In a unique cultural revival, the hand-painted film poster artistry of Ghana is experiencing a resurgence, captivating local and international audiences alike. Once a staple in the film promotion landscape from the late 1970s to the early 2000s, this creative expression is now being revitalised through initiatives that connect traditional artists with a growing global market.
A Canvas of Imagination
Nestled in the coastal town of Teshie, Heavy J, a seasoned artist known as Jeaurs Affutu, is hard at work on a poster for Disney’s animated classic, The Little Mermaid. However, his portrayal deviates from the original narrative; a man holding a knife appears, alongside a skull—creative embellishments designed to engage viewers. “We add more to make people interested,” explains Heavy J, illustrating the imaginative liberties these artists take.
The hand-painted posters served a practical purpose in Ghana’s cinema culture, particularly in video clubs where the original promotional materials failed to attract audiences. Artists crafted eye-catching reinterpretations, transforming plotlines into vibrant, often humorous visuals that enhanced the allure of the films. This craft was not only a means of advertisement but also a form of artistic competition, as local talents vied to produce the most compelling “forgeries.”
The Decline and Resurgence of a Cultural Artefact
The early 2000s marked a decline in the demand for hand-painted posters as access to modern technology, such as televisions and video players, increased. Many video clubs shuttered, and the artists shifted their focus to other avenues. Nonetheless, this decline was countered by a newfound appreciation for the artwork, which gained traction through international exhibitions and publications, turning vintage posters into coveted collectibles.
Recently, the demand for new hand-painted works has surged, especially from collectors in the West, aided by online platforms that facilitate global outreach. Deadly Prey Gallery, co-founded by Robert Kofi, has emerged as a key player in this revival, preserving the tradition while meeting the needs of a contemporary audience.
The Artists Behind the Revival
Deadly Prey Gallery collaborates with fifteen talented artists, including Heavy J, who has dedicated four decades to this craft. Kofi plays a pivotal role in identifying suitable artists for various commissions and ensuring a seamless connection between them and their global clients. The majority of commissions stem from the United States, with vintage action, horror, and science fiction films being particularly popular. Prices for these unique creations start at around $600 (£450), reflecting the high value placed on these works.
Another notable artist, Benjamin Amartey, known as Stoger, is currently creating posters for films like Poltergeist and the 1997 drama Gummo. Stoger, who transitioned from sculpture to poster painting in 1992, emphasises the importance of imagination in his work. “I use my imagination to create scenes that will attract people,” he asserts, embodying the essence of this artistic movement.
A Cultural Commentary
Joseph Oduro-Frimpong, director of the Centre of African Popular Culture at Ashesi University and a poster collector, highlights the cultural significance of these artworks. He notes that the exaggerated representations stem from a tradition of “visualising the invisible,” where audiences, unfamiliar with the films, rely on the artists’ imaginative depictions. “There is a kind of sensationalism to it,” he explains, underscoring the unique narrative style that characterises these works.
Despite the artistic freedom they embrace, these reinterpretations have occasionally sparked controversy. Kofi recalls a particularly intense reaction when viewers of the action film Double Impact were disappointed by the absence of a scene depicted on the poster, leading to confrontations with the artist.
At the Centre for National Culture in Accra, a vibrant collection of posters from Deadly Prey Gallery brightens the space, showcasing fantastical scenes that blend creativity with cultural commentary. “We are preserving a tradition,” Kofi asserts, highlighting the studio’s commitment to keeping this unique art form alive.
Why it Matters
The revival of hand-painted film posters in Ghana is more than just a nostalgic nod to the past; it represents a cultural renaissance that bridges traditional artistry with contemporary audiences. As artists like Heavy J and Stoger continue to innovate and connect with global collectors, they not only preserve a rich heritage but also challenge the boundaries of artistic expression. This movement not only enriches Ghana’s cultural landscape but also fosters a dialogue about the evolving nature of art in an increasingly digital world.
