Government’s pledge to inject fresh capital into the creative industries has drawn a measured response from sector leader Beatrice “Bee” Arthur, who says the success of the initiative will depend on transparency, independence and clear eligibility rules.
The concerns follow the Finance Minister’s announcement in the 2026 budget that the government will rehabilitate the National Theatre in Accra, begin processes for a second national theatre in Kumasi, and establish two new financing mechanisms: a Film Fund and a Creative Arts Fund.
The proposals signal a renewed strategic focus on film, fashion, music, and other cultural industries. But practitioners say past experience shows that the biggest challenge is not the launch of new schemes, but the governance frameworks that determine who benefits.
Decolonial artivist, renowned fashion designer and Fashion Domain Leader of the Ghana Cultural Forum “Bee” Arthur said the idea of a dedicated fund is sound, but warned that the sector has historically been undermined by opaque selection processes and patronage networks.
“I think the idea itself is positive. My hesitation comes from the practical questions around eligibility and disbursement. Who qualifies? Who benefits? Who decides?” she said, noting that artistic merit in Ghana has rarely guaranteed access to public support.
“Too often, funding becomes dependent on who you know rather than on the quality, impact, or integrity of the work. Committees can be influenced by personal relationships, biases, or alliances, meaning excellent practitioners may never even be shortlisted,” she said.
According to her, these acts have eroded confidence and left parts of the sector struggling to maintain even basic facilities.
“So my concern is not with the creation of the fund itself, but with the governance, transparency, and fairness of its implementation. Until there is clarity on these elements, and until the process is insulated from political interference and personal interests, many of us in the sector will remain sceptical, and understandably so,” she added.
Beyond transparency, Arthur said the policy’s impact will also hinge on whether the Creative Arts Fund recognises and invests in creatives who centre their work on sustainability. She argued that support should go beyond popular upcycling trends and include designers and collectives who integrate environmental responsibility and community-based production models into their work.
“As a Decolonial Artivist, I am also curious to know whether any priority will be given to creatives who genuinely promote sustainability,” she said, citing practitioners such as Linda Ampah, Kelvin Quaye, and her own WAAM (Waste Afterlife Art Movement) collective , which focuses on environmental justice and cultural continuity.
