“Government Has To Take NAFTI Seriously” -Ezekiel Tetteh STIP

Ghana’s creative industry has undergone a remarkable transformation over the years and few understand that journey better than filmmaker and director, Ezekiel Tetteh, widely known as STIP.

With a career spanning music videos, television, advertising and live event production, STIP’s story is one of resilience, innovation and an unwavering commitment to craft.

STIP’s early days in production placed him right at the heart of Ghana’s music video boom. One of his defining moments came when he worked on the production of WO HO KYERE by highlife legend Daddy Lumba.

At the time, resources were limited, but creativity was boundless.

“There were no drones at that time, you had to climb a tree to get those shots,” he recalls, highlighting the improvisation that defined early production workflows.

Throughout his journey, STIP credits key industry figures for shaping his expertise. In advertising and television, he points to Ivan Quashigah as a major influence, describing his experience as a critical learning phase in understanding storytelling for brands and audiences.

He also pays homage to veteran creative Abraham Ohene Gyan, calling him “a true legend” whose impact on Ghana’s production space remains undeniable.

Beyond directing, STIP contributed to Ghana’s music culture through visual design. Notably, he worked on the artwork for PAE MU KA, the groundbreaking album by rap icon Obrafour.

Projects like these helped define the visual identity of Ghanaian music during a formative era.

Driven by ambition and a desire for independence, STIP eventually established his own company, Solid Multimedia. Through it, he expanded his reach across the industry, working with a wide range of artistes and producing numerous music videos and commercial projects.

His entrepreneurial journey also extended into large-scale productions, including his involvement in launching the 4Syte TV Music Video Awards.

“We started the awards with nothing. It was just a dream,” he says, reflecting on the early days of what would become one of Ghana’s most recognised entertainment platforms.

Despite his success, STIP acknowledges a recurring challenge within the industry limited creative freedom.

“With music videos, you don’t always have creative freedom because of artistes’ requests,” he explains.

For him, the role of a director goes beyond aesthetics. He believes strongly in storytelling as the backbone of visual production.

“Your music video has to have a message and that message has to be strong. If you’re not doing that, then you’re hurting the artiste.”

At the core of STIP’s philosophy is a deep passion for creativity rather than financial gain.

“I like new challenges. I’m very daring and I get excited about new stuff, I don’t do it for the money,” he shares.

This mindset has allowed him to evolve continuously, moving across different areas of production while staying true to his creative instincts.

As Ghana’s creative sector continues to grow, STIP emphasises the need for stronger institutional backing particularly for film education.

“Government has to take the National Film and Television Institute (Nafti) seriously,” he states, highlighting the importance of investing in training the next generation of filmmakers.

From manually creating cinematic effects to shaping some of the country’s most impactful productions, Ezekiel Tetteh’s journey mirrors Ghana’s media landscape's evolution.