In Accra, Ghana, a vibrant tradition of hand-painted film posters is experiencing a remarkable resurgence, blending creativity with cultural heritage. Local artists are embracing this unique art form, which once dominated the film advertising scene from the late 1970s to the early 2000s, as they respond to a growing international interest in their imaginative reinterpretations of cinematic classics.
The Art of Imagination
Nestled on his porch in Teshie, near Accra, artist Jeaurs Affutu, known by his moniker Heavy J, deftly applies red oil paint to a canvas made from flour sack. His current project is an unconventional poster for the animated fairytale *The Little Mermaid*, featuring a knife-wielding prince and a skull, both of which diverge significantly from the film’s original narrative. “We add more to make people interested,” Heavy J explains, embodying the spirit of artistic licence that characterises this unique genre.
Since their inception, hand-painted posters have served as a means to captivate audiences, often taking liberties with plotlines to create humorous or surreal representations. This practice began when local video clubs recognised that standard promotional materials failed to attract viewers. Artists quickly turned to crafting eye-catching “forgeries”, which soon became a hallmark of Ghanaian film culture.
A Decline and a Revival
As the 21st century dawned, the demand for hand-painted posters dwindled due to increased access to electricity and personal viewing devices. Many video clubs closed their doors, and artists sought new avenues for their talents. However, the allure of these vibrant artworks has not been forgotten. With the rise of online platforms and a burgeoning market, interest in hand-painted film posters has surged, particularly among film enthusiasts abroad.
Deadly Prey Gallery, established in 2012 by Robert Kofi, is at the forefront of this revival. Kofi, who grew up selling posters and worked as a hype man for local video centres, recognised the potential to preserve this artistic tradition while meeting global demand. The gallery collaborates with 15 artists, including Heavy J, to connect them with customers internationally, primarily in the United States.
Craftsmanship and Collaboration
At the gallery, Kofi plays a dual role as manager and curator, ensuring that the artists’ creations resonate with their audience. He frequently visits their studios, providing guidance and feedback. In Ashaiman, just 11 miles from Heavy J’s home, artist Benjamin Amartey—known as Stoger—works on a poster for *Poltergeist*. Kofi critiques the work, suggesting that the cats in the artwork appear too docile, and that the spaghetti should look messier. “I want uglier cat scenes,” he insists, underscoring the emphasis on exaggerated visuals that defines this genre.
Stoger, who transitioned from sculpture to poster painting in 1992, articulates the goal behind his artwork: “I use my imagination to make scenes that will attract people so that they’ll love the poster.” This imaginative approach is rooted in an African tradition of “visualising the invisible,” as noted by Joseph Oduro-Frimpong, director of the Centre of African Popular Culture. With audiences often unfamiliar with the films, artists are encouraged to exercise creative freedom, crafting sensationalist imagery that captivates viewers.
Navigating Cultural Expectations
While the playful reinterpretations have garnered enthusiasm, they have also sparked controversy. Instances of frustrated audiences confronting artists over misleading depictions are not uncommon. Kofi recounts a particularly memorable incident from the 1990s, where he faced violence after viewers discovered that his poster for *Double Impact* did not include a dramatic beheading scene as they had expected.
Today, the Centre for National Culture in Accra showcases a plethora of these posters, each a testament to the rich tradition and artistic prowess of Ghana. Among the displayed works is an arresting image of Jennifer Lopez launching an arrow in *Anaconda* and a striking portrayal of a mouse emerging from Jamie Lee Curtis’s mouth in *Halloween*.
Kofi reflects on the significance of this cultural preservation: “We are preserving a tradition. We are preserving a history.”
Why it Matters
The revival of hand-painted film posters in Ghana is more than a nostalgic nod to the past; it represents a broader cultural phenomenon where local artisans reclaim their narrative within the global art market. As these artists breathe new life into a vibrant tradition, they not only preserve their heritage but also foster a dialogue between cultures, bridging the gap between local craftsmanship and international appreciation. This resurgence is a reminder of the power of art to transcend boundaries and connect communities through shared stories and imaginative expression.
