Empress Gifty has added her voice to the long-running debate over sabotage in Ghana’s creative arts industry, recounting a personal ordeal she says she will never forget.
In a live TikTok broadcast, the gospel singer narrated how her first trip to the United Kingdom ended in humiliation and deportation after a fellow industry colleague, who had invited her, allegedly abandoned her at the airport.
She withheld the person’s name but said the betrayal still stings.
“When I got to the airport, the immigration officers asked me who I was going to visit, and I mentioned the name. They then asked me if I had called the person before getting to the airport, and I told them yes. So they asked me to call her, but after calling her several times, the person refused to pick up my calls.
“The immigration officers started calling her from 6 AM to 4 PM, but my friend didn’t pick up my calls. They then took me to a room where there were a lot of cameras and everyone was even looking at me.”
Empress Gifty
According to the gospel musician, her ex-husband reached out to then-Ghanaian Foreign Minister Hannah Tetteh in hopes of securing her entry, but even political intervention was unsuccessful.
“I called my ex-husband, and he called the then foreign minister, who was Hannah Tetteh. She even called the immigration officers to allow me to stay in my hotel room. But they refused. They were like, until the girl picks up the calls, they were not going to allow me to enter the UK.”
Empress Gifty
She was deported back to Ghana the same day, with her two-year visa revoked less than a week after issuance. Gifty noted that her recent UK trip was intentionally made to silence those who mocked her over the incident.
“When their efforts were not proving fruitful, my husband called and asked them to return me to Ghana. The immigration officer spoiled my two-year visa that I had gotten within a week.”
Empress Gifty
Need for Collaboration and Support
While the notion of sabotage in Ghana’s creative arts industry is often dismissed as mere conspiracy, a closer examination reveals a complex interplay of systemic challenges, competitive rivalries, and socio-economic factors that contribute to the perception and reality of sabotage, necessitating a concerted effort to foster a more supportive environment for artists.
To address the ongoing debate over sabotage, stakeholders in Ghana’s creative arts industry must prioritize collaboration over competition.
This is achieved through initiatives that promote mentorship, shared resources, and collective marketing efforts.
By fostering a sense of community, artists support one another, reducing the likelihood of sabotage and enhancing the overall quality of the industry.
Furthermore, government and private sector involvement is essential in creating a more robust infrastructure for the creative arts.
Investment in training programs, funding opportunities, and platforms for showcasing talent can help mitigate the systemic challenges that contribute to the sabotage narrative.
The debate over sabotage in Ghana’s creative arts industry is a multifaceted issue that reflects broader societal dynamics. While claims of sabotage stem from genuine grievances, they also highlight the need for a more supportive and collaborative environment for artists.
By acknowledging the systemic challenges and fostering a culture of cooperation, Ghana harnesses its creative potential and ensures that its artists thrive rather than undermine one another.
Ultimately, the future of Ghana’s creative arts industry depends on the collective efforts of its artists, stakeholders, and supporters to build a resilient and inclusive community that celebrates creativity without the shadow of sabotage.
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