Prophet Nicholas Osei, widely recognized as Prophet Kumchacha, a prominent yet often controversial figure in Ghana’s religious landscape, has asserted that a potent spiritual curse afflicts the nation’s creative arts and sports sectors. He posits that this spiritual impediment is the primary reason behind the prolonged struggles and apparent decline experienced by both the Ghanaian movie industry, often referred to as Kumawood or Ghallywood, and the national football team, the Black Stars. Kumchacha contends that the challenges are not simply a matter of insufficient talent, inadequate resources, or poor management, but rather stem from a deeper, more insidious spiritual root that requires urgent attention and cleansing.
Kumchacha’s claim centers on the notion that a palpable negative energy envelops these specific sectors, hindering their growth and potential. He draws a comparison with Nigeria, a country with a significantly larger population and arguably a more vibrant entertainment and sports scene. While acknowledging Nigeria’s demographic advantage, Kumchacha insists that population size alone doesn’t fully explain the disparity in success. He believes the difference lies in the spiritual atmosphere surrounding these industries in each country. He argues that while Nigerians often rally behind their creative talents and athletes, fostering a sense of collective pride and support, Ghanaians tend to be more critical, envious, and less supportive of their own.
The preacher further illustrates his point by referencing the recent criticism aimed at Kumawood actor and producer, Kojo Nkansah, better known as Lilwin. Lilwin’s ambitious film projects, particularly “Cocoa Season” and “A Country Called Ghana,” became targets of public scrutiny and negativity, drawing criticism from various quarters, including influential media personalities. Kumchacha laments this response, contrasting it with the hypothetical reaction from Nigerians who, he believes, would have embraced and championed such ambitious endeavors by their own countrymen. He extends this observation to similar situations within the sports arena, highlighting how internal conflicts and negativity often overshadow and undermine the performance of the Black Stars.
Kumchacha argues that prevalent attitudes within the Ghanaian creative sector contribute significantly to the alleged spiritual malady. He decries the rampant backbiting, envy, and lack of mutual support, which he believes create a toxic environment that stifles creativity and progress. This pervasive negativity, according to Kumchacha, feeds the spiritual curse, creating a vicious cycle that keeps the industry in a state of stagnation. He contrasts this with the perceived unity and collaborative spirit within the Nigerian entertainment industry, suggesting that this positive atmosphere contributes to its flourishing success.
The self-proclaimed prophet’s assertion goes beyond mere commentary on industry woes. It delves into the spiritual realm, suggesting that a deliberate act of cleansing and reconciliation is needed to break the alleged curse. He calls for national introspection, urging Ghanaians to examine their attitudes and behaviours towards their creative talents and athletes. He emphasizes the importance of fostering a culture of support, unity, and encouragement, replacing the negativity with positive affirmation and collective pride. Only then, he suggests, can Ghana hope to see a resurgence and genuine progress in both the arts and sports sectors.
In essence, Prophet Kumchacha’s pronouncements, while controversial, point to a deeper conversation about the role of societal attitudes and spiritual beliefs in shaping national success. He argues for a shift in mindset, away from negativity and infighting, towards a more supportive and unified approach. Whether one agrees with his spiritual diagnosis or not, his commentary raises important questions about the cultural and psychological factors that can influence the trajectory of a nation’s creative and sporting endeavors. His call for national reflection, while framed within a religious context, resonates with the broader need for self-assessment and positive change within Ghanaian society.
