Where Has the GH¢40m Gone? – FOCAP Challenges Government Ahead of 2027 Budget

The President of the Foundation of Concerned Arts Professionals  (FOCAP), Kojo Preko Dankwa, has challenged the government to account for its unfulfilled promises to the creative sector, insisting that creatives are still struggling with heavy taxation, high event venue charges and the absence of promised tax incentives.

Speaking ahead of the presentation of the 2027 Budget by Finance Minister Dr Cassiel Ato Forson on Thursday, November 12, at 6 pm, Kojo Preko Dankwa said the creative industry was expecting concrete measures to ease the financial burden on practitioners and improve the sector’s operations.

He said FOCAP was particularly looking forward to the implementation of manifesto promises on tax incentives, tax breaks and reduced charges for creatives who use government-owned facilities for their events.

According to him, although these commitments were made to support the creative industry, almost two years have passed without any meaningful implementation.

One of the major concerns, he explained, is the continued financial pressure on event organisers who use public facilities such as the Accra International Conference Centre and the National Theatre.

He recalled that the government’s manifesto promised that creatives would receive a percentage reduction in venue charges instead of paying the full amount when organising events at these facilities.

However, he said the arrangement had yet to materialise.

“The same manifesto promised tax incentives and then a tax break for creatives. As we speak, nothing has been done, whether from the Finance Ministry or the Creative Arts Ministry. They have not activated that,” he stated.

Kojo Preko Dankwa acknowledged that creatives have a responsibility to pay taxes but argued that the government must also honour its commitment to introduce incentives that would make doing business in the industry less difficult.

He lamented that event organisers continue to face significant demands from the Ghana Revenue Authority (GRA), making it increasingly difficult for them to organise shows and other entertainment activities.

“We are not saying we shouldn’t pay taxes, but if a promise was given and some tax relief was also promised, I think easing that pressure would have worked by introducing those measures with GRA and all that,” he said.

On the issue of funding for the creative industry, the FOCAP President said the government should not be under pressure to allocate additional money to the sector when there has been insufficient public information about how the existing funds have been utilised.

He recalled that the previous New Patriotic Party (NPP) administration, under former Finance Minister Ken Ofori-Atta, had promised to establish a Creative Arts Fund but failed to provide the seed capital required to operationalise it.

He said the current government subsequently committed GH¢20 million each to the National Film Authority (NFA) and the Creative Arts Agency, bringing the total promised seed funding to GH¢40 million.

According to him, FOCAP understands that the government has delivered the two allocations and believes the priority should now be to establish how the money has benefited practitioners.

He stressed that the government should not be expected to inject money into the funds every year because the laws establishing the two institutions also provide mechanisms for them to generate their own revenue.

Citing the National Film Authority Act, 2016 (Act 935), he explained that the authority has provisions to generate income through its activities, including film classification and related operations.

He also referenced the Creative Arts Agency Act, 2020 (Act 1048), which provides for the agency to generate revenue through its operations and the registration of creative enterprises.

He therefore argued that the initial GH¢20 million allocations should serve as seed funding to help the institutions establish sustainable funding mechanisms.

“I am not expecting government to come back and say I am increasing the money when indeed the GH¢20 million, we do not know how it has been utilised,” he said.

‘Where has the GH¢40 million gone?’ – FOCAP demands answers

Kojo Preko Dankwa questioned the lack of detailed information on how the funds have been disbursed and the number of creative professionals who have benefited.

He said the Creative Arts Minister and the relevant authorities had yet to adequately explain whether the money had been distributed as grants or loans, which individuals and businesses had received support, and whether beneficiaries were expected to repay any amounts.

He noted that President John Dramani Mahama had indicated that additional funding could be considered if the existing seed funds were properly utilised.

However, he argued that the government and the creative sector must first establish what has been achieved with the initial allocations.

He also raised concerns about the absence of reliable data on creative industry practitioners, questioning how the agencies could effectively distribute resources when they did not have comprehensive records of the people and businesses they were established to support.

According to him, there is insufficient information on the number of registered film directors, actors and actresses in the country.

The same challenge, he said, applies to the wider creative arts industry, where accurate figures on fashion designers, tailors, visual artists and other professionals remain unavailable.

He questioned the rationale behind demanding additional funding without first identifying the beneficiaries and determining the specific interventions required.

“What are we going to use it for? Training? Or for what? And training to who and what has been done?” he queried.

He maintained that FOCAP would rather see evidence that the existing GH¢40 million has been used effectively to support creative professionals before any fresh funding allocation is considered.

FOCAP demands tax relief on imported creative equipment

Beyond the existing funding arrangements, the FOCAP President said the 2027 Budget must address the taxation of equipment imported into the country for creative industry activities.

He specifically mentioned cameras and other production equipment, arguing that the government must consider tax relief measures to make such essential tools more affordable for practitioners.

He said reducing the financial burden associated with importing equipment would provide some relief to filmmakers, photographers and other professionals who depend on such tools to operate.

He added that FOCAP was expecting the Finance Minister to outline specific revenue and taxation measures that would support the creative sector rather than leave practitioners to continue struggling with high operational costs.

Kumasi National Theatre project and abandoned amphitheatres

Another major expectation outlined by Kojo Preko Dankwa is the government’s commitment to the proposed National Theatre project in Kumasi.

He said FOCAP wanted the 2027 Budget to provide clarity on the amount of money earmarked for the project and the progress made towards its construction.

He recalled that during the previous budget presentation, the Creative Arts Minister indicated that feasibility studies had been conducted and some funds had been injected into the project.

He said the creative industry was now expecting an update on the project’s implementation and the resources allocated to move it forward.

He also called for funding to complete amphitheatres and other performance facilities left unfinished by previous administrations.

According to him, the shortage of suitable venues across the country continues to limit the ability of creative professionals to organise programmes, concerts and other cultural events.

He argued that completing the existing facilities would provide more opportunities for performers and event organisers while improving the infrastructure available to the industry.

Kojo Preko Dankwa said FOCAP would therefore be looking closely at the 2027 Budget for concrete commitments on taxation, tax incentives, creative industry funding, production equipment imports and the development of performance facilities.

He maintained that the creative sector deserved the same attention given to other sectors of the economy, particularly in the implementation of promises made to improve its operations.