popularly known as Lil Win, voicing his concerns and those of his colleagues. Lil Win argued that the NFA’s choice of language created a significant barrier to participation for many Kumawood stakeholders, hindering their ability to engage meaningfully in discussions crucial to the industry’s future.
Lil Win’s critique highlights a fundamental disconnect between the NFA’s stated objective of inclusivity and the practical execution of the National Film Dialogue. He pointed out that the predominantly English proceedings left many Kumawood participants feeling marginalized and unheard. Although the event intended to gather diverse perspectives and foster collaborative solutions for the industry’s challenges, the language barrier effectively silenced a significant portion of the very voices the NFA sought to represent. This oversight, according to Lil Win, rendered the dialogue “unfair” and counterproductive, as valuable insights and contributions from Kumawood stakeholders remained untapped. He personally felt frustrated, having been unable to contribute despite having much to offer.
The actor’s observations underscore the importance of linguistic accessibility in facilitating effective communication and genuine inclusivity, particularly within a culturally diverse nation like Ghana. While English serves as an official language, a substantial portion of the population, especially within the creative arts sector like Kumawood, primarily communicates in Twi. By neglecting to incorporate Twi, or provide translation services, the NFA inadvertently created a two-tiered system within the dialogue, prioritizing English speakers while sidelining those more comfortable expressing themselves in Twi. This ultimately undermined the collaborative spirit of the event and limited its potential to generate truly representative solutions for the film industry as a whole.
The situation reflects a broader issue of language representation and cultural sensitivity within national development initiatives. While the adoption of a common language, such as English, for official proceedings can facilitate communication across diverse groups, it is crucial to recognize the potential for exclusion when such practices inadvertently marginalize communities whose primary languages differ. In the context of the National Film Dialogue, the NFA’s failure to accommodate Twi speakers not only disregarded the significant contribution of the Kumawood industry but also missed an opportunity to foster greater understanding and collaboration between different segments of Ghana’s film landscape.
To ensure truly inclusive and productive dialogues in the future, the NFA and other national bodies must adopt strategies that prioritize linguistic diversity and cultural sensitivity. This could include incorporating multiple languages into official proceedings, providing real-time translation services, or organizing parallel sessions catering to different linguistic groups. Furthermore, engagement with diverse stakeholders should begin well in advance of events, actively soliciting input on language preferences and accessibility needs to ensure that all participants feel valued and empowered to contribute meaningfully.
The incident involving the National Film Dialogue serves as a valuable lesson in the importance of considering linguistic diversity when planning national initiatives, particularly those intended to foster collaboration and address shared challenges. By embracing multilingualism and incorporating culturally sensitive approaches, the NFA and other organizations can ensure that future dialogues genuinely reflect the diversity of Ghana’s creative landscape and pave the way for a more inclusive and vibrant film industry. This incident underscores the need for proactive measures to bridge linguistic divides and ensure that all voices are heard, contributing to a stronger, more representative, and ultimately more successful film industry for the nation.
