Ghana Month Beyond Kente: Telling Our Stories on Screen

Each March, Ghana adorns itself beautifully. Kente adorns both workplaces and historical narratives. Dining establishments showcase regional cuisine. The radio evokes a sense of nostalgia. It is vibrant and essential. However, it remains unfinished. The significance of Ghana Month is gradually evolving into a mere symbol. The act of donning kente is a profound expression of cultural pride. It does not inherently safeguard culture. The essence of cultural continuity lies in the art of storytelling. Today, the art of storytelling finds its most compelling expression on screen.

A nation endures not merely by means of its resources and sustenance, but through the mastery of its narratives. Who narrates our tales? Who provides their funding? Who observes them? Which voices prevail? What realities are obscured? A significant number of households in Ghana tend to favour foreign content over local films. Hollywood moulds aspirations. Nollywood influences both humour and dialogue. The issue does not lie with global exposure. Cultural imbalance exists. When local narratives are sidelined within their own nation, the essence of identity diminishes.

Film achieves what Kente cannot. It encapsulates accents, neighbourhood tensions, aspirations of migration, faith, corruption, romance, and the dynamics of generational conflict in motion. It embodies our true selves, rather than conforming to the expectations set by algorithms. Recent films from Ghana are striving to achieve that goal. The Fisherman presented a serene and dignified depiction of life along the coast and the struggle for survival. Sweet Palmwine examined relationships with a uniquely local perspective. Vibes explored the identity of urban youth without relying on external narratives. These films possess imperfections. They contend with restricted screen availability and constrained marketing budgets. However, they are engaging in more profound cultural endeavours.

Ghana Month ought to elevate these initiatives with the same level of commitment afforded to textile campaigns. The promotion of textiles is characterised by its structure and sponsorship. Film seldom achieves this. Cinema halls beyond Accra are few and far between. The distribution networks exhibit significant vulnerabilities. Piracy undermines revenue. The scale and transparency of public funding are notably insufficient.

Should March embody national pride, it stands to reason that investment should align with such symbolism. A meaningful Ghana Month would feature a national film circuit spanning the regional capitals. Public broadcasters should allocate primetime slots for Ghanaian films. Selected local productions would be screened by schools as an integral component of civic education. Corporate brands would extend their sponsorship to premieres, in addition to fashion shows. Fabric honours tradition. The film explores the current state of affairs while envisioning what lies ahead.

The Declaration of Political Independence took place in 1957. The journey toward narrative independence remains a work in progress. To truly cultivate the essence of Ghana Month, we must transcend our attire and focus on what we observe, support, and uphold. The screen, along with the fabric, must propel the nation into the future.