The origins of short video skits in Kumasi, the heart of Ghana’s Akan film industry, have become a subject of contention, sparking a debate about who truly pioneered the now-popular format. Actor Kwame Borga, known privately as Kendrick Osei Kwame, has stepped forward to claim the mantle of originator, directly challenging the widely held belief that actor Kwaku Manu and his brother were the first to introduce short skits to the region. Borga’s assertion, made during an appearance on Sean City TV’s “The Dice Show,” directly contradicts the narrative that has been circulating within the Kumawood film circles and amongst fans. He argues that the claims made by Kwaku Manu and his brother are entirely fabricated, insisting that he, Kwame Borga, began producing short video skits as early as 2015, predating Kwaku Manu’s involvement in the genre.
Borga acknowledges that while filmmakers in Accra, such as Kofi Asamoah of Kofas Multimedia, had already established a presence in the national skit-making scene, he maintains that he was the undisputed pioneer in Kumasi. He clarifies that his claim isn’t about being the first in Ghana but specifically about introducing the format to the Kumawood film landscape. This distinction is crucial to understanding the nuances of Borga’s argument. He isn’t contesting the national timeline of skit production but rather focusing on the localized development within Kumasi. His argument centers on being the first to adapt and popularize the format within the specific context of the Kumawood industry.
The actor, who has been embroiled in controversies in the past, didn’t shy away from emphasizing his perceived seniority in the skit-making hierarchy within Kumasi. He confidently asserted that Kwaku Manu wouldn’t even rank among the top four originators of skits in the region. This bold statement further underscores the depth of his conviction and highlights the stark contrast between his narrative and the commonly accepted version of events. By placing himself at the genesis of Kumawood skits and relegating Kwaku Manu to a lower position in the timeline, Borga positions himself as a foundational figure in the genre’s development within Kumasi.
Further bolstering his claim, Borga recounted an incident involving Adom TV, a popular television station in Ghana. He claimed that when Kwaku Manu approached Adom TV to air his skits, he, Kwame Borga, was already present there, engaged in similar endeavors. He implies that Kwaku Manu’s pre-existing fame within the film industry may have unfairly overshadowed his own pioneering efforts, giving Kwaku Manu an advantage in terms of recognition and attention. He suggests that the established popularity of Kwaku Manu within the traditional Kumawood film scene facilitated a quicker acceptance of his skits by Adom TV and subsequently by the audience. This perceived bias, according to Borga, has contributed to the misattribution of the originator title.
To further solidify his claim, Kwame Borga referenced an interview conducted with Poleeno, a prominent vlogger associated with Poleeno Multimedia. He stated that Poleeno had corroborated his account, confirming that Borga was indeed the first to embark on short skit production in Kumasi. By citing a third-party source, Borga aims to lend credibility to his narrative and provide independent verification of his claims. This attempt to corroborate his story with an outside source suggests a deliberate effort to counter the prevailing narrative and establish his position as the true pioneer of Kumawood skits.
In conclusion, the dispute over the origin of short video skits in Kumasi boils down to conflicting narratives between Kwame Borga and the widely accepted attribution to Kwaku Manu. Borga vehemently asserts his position as the true originator, providing his account of events and citing a supporting interview with vlogger Poleeno. This controversy highlights the importance of acknowledging and recognizing pioneering figures in burgeoning art forms, particularly in rapidly evolving digital spaces, and emphasizes the complexities of accurately attributing credit within creative industries where collaborative efforts and individual contributions can often blur. This debate within the Kumawood film community serves as a reminder of the importance of documenting history accurately and recognizing the contributions of those who lay the groundwork for new creative trends.
