Edward Owusu on Government’s GH₵40M Creative Arts Allocation

The conversation on Culture Daily took a critical turn as industry stakeholders unpacked the government’s newly announced GH₵40 million allocation to the creative arts sector, with GH₵20 million earmarked for film and the remaining GH₵20 million directed toward infrastructure, including refurbishment of the National Theatre and the Accra International Conference Centre.

“For the creative sector to receive a special mention at the State of the Nation Address is significant,” Edward Owusu noted. “It shows leadership understands the sector’s economic contribution.”

But beyond the applause lies a pressing question: Is the industry structurally prepared to absorb and multiply this investment?

Part of the allocation is expected to enhance venue infrastructure to strengthen Ghana’s MICE (Meetings, Incentives, Conferences and Exhibitions) potential, an area South Africa has leveraged successfully to drive tourism and economic growth.

Upgrading facilities like the National Theatre could position Ghana as a competitive events hub. However, the film allocation sparked deeper debate.

Should funds focus on: direct production financing?, policy reform and regulatory enforcement?, infrastructure development-studios, equipment, rebates, human capital development?

“Twenty million cedis is a drop in the ocean,” one culture member remarked. “But it can be a spark.”

A recurring theme was governance and leadership capacity within the creative ecosystem.

“The biggest gap in the creative arts industry is human capital at the leadership level,” another culture member observed. “We often prioritise popularity over qualification.”

The argument was clear: Industry growth requires policy-literate professionals who understand how to navigate legislation, structure funds and drive sustainable business models not just celebrity influence.

The Culture Squad also reflected on a broader concern: has the industry sufficiently organised itself to justify and maximise such allocations?

Over the years, conversations around: royalties collection (e.g., structural challenges within rights management bodies), fragmentation within creative associations, lack of reliable industry data and weak research frameworks, have repeatedly surfaced. 

Without structural strengthening, there are fears that funds could “run through like water through a basket.” Despite concerns, there was optimism.

The government’s 2025 declaration of the creative arts as a strategic economic and cultural asset now followed by financial commitment signals policy intent.