In a vibrant corner of Accra, a fascinating revival of Ghana’s cinematic art forms is underway. Hand-painted film posters, once a hallmark of local cinema culture, are being reimagined by passionate artists, blending imagination and craftsmanship. This initiative, rooted in a rich history, is not only preserving a unique art form but also meeting the growing global demand for these striking creations.
A Colourful Legacy
Nestled in Teshie, artist Jeaurs Affutu, affectionately known as Heavy J, is at the forefront of this artistic renaissance. With a brush dipped in crimson oil paint, he meticulously crafts a striking poster for the animated classic *The Little Mermaid*. The imagery, however, diverges wildly from the film’s narrative. The prince is depicted as a knife-wielding figure, complete with a skull ominously outlined above—a testament to the playful exaggeration that characterises this genre of art.
From the late 1970s to the early 2000s, hand-painted posters served as vital marketing tools for video clubs across Ghana. As audiences flocked to these venues, artists transformed film plots into captivating visual interpretations, often venturing into surreal and humorous territory. This creativity led to a competitive environment among artists, each striving to create the most compelling “forgery” of the original film posters.
The Shift in Cinema Consumption
As the new millennium dawned, the landscape of film consumption in Ghana began to change. The advent of electricity and the proliferation of personal televisions diminished the need for video clubs, leading to a decline in hand-painted artworks. Many artists transitioned to other forms of employment, and the vibrant tradition appeared to be fading.
Yet, as interest in these unique pieces of art surged in international markets, particularly among film aficionados in the West, a new opportunity arose. The growing online marketplace has rekindled demand, enabling artists to connect with a broader audience eager to celebrate this distinctive cultural expression.
Preserving a Cultural Craft
In response to this renewed interest, Deadly Prey Gallery was established in 2012 by Robert Kofi, a Ghanaian who once thrived as a “hype man” for local video centres. Partnering with Chicago-based Brian Chankin, the gallery aims to preserve the art of hand-painted film posters while also facilitating transactions with a clientele that spans the globe.
Kofi collaborates with a diverse group of 15 artists, including Heavy J, to bring commissioned pieces to life. With most orders originating from the United States, there is a particular appetite for vintage action, horror, and science fiction films. Commission prices start at around $600 (£450), reflecting both the craftsmanship involved and the rising appreciation for these artworks.
In a bustling studio in Ashaiman, another artist, Benjamin Amartey—known as Stoger—labours over two intriguing commissions. His work includes a poster for the horror classic *Poltergeist* and an avant-garde piece for *Gummo*, known for its unconventional and controversial themes. Kofi, overseeing the artists’ progress, provides feedback in Ga, ensuring each piece aligns with the imaginative vision that drives this vibrant practice.
The Art of Imagination
Joseph Oduro-Frimpong, director of the Centre of African Popular Culture at Ashesi University, articulates the essence of this artistic style as a form of “visualising the invisible.” Given that audiences often have not seen the films, the exaggerations and embellishments serve to spark interest and intrigue. “Imaginative painting” allows artists to incorporate elements that do not exist in the films, creating sensationalised representations that captivate viewers.
However, this artistic freedom can sometimes lead to unexpected consequences. Kofi recounts a humorous yet cautionary tale from the 1990s, where his depiction of Jean-Claude Van Damme in *Double Impact* led to physical confrontations with disgruntled viewers who felt misled by the poster’s dramatic imagery.
A Gallery of Cultural Heritage
At the Centre for National Culture in Accra, visitors can explore a rich tapestry of these hand-painted masterpieces. Vibrant posters adorn the walls, showcasing scenes that blend fantasy and reality—such as Jennifer Lopez battling a snake in *Anaconda* or a mouse emerging from Jamie Lee Curtis’s mouth in *Halloween*.
Kofi passionately asserts, “We are preserving a tradition. We are preserving a history.” Through the efforts of Deadly Prey Gallery and its talented artists, the legacy of Ghana’s hand-painted film posters is being celebrated anew, bridging the gap between past and present.
Why it Matters
The resurgence of hand-painted film posters in Ghana signifies more than just a revival of an art form; it represents a cultural reclamation and a celebration of local creativity. As these artists continue to push boundaries and reinterpret cinematic narratives, they not only preserve a unique aspect of Ghanaian heritage but also engage a global audience, fostering cross-cultural appreciation and understanding. In an age where digital media dominates, the tangible, imaginative expressions of these artists serve as poignant reminders of the power of creativity and storytelling in all its forms.
