Ghana should focus on building a sustainable domestic market for its creative industries before trying to replicate Hollywood or compete for global audiences, industry executives said, arguing that stronger local demand and better business structures are critical to unlocking investment.
Speakers on the panel of the Creative Economy Summit said Africa’s creative sector has long been viewed primarily as culture rather than as a commercial industry, despite the global creative economy being valued at more than $2.25 trillion annually.
The panel was moderated by Jane Okyere-Aduachie, in charge of external relations and special projects at AmCham (American Chamber of Commerce). On the topic “The Creative Economy as an Investment Frontier”.
“We shouldn’t be modelling that strategy,” said Paul Garnes, chief executive of Array Filmworks and a longtime collaborator of filmmaker Ava DuVernay, referring to the U.S. film industry’s business model. “We have to start figuring out a model that works for the consumer here, not bring a Western philosophy to selling media.”
Garnes said Ghana should first develop a local audience willing to pay for homegrown content before seeking international markets, warning that trying to imitate mature entertainment industries could limit opportunities for African creators.
“We shouldn’t be learning how to make something people outside Ghana will watch,” he said. “We should be learning how to tell our story so well that everyone outside Ghana wants to see it.”
The discussion reflected a broader shift among industry leaders toward positioning Africa’s creative industry as an investment opportunity capable of generating employment, exports and economic growth.
Mariam Buahin, chief operating officer of Akuna Group, said one of the biggest obstacles to attracting private capital is that many creators fail to present themselves as businesses.
“Creators need to think as businesses,” she said. “If you don’t want to do the business part, get a partner.”
She said investors require market data and financial records before committing capital, adding that many artists cannot provide basic information on revenues or audience performance.
“Limited market data” remains one of the sector’s biggest barriers to investment, she said.
Buahin also urged creators to approach companies with commercially viable proposals instead of expecting brands to support projects solely because they are creative.
“The opportunity of product placement and digital extensions is the value brands also get,” she said. “When you understand their business, then it starts making sense.”
The panel also highlighted digital technology as a growing source of revenue for African creators.
Isaac Nartey, a BAFTA-winning creative executive and cultural strategist, said fintech platforms are lowering barriers for African creatives to receive international payments and collaborate across borders.
He pointed to emerging digital payment solutions that allow creators to receive payments in U.S. dollars and work with partners across Africa without requiring foreign bank accounts.
Nartey said collaboration across African markets could unlock significant commercial value, citing the Scandinavian animated franchise Moomin, which is jointly developed by multiple countries and generates hundreds of millions of dollars annually.
“The question is why aren’t we doing that in Africa?” he said.
He also urged broadcasters and investors to pay closer attention to changing consumer behaviour, arguing that younger audiences increasingly consume content through livestreams, reaction videos and social media rather than traditional television.
“The patterns have moved away from scheduled programming to disruptive viewing,” Nartey said. “Young people are driving where content is going.”
Garnes said artistic authenticity should remain central to the industry’s commercial ambitions, arguing that cultural identity, rather than adaptation to foreign tastes, would ultimately make African content globally competitive.
“The power of what we do is leveraging the value of art,” he said. “If we do that correctly, you’re going to change the way the world looks and feels.”
The panel concluded that expanding the creative economy will require stronger collaboration among creators, investors, financial institutions and technology companies, alongside better protection of intellectual property and wider adoption of digital distribution and payment platforms.
