Veteran Kumawood figure and former Public Relations Officer of the Film Producers Association of Ghana (FIPAG), Peter Ekpe Mawuli, popularly known as Abro, has criticized ongoing efforts aimed at reviving Ghana’s Kumawood movie industry, accusing organizers of failing to address the sector’s real challenges.
Speaking in an interview on Best 90.5FM, Abro expressed disappointment in initiatives associated with Ashanti Regional Minister, Frank Amoakohene, claiming promises made to revive the once-thriving film industry have not translated into meaningful results.
According to him, many stakeholders initially welcomed the minister’s commitment to supporting Kumawood, hoping it would lead to renewed investment, improved production opportunities, and structured policies to strengthen the local movie industry.
However, Abro said confidence among practitioners has gradually declined due to what he described as a lack of practical interventions.
He cited the recently held Kumawood Akwaaba Festival as an example, arguing that the event focused more on stage performances and theatrical exhibitions rather than addressing critical issues affecting the movie sector.
“The purpose was to revive the movie industry, not to organize stage plays while neglecting the actual filmmakers,” he stated during the interview.
Abro stressed that theatre productions and filmmaking are different creative fields and insisted the industry needs targeted support in areas such as movie production, distribution, marketing, and actor development.
He also questioned whether some of the activities being organized under the Kumawood revival agenda are genuinely intended to rebuild the industry or simply serve as publicity platforms.
The former FIPAG PRO further referenced the recent celebrity runway event held at the Suame Interchange, where entertainers participated alongside the regional minister.
While acknowledging that celebrities can help promote development projects, he argued that such events do little to solve the pressing difficulties confronting Kumawood practitioners, including inadequate funding, declining movie production, limited cinema distribution, and weak support systems for actors and producers.
According to Abro, the industry expected strategic policies and sustainable interventions rather than symbolic public appearances.
He additionally accused some organizers of allegedly using the popularity of Kumawood stars for personal image-building instead of prioritizing long-term industry transformation.
Abro also raised concerns about what he described as growing political favoritism within the movie industry.
He alleged that some meetings and industry-related programs are being organized with selected individuals while excluding several experienced stakeholders.
According to him, the creative arts industry should remain inclusive and free from partisan influence.
“The movie industry is for everybody. Creativity should not be based on political lines,” he emphasized.
He warned that politicizing the industry could deepen divisions and undermine collective efforts to rebuild Kumawood.
Abro further commented on reported attempts to register the “Kumawood” brand name, claiming the term has long been associated with filmmaker and media entrepreneur Nana Yaw Adu-Dwomoh, popularly known as Sam Dakus, who reportedly owns Kumawood TV and had previously registered the name.
He criticized what he described as efforts by others to claim ownership of the Kumawood brand without proper consultation with industry pioneers, arguing that such actions disregard the contributions of individuals who helped build the Kumawood identity over the years.
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