Martha Ankomah Calls for Action Against Foreign Telenovela Takeover
The overwhelming number of international soap operas that are Twi-dubbed on local television networks is slowly destroying Ghana’s film industry and endangering thousands of creative jobs, according to prominent Ghanaian actress Martha Ankomah.
Speaking at the University of Ghana on Tuesday for the National Film Authority’s first National Film Dialogue, Ankomah delivered a scathing critique of broadcasting practices that, in her opinion, favour low-cost foreign content over domestic productions, thereby creating an unsustainable environment for local filmmakers.
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The actress described a broadcasting environment where international soap operas dominate airtime across several time slots, highlighting the ubiquitous nature of telenovela programming. Her worries are in line with industry-wide concerns over Ghana’s cultural sovereignty in an entertainment sector that is becoming more and more globalised.
With reference to what she describes as a systematic displacement of Ghanaian creative output, Ankomah said, “The constant presence of these programs is fundamentally altering our media landscape.” Her findings highlight an increasing conflict between promoting local cultural production and finding economical programming alternatives.
Given that it coincides with the National Film Authority’s first large industry debate aimed at addressing issues facing Ghana’s creative economy, Ankomah’s engagement seems strategically crucial. Her worries are in line with those of other industry leaders, such as musician Rex Omar, who has previously denounced the expanding trend of imported telenovelas with Twi translations as harmful to the recognition of local talent.
Industry watchers point out that this discussion raises more general issues with media regulation and cultural policy in West Africa. Governments are facing comparable difficulties as those facing domestic cultural creation, as seen by Kenya’s recent proposal to impose a 50% tax on foreign content broadcast by local television stations.
In Ghana’s media environment, Ankomah’s need for government action emphasises the intricate interrelationship between market pressures and cultural preservation. She suggests that legislative action would be required to safeguard Ghana’s creative industries and supports more robust policy frameworks that would require greater prominence for indigenous content.
The actress’s worries are part of larger debates concerning the viability of Ghana’s film industry, which has faced many obstacles recently, such as limited finance, distribution issues, and competition from more well-funded foreign projects.
