Omanghana
The Member of Parliament for Ketu South and former Deputy Minister for Tourism, Arts and Culture, Abla Dzifa Gomashie, has faced criticism from some members of Ghana’s creative arts community over her advocacy for industry reforms.
The debate has attracted attention because of Gomashie’s background as a veteran actress and her experience in both Parliament and the Tourism, Arts and Culture Ministry.
Critics argue that her combination of political influence and creative industry experience placed her in a strong position to become a leading parliamentary advocate for entertainers and other cultural practitioners.
They claim, however, that much of her advocacy has focused on challenges affecting the Ketu South Constituency, including coastal erosion, border trade and local infrastructure, while national creative arts issues have received less attention.
Some industry stakeholders have cited delays in fully operationalizing the Creative Arts Agency and establishing stronger copyright and royalty collection systems as evidence of insufficient political pressure.
They have also raised concerns about the absence of comprehensive insurance and pension arrangements for ageing actors, musicians and other practitioners who may struggle financially after leaving active work.
Emerging filmmakers, theatre professionals and performing artists have similarly complained about limited public investment in the sector.
They contend that Ghana’s creative industry lacks the institutional influence needed to secure sufficient budgetary allocations, tax incentives and infrastructure such as modern performance venues and regional theatres.
Supporters of Gomashie have rejected attempts to hold her personally responsible for challenges that have persisted across successive governments.
They argue that a legislator, particularly one serving in opposition, does not control government expenditure or possess the executive authority required to implement programs and release funds.
According to this view, responsibility for implementing national creative arts policies rests primarily with the sector minister, relevant state agencies and the executive branch.
Gomashie’s defenders have also pointed to her mentorship of young actors, playwrights and cultural groups. They say she has used public platforms to advocate fair royalties, improved treatment of veteran practitioners and greater recognition of the creative arts.
Others have emphasized that Gomashie’s responsibilities as MP require her to prioritize the urgent needs of Ketu South residents.
The constituency continues to face challenges including tidal-wave destruction, restrictions affecting cross-border commerce and gaps in essential infrastructure.
The controversy has renewed a wider conversation about the responsibilities of entertainers and cultural practitioners who enter politics.
While some creatives expect such politicians to become strong advocates for the industry, others maintain that lasting reforms require coordinated action from Parliament, the government, regulatory bodies and industry associations rather than dependence on an individual legislator.
Source: Omanghana
