Ghana’s creative industry—music, film, visual arts, fashion, and performance—has in recent years gained greater visibility at home and abroad.
Ghanaian artists are contributing to the global story of African creativity, and the country’s cultural events increasingly attract international attention.
That attention brings benefits: tourism revenue, expertise exchange, and new markets. But when foreign participation becomes the default mode of support—when major funding, prime festival slots, media exposure, and institutional backing are routinely channeled to non‑Ghanaians—the local industry can suffer.
The problem is not foreign involvement per se; it is the imbalance created when foreign actors repeatedly eclipse domestic ones in access to opportunities, resources, and platforms.
Filmmaker and content creator Jeffery Nortey has stated that people in the skit-making industry often face several challenges, pointing to what he calls ‘cultural attitudes’ in Ghana.
Jeffery explained that Ghanaians mostly pay more attention to foreign content than to what is produced in their home country.
He said this attitude has crept into the creative space and is affecting creators.
“We suffer from cultural attitudes. It goes way back; they say charity begins at home. You know how we treat foreigners or how we treat strangers. We prefer to give them the light compared to our own people. It’s a canker when it comes to Ghana, and it has found its way into the creative industry.”
Jeffery Nortey
Jeffery mentioned that until he started making skits, he did not understand the struggles of those in the space.
He recalled how, as a filmmaker, he used to wonder why comedians like Warris and others were not cruising in luxury cars, high-end locations, or famous actresses in their productions.
“Back then when I was behind the scene, because I had a filmmaker mentality, I was like why don’t you use luxury cars and places and go for this actress and all that. I did not know the challenges it was going to come with until I found myself there, and I realized that skit making is actually a low-budget film.”
Jeffery Nortey
When corporate sponsors, embassies, or government bodies prioritize foreign-led festivals, residencies, or touring projects, less money remains for Ghanaian producers, creatives, and grassroots initiatives. That leaves local practitioners unable to finance recordings, films, exhibitions, or training programs. Over time this starves the domestic pipeline of emerging talent and undermines long-term sector growth.
If headline slots, radio playlists, media coverage, and prime performance dates consistently go to foreigners—be they international stars, diaspora acts, or foreign curators—Ghanaian artists are denied the exposure that builds reputations and revenue streams.
This creates a perception among promoters and audiences that foreign acts are superior, making it harder for local talent to command fees, secure bookings, and build sustainable careers.
Culture is both an economic asset and a vehicle for national identity. When external actors control the major platforms for storytelling and representation within Ghana, they influence which narratives are amplified and which are marginalised.
Persistent external dominance risks diluting local perspectives and commodifying cultural expression in ways that prioritize marketability over authenticity.
Addressing Common Counterarguments
Supporters of constant foreign engagement often point to the benefits: access to capital, technical skills, global networks, and increased tourism. These are legitimate advantages. International collaboration catalyzes growth, and diaspora involvement often reconnects talent with home markets.
The distinction must be between occasional, strategic foreign engagement that complements local capacity, and a persistent pattern that sidelines Ghanaians.
A range of stakeholders—government, funders, media, festivals, private sector, and artists themselves—must implement measures that preserve the benefits of international engagement while protecting local interests.
Radio and streaming platforms, festivals, and public events are required or encouraged to feature a majority of Ghanaian artists in headlining and prime slots. Quotas should be designed collaboratively with the sector and implemented with support mechanisms to ensure quality.
Public grants, arts councils, and corporate cultural funds should allocate a dedicated proportion of their budgets exclusively for Ghanaian-led projects, with transparent criteria and equitable application processes.
International collaborations should be tied to requirements such as local co‑production, transfer of skills, use of local crew, and reinvestment of a portion of revenues into Ghanaian projects.
Public programming that foregrounds Ghanaian culture and artistic history will help audiences value local creators and reduce the automatic preference for foreign acts.
A Shared Responsibility
Fixing the imbalance is not about excluding foreigners; it is about rebalancing priorities so Ghanaian creatives have the space, resources, and recognition to flourish.
Government policy must be paired with private sector accountability: sponsors should be encouraged to invest in domestic talent as part of corporate social responsibility and brand positioning.
Media outlets and promoters must recognize their gatekeeper power and use it to nurture local careers. Creatives themselves should organize, advocate for fair practices, and establish cooperatives to negotiate better terms.
Ghana’s creative industry stands at an important cultural crossroads. The country has the talent, history, and entrepreneurial energy to build a robust creative industry that benefits artists, communities, and the national economy.
But constant, unbalanced support for foreigners risks turning short‑term exposure into long‑term dependence and cultural marginalization.
By adopting policies and practices that prioritize Ghanaian leadership, protect creators’ rights, and encourage equitable collaborations, Ghana both welcome global exchange and ensure that its culture and creatives are the primary beneficiaries. The goal should be partnership, not replacement.
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