In a vibrant corner of Accra, Ghana, a unique artistic practice is experiencing a remarkable resurgence—hand-painted film posters. Once a staple of local cinemas from the late 1970s to the early 2000s, these imaginative creations are being revived by a new generation of artists, capturing the attention of film enthusiasts both locally and internationally. The revival is not only a testament to the creativity of Ghanaian artists but also an exploration of how art can transcend traditional boundaries to create something entirely new.
A Canvas of Creativity: The Artists at Work
Sitting on his porch in Teshie, Jeaurs Affutu, better known as Heavy J, painstakingly applies red oil paint to a canvas made from a flour sack. This particular piece, although destined to promote the animated classic *The Little Mermaid*, features a dramatically stylised prince wielding a knife and an unrelated skull. “We add more to make people interested,” Heavy J explains, showcasing the playful reinterpretation that characterises this artistic genre.
Hand-painted film posters, which emerged as a necessity in local video clubs, were often exaggerated and whimsical, transforming simple plotlines into exaggerated visual spectacles. Local artists would compete to create the most striking “forgery” of the original film posters, leading to wildly imaginative interpretations that sometimes bore little resemblance to the films themselves.
The Rise and Fall of a Cultural Phenomenon
As the 21st century dawned, the hand-painted poster industry began to decline. With the advent of personal televisions and video players, many video clubs shuttered their doors, leading artists to diversify their portfolios. However, by then, the unique style of these posters had captured the attention of collectors worldwide, evolving into prized artefacts celebrated in exhibitions and literature.
More recently, interest in these artistic creations has surged, driven by online platforms that connect artists with a global audience. Deadly Prey Gallery, co-founded in 2012 by Robert Kofi and Brian Chankin, plays a pivotal role in this resurgence. The gallery collaborates with 15 artists, including Heavy J, to preserve this distinctive art form while catering to a burgeoning market, particularly among film aficionados in the United States.
The Craft Behind the Canvas
Robert Kofi, who grew up in Winneba, recalls his childhood experiences as a “hype man” for local video centres. His gallery now serves as a bridge between traditional Ghanaian artistry and modern commercial demands. “Most orders come from the US, with a focus on action, horror, and science fiction films,” Kofi noted, revealing that commissioned pieces can start at around $600 (£450).
In a studio located in Ashaiman, another artist, Benjamin Amartey, known as Stoger, is hard at work on two distinct commissions, including posters for *Poltergeist* and *Gummo*. Stoger, who began his career as a sculptor, has embraced the world of poster painting since 1992. “I use my imagination to create scenes that will attract people so they’ll love the poster,” he explained, highlighting the creative freedom that comes with this art form.
Imagination Over Accuracy: The Philosophy of Interpretation
Joseph Oduro-Frimpong, director of the Centre of African Popular Culture at Ashesi University, contextualises the exaggerated style of these posters within a broader African tradition of “visualising the invisible.” Given that many viewers may not have seen the films, artists leverage imaginative painting to highlight elements that are often sensationalised.
Despite the playful artistic licence, the reinterpretations have sometimes led to misunderstandings and even confrontations. Kofi shared a humorous yet telling anecdote from the 1990s, when audiences reacted violently after discovering that a scene depicted on a poster for *Double Impact* did not appear in the film.
At the Centre for National Culture in Accra, vibrant posters from Deadly Prey Gallery adorn the walls, showcasing striking visuals that blend fantasy and reality. “We are preserving a tradition,” Kofi asserts, emphasising the importance of maintaining this unique cultural heritage.
Why it Matters
The revival of hand-painted film posters in Ghana represents more than just a nostalgic return to form; it embodies a cultural renaissance that celebrates creativity, resilience, and the power of storytelling. As these artists breathe new life into a once-diminished art form, they not only honour their heritage but also engage a global audience hungry for authentic and imaginative expressions of film culture. In a world increasingly dominated by digital media, the tactile nature of hand-painted posters serves as a vivid reminder of the artistry and ingenuity that can emerge when tradition meets modern demand.
