In the heart of Accra, Ghana, a unique artistic tradition is experiencing a resurgence. Hand-painted film posters, once the lifeblood of local cinema culture, are being revitalised by a new generation of artists and collectors. These creations, often startlingly imaginative and bold, serve not only as advertisements but as a testament to the creativity and resilience of Ghanaian culture.
A Brush with Creativity
On a sun-drenched porch in Teshie, a suburb of Accra, Jeaurs Affutu—better known as Heavy J—dips his brush into vibrant red oil paint. With each stroke, he transforms a flour sack into a canvas depicting scenes that defy the films they represent. Today, he’s illustrating a poster for *The Little Mermaid*, with a knife-wielding prince and a skull, elements that bear little resemblance to the beloved animated classic. “We add more to make people interested,” Heavy J explains, highlighting the whimsical nature of this art form.
From the late 1970s until the early 2000s, hand-painted posters became synonymous with Ghana’s film scene, particularly in video clubs where original promotional materials failed to attract audiences. Artists often viewed plot lines merely as starting points, launching into creative reinterpretations that could sometimes provoke outrage. As competition among local artists intensified, these striking “forgeries” became a cultural hallmark, drawing viewers in with their vibrant depictions.
The Decline and Resurgence
The advent of the 21st century brought significant changes. As electricity became more widespread and personal televisions entered homes, video clubs began to dwindle. Many artists shifted their focus, leaving behind the once-thriving practice of hand-painted posters. Yet, these artworks gained international attention, celebrated in exhibitions and publications, and transforming into sought-after collectibles.
Recently, a renewed interest in hand-painted posters has emerged, fuelled by the internet and a growing market of film enthusiasts in the West. Deadly Prey Gallery, a pioneering establishment co-founded by Robert Kofi in 2012, aims to preserve this unique art form. Kofi, who began as a “hype man” promoting films in his youth, now works with a cadre of talented artists, including Heavy J, to meet the rising demand for their vibrant creations.
Crafting a New Legacy
Operating from Accra, Kofi connects fifteen artists with international clients eager to commission bespoke posters. The most popular requests stem from classic action, horror, and sci-fi films, with iconic titles like *The Exorcist* and *Star Wars* dominating the market. Prices for commissioned pieces start at $600 (£450), indicating a healthy appreciation for this unique artistry.
In a bustling studio in Ashaiman, just a stone’s throw from Heavy J’s workspace, fellow artist Benjamin Amartey, known as Stoger, is busy painting two commissions: one for *Poltergeist* and another featuring scenes from the controversial film *Gummo*. Kofi provides feedback, insisting on a more chaotic portrayal of the cats in *Gummo*, demonstrating the collaborative spirit that defines their work. “I use my imagination to create scenes that will attract people,” Stoger shares, revealing the underlying philosophy that drives these artists.
The Art of Exaggeration
Joseph Oduro-Frimpong, director of the Centre for African Popular Culture at Ashesi University, notes that the exaggeration seen in these posters stems from a rich tradition of “visualising the invisible.” Given that many viewers approach these films without prior knowledge, artists tap into imaginative painting techniques that highlight elements of surprise and sensationalism.
However, this creative freedom can come with consequences. In the past, artists like Kofi have faced physical confrontations from audiences who felt misled by the dramatic representations in their work. He recounts an incident from the 1990s when viewers were outraged after watching *Double Impact*, believing they would witness a beheading that was only depicted on the poster.
At the Centre for National Culture in Accra, a vibrant display of posters from Deadly Prey Gallery adorns the walls, showcasing the playful and provocative nature of this art form. From Jennifer Lopez battling a snake in *Anaconda* to the surreal imagery in *Halloween*, the posters reflect a rich tapestry of cultural narratives.
Why it Matters
The revival of hand-painted film posters in Ghana not only preserves a unique artistic tradition but also nourishes a cultural identity that speaks to the heart of creative expression. In a world increasingly dominated by digital media, these tactile, painted artworks remind us of the power of imagination and storytelling. They are a celebration of resilience and ingenuity, illustrating how art can transform perceptions and connect communities across the globe. As artists like Heavy J and Stoger continue to innovate, they redefine the boundaries of cinematic promotion, crafting a legacy that is both deeply rooted in history and vibrantly alive today.