Prospect For The Theatre Development In Ghana

Chronologically, serious theatre practice began in Ghana during the period just before Ghana’s independence with Efua Sutherland.

It was Efua Sutherland who pioneered the early development of theatre in the country with collaboration from Joe de Graft who later became the first director of the School of Performing Arts after its separation from the Institute of African Studies to become the School of Music, Dance and Drama.

Efua Sutherland’s first play titled “Foriwa” was performed during the early days after Ghana’s independence.

Before the time of Efua Sutherland and Joe de Graft there was little practice of theatre in the country which was of not much significance and impact from the theatrical point of view.

During this period, Kobina Sekyi, a lawyer by profession wrote The Blinkards in 1915. He became the first Ghanaian playwright in the history of theatre in this country.

He was followed by F.K. Fiawoo, headmaster of Anloga Secondary School who wrote the play, The Fifth Landing Stage in 1925. J.B. Danquah, a prominent lawyer and a politician, also wrote The Third Woman in 1939.

In the context of criticism, the period spanning between Kobina Sekyi, F.K. Fiawoo and J.B. Danquah, and the onset of the immediate period before Ghana’s independence can be described as the period of closet drama, which did not witness any serious or vibrant playwriting intended for staging or dramatic performance.

Theatre practice in Ghana suffered many setbacks as the pace for its development characterised by intermittent aridity in both performance and activity.

This was so owing partly to the frequent change of governments in this country since the overthrow of President Kwame Nkrumah in 1966.
President Kwame Nkrumah and his CPP government was very much interested and got involved in the development of the theatre and the arts in general in this country.

In fact, President Nkrumah demonstrated his zeal and commitment for the development of the theatre in the country by forming his own theatre company known as the Osagyefo Players. This theatre company was based at the Flagstaff House in Accra and did perform plays on many important occasions.

Had this keen interest and involvement of the state in the development of theatre in this country been sustained and continued by subsequent governments that emerged after the overthrow of Nkrumah in 1966, theatre would have been developed more to a higher and appreciable level in this country than it is now.

Apart from government or state involvement in the promotion and development of theatre in this country, there in one essential requirement that will greatly contribute to the realisation of optimum theatre growth in the country; and this is theatre psyche.

These two factors have consistently characterised theatre development in all countries since that time up to the present time. These two factors are responsible for the present level of theatre development in the US the most powerful country on earth today, which derives two thirds of its total revenue from theatre!

One can therefore imagine the great value of theatre to a country!
Theatre is invaluable or priceless to a developing country like Ghana.

But unfortunately, it was grossly misunderstood and devalued in Ghana since the days of Efua Sutherland and Joe de Graft and has been so up to this day. This unfortunate state of affairs has adversely affected the smooth growth and development of theatre in the country up to the present time.

However, in spite of the gloomy picture that is evident as far as the development of theatre in the country is concerned, it appears there is a glimmer of hope for the development of theatre in the country during the 21st century.

Ghana possesses a magnificent National Theatre building where theatre can be performed and given impetus to its promotion and development in the country.

Next, theatre psyche which is crucial to the development of theatre, can be given a boost and fillip for its enhancement in the country through the performance and activities of the National Theatre.

The National Theatre building will definitely activate a national consciousness among Ghanaians.

The third factor, which is government or state participation, has not been achieved much in this country to make any impact. Government or the state needs to be more involved in the promotion and development of theatre in the country now so that there will be significant impact and achievements on the theatrical scene.

It is gratifying to observe that since the time of President Nkrumah’s establishment of the erstwhile Arts Council of Ghana to cater for promotion and development of the arts in the country, no government has established a whole ministry to take the responsibility of promoting and developing the arts in the country until the last administration set up the Ministry of Chieftaincy and Culture to take the responsibility of the arts and culture in the country.

Apart from establishing a Ministry of Chieftaincy and Culture the state must invest financially in the promotion and development of theatre in the country.

In conclusion, I am optimistic that Ghana can effect an accelerated pace of developing her theatre in the 21st century if she can take advantage of the present favourable and unprecedented conditions prevailing in the country, namely, the possession of a national theatre building, a Ministry of Chieftaincy and Culture and the recent establishment of Theatre Arts Departments at the University of Education Winneba, the University of Cape Coast and the Kwame Nkrumah University of Science and Technology.

The writer is a theatre critic

Prospect For The Theatre Development In Ghana

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