Where are these veterans?

                                          Where are these veterans?

                  

THE Ghana movie industry has grown over the years. It has made significant strides despite its many challenges.

Currently, the industry boasts a new crop of actors who are going international. We all agree to give honour to whom honour is due, so there is the need to acknowledge the pacesetters in this industry. 

Kofi Bucknor

Acknowledgement could come in the form of awards, a pat on the back or even a callback of these pacesetters to teach the new generation some of the nitty-gritty of the industry or useful lessons.

This piece, therefore, is first of all, a call for the return of our veterans onto our screens and, second, a clarion call for them to be honoured, for they deserve it.

An impressive list of actors and actresses

I grew up watching the likes of Regina Pornotey, Monica Quacopoome, Victor Lutterodt, Mac Jordan Amartey, Kofi Bucknor, Kofi Middenton-Mends, Professor Martin Owusu, Brew Riverson Jnr, Grace Nortey, Grace Omaboe (Maame Dokono), Omanza Shaw, David Dontoh, Akorfa Edjeani-Asiedu, Sheila Nortey, Edinam Atatsi, Mawuli Semevor, Mary Yirenkyi, Nat Banini, Eunice Banini, Adjoa Pieterson, Kojo Demanya, George Williams, Dzifa Gomashie, and Juliet Asante in African movies and TV theatres of local entertainment content. The list goes on and on.

Brew Riverson Jnr

I vividly recollect that in that era, African movies were a delight to watch as they were only shown to us during Easter, Christmas and at times on public holidays. In those days, families sat by their TV sets and those who did not have, joined families who had. 

George William

Those were memorable family times! That was the era when cinemas were making money. My unfailing memory reminds me of the Picorna Cinema, Sid Theatre Cinemas, Orion Cinema, Gama Films, Vision 66 and many more.

For a movie lover like me and other viewers we were simply satisfied with the movie trailers running on our screens and that was enough to whet our appetite. We only prayed that a particular movie that delighted us would be among the ones selected to be aired during the Yuletide.

Omar Hunter

 A sample of films of yesteryear

Back then we had exciting movies like  Step Dad, Who Killed Nancy?, Harvest at 17, Suzzy, Ghost Tears, The Schemers, Twisted Fate, Jennifer, Child at 6:30pm, A Stab in the Dark and Baby Thief gracing our screens. Those movies created excitement in us and a level of pride as Ghanaians. We the children not only watched for the fun of it all but also watched out for exciting “terms” that would later become accolades among ourselves.

Mawuli Semevor

There were times some of these movies were aired as late as 10:30 p.m., mainly after the late news. Of course GTV had monopoly at the time, thanks to GAMA Films. The movies were aired around that time to prevent children from watching as they either featured romantic or bloody scenes, which GTV classified as unwholesome for children.

I must confess that my curiosity led me to pretend to be asleep, not in the bedroom, but in the living room on one occasion and I chanced to watch what could be termed Ghana’s version of a horror movie. It was titled Matta: Our Missing Children.

If my memory serves me well, it featured Brew Riverson Jnr as the main character and Alexandra Duah of blessed memory. Was it bloody and scary! I could not sleep that night.  Thus, in pretending to be asleep when I wasn’t, I had bitten off more than I could chew.

I also remember another one that was aired at night titled Sergent Abebrese. That also scared the hell out of me. One phrase I remember in that particular one was “Aha ye abosom fie, yemfa mpaboa mma ha” (a Twi expression meaning, This is a shrine and sandals are not allowed here). This statement was made by Amanobea Dodoo, another wonderful actress (that is, if my memory serves me well).

Kofi  Middleton-Mends

I vividly remember picking up lines like “do you know your father is a criminal and your mother a trickster and your grandfather a ragamuffin rascal? “I don’t trust you, the way your nose is shaking plierplier . . . like that,” from a scene in a movie. This became a popular saying among we the children who watched Nat Banini say this line.

In the old Ghanaian movie setting, I also vividly remember Victor Lutterodt playing the stereotype role of a daft husband after either molesting teenage girls or cheating on his wife. Grace Nortey and Maame Dokono played the roles of mother very well. The interesting part of their roles was that they always turned out as in-laws or co-tenants, who were always at each other’s throat.

Omanza Shaw, Wakefield Ackuaku and Kwame Sefa Kayi were always known for the playboy, rich young men who were always frolicking with the young girls. Fred Amugi played the loving father who mostly put his family in trouble. There is also old Mac Jordan Amartey, the quarrelsome landlord who was always ejecting people from his house.

Grace Omaboe

Impeccable English speaking Doris Sackitey played a subtle role of the mother. The likes of Juliet Asante, Kalsoume Sinare, Akofa Edjeani-Asiedu and Sheila Nortey did not mince words executing the bad girl roles. These and many others whose names I can’t immediately remember were the stars the Ghana movie industry created to entertain us in the ’90s.

A change in direction

Growing from the ’90s, we started seeing movie trailers portraying Ghana-Nigeria collaborations. One of such that I remember quite well was aired in the Christmas season. I seem to remember these movies because I have always been interested in the arts right from adolescence. I kept these particular movie trailers and the times in mind.

To my surprise I watched the supposed “Ghana-Nigeria collaborations” that featured Kalsoume Sinare, Monalisa Chinda and Tricia Esigbe. They were titled Marishika and the Visitor. In truth, I was infuriated after watching the movies as I felt they were over hyped and with no moral lessons. Both were movies about the underworld and the quest for power and money.  For me this was the beginning of embracing the Ghana-Nigeria collaboration in the industry.

Wakefield Ackwaku

It was a good innovation: Ghana is collaborating with Nigeria. Why not? But little did we know that the competition was going to come with many challenges for the industry. First, for some interesting reason, Nigerian movie producers relocated to Ghana - the likes of Jake Aernam relocated to Ghana. I kept wondering, Why the relocation? (Was it to hit the jackpot from an industry that was young and vibrant?)

Next, they encouraged collaborations, perhaps a ploy adopted to get the Nigerian movies aired on national television. Then came the blast; they started airing Nigerian movie trailers on our screen and the sale of movies on VHS increased, a venture that our then movie industry could not utilize to their benefit as VHS was a preserve of the rich. The young Ghanaian industry aired their movies continually at the cinemas, making money for them. The movies were aired till everyone got a feel of the movies. Then the movies made their way unto VHS and were later handed over to GTV to air to us the “unreached” viewers.

So now the sale of VHS became what I would call the big deal. Gradually for the affluent who could afford VHS, they preferred the buying of VHS to watching at cinemas. This development eventually became one of the factors that hindered our cinema watching experience, not to talk of what the Nigerian collaborations did to our young and vibrant industry. Anybody who closely watched the development from afar would agree with me that for the then producers in the industry, movies were not principally about money, but more about telling the African story the Ghanaian way.

These and many other reasons I will surely highlight in my subsequent write-up on the collapse of the once-vibrant cinemas in Ghana which have now given way to movie houses.

The multi-million-dollar question

Now to the all-important question that prompted the writing of this article: Where are all these gorgeous, smart, intelligent actors and actresses who graced our screens in the ’80s and ’90s? One could well answer that death has snatched some away. Yes, indeed, some have passed away. But what has become of those alive? Just where are they now? For me it’s an eyesore and, with all due respect, an insult seeing the likes of Jackie Appiah or Yvonne Nelson playing the role of a mother, not to talk about the role of grandmum. What a struggle the new crop of actors have playing the role of a father! 

Lest this be misconstrued, I’m not saying they cannot play the role, but if for nothing at all, just watch and learn how the likes of Patience Ozorkwor, Joke Silva, Olu Jacob, Alex Usifo execute their motherly and fatherly roles with ease and a touch of class.

In my research, I once interviewed Roger Quartey of RQ Productions and posed this question as to where the veterans in the industry are. His response? ‘They are there but difficult to contact because their numbers are not readily available. Second, my colleague producers want to use faces that will sell their movies.  Lastly, you would be surprised to know that the older generation does not charge as much as the younger ones do.

Roger Quartey’s response got me wondering, Do these old faces really need a lot of PR work done for them or is it a case of a nation failing to honour and recognize their efforts?  As I wondered if there was a better way of helping them build their PR, my thoughts faded off.  I wondered how come David Dontoh, Akofa Edjeani-Aseidu, Doris Sackitey, Kofi Bucknor, Omar Hunter and Fred Amugi have enjoyed some movie presence in recent times? In the long run, then, it is not about the veterans not doing their work well or not keeping in contact with the current crop  of producers.

In my search for answers, one thing crystallized: Whereas the veterans would scrutinize a script thoroughly and would not entertain nude scenes, this young crop of actors would readily accept any script and embrace even nude scenes. So here lies the difference!

Let’s honour them now

About a year ago, veteran Grace Nortey complained bitterly about how she had been neglected by the industry. I last read a report on old Mac Jordan Amartey and Amanobea Dodoo who until recently had been involved in lots of movies with the younger generation, to the effect that they have both been ill and bedridden. Now the others like Regina Pornotey, Monica Quarcopoome, Omanza Shaw, Victor Lutterodt, Brew Riverson Jnr, Edinam Atatsi, Mawuli Semevor, Diana Gbartey, Agnes Dapaah, Prof. Martin Owusu, Grace Omaboe and the many others whose names I can’t remember, where are they now and what will it take to have them back on our screens?

It is said that a nation that does not honour its heroes is not worth dying for. Believe it or not, these veterans are our heroes and heroines in the industry. Most of us grew up watching and admiring them. Even the new generation would attest to this fact.

I was one of those who applauded the introduction of the Ghana Movie Awards into the industry. My reason is simple: Such a move was long overdue. For reasons I would rather keep to myself, I would not even want to delve into the categories or the awards.

My major concern here is why the event organizers decided to honour Nigerians when we have these veteran actors with us here in Ghana. Do we want them to die before we confer posthumous awards on them? Please let’s get serious.  This write-up reminds me of a “free” piece of advice I gave to one of the organizers of the Ghana Movie awards. I said: “So won’t you guys honour Mac Jordan, Kofi Bucknor, Omar Hunter and the others before we lose them? The response was, “Oooo yea, you are right and that is true.”

As someone who has a deep interest in the arts, I keenly followed last year’s awards only to realize that my advice had not been heeded. True to what we Ghanaians are best known for, the organizers conferred a posthumous award on the late Prof.  Kofi Awoonor. Did he have to die before getting honoured? Have we sat down to think about how the veterans feel now? Putting ourselves in their shoes might best answer that question.

I would end this piece with a quote from the 16^th president of the United States, Abraham Lincoln. He said: “Any nation that does not honor its heroes will not long endure.” Need I explain further? How do we intend sustaining this industry if its founders or heroes (for want of a better word) are not honoured?

Let’s face it, these veterans set the tone and the foundation for what we proudly boast of in the Ghana movie industry. What will it take to make them feel honoured? I would end with a call on movie producers and  stakeholders who are concerned about movies to try and bring, if not all, at least a few of these faces back into the industry and see if the industry will not bounce in remarkable strides in terms of acting, language, script-writing, sanity and poise.

GUEST POST - WHO KILLED THE GHANA FILM INDUSTRY?

                 WHO KILLED THE GHANA FILM INDUSTRY?

By JOT Agyeman

THE state of the Ghana Film Industry is dire. I have sat back and watched keenly the semblance of a revival taking place in the industry and doff my hat to filmmakers such as Kwaw Ansah, Shirley Frimpong Manso and Leila Djansi for keeping the film industry alive.  Other filmmakers including Socrates Safo and Abdul Salam Mumuni have also made a name for themselves. I dare say, however, that the Ghana Film Industry is on the brink of death.

In 1948, the Gold Coast Film Unit was set up within the Information Services Department (ISD). Shortly after independence, Dr Kwame Nkrumah created the State Film Company which later became the Ghana Film Industry Corporation (GFIC). Nkrumah built the very first complete film facility which then included the Information Services Department Film Unit building opposite the French Embassy and the whole of the land currently housing Afrikiko restaurant at Kanda as well as the premises of TV3.

In the early days of filmmaking, stalwarts such as Rev. Chris Hesse, Tom Riberio, R.A. Fenuku, Frank Parks, Sam Aryittey and Ashong Katai gave their all to nurture an industry that was new and vibrant. From the early 1960’s all the way to the mid-1970’s, the Ghana Film Industry welcomed filmmakers from Nigeria, Togo, Senegal and Kenya. These students of film came to Ghana to learn from the very best in Africa. How quickly did the tables turn!

The demise of Ghana Film Industry

There is no doubt that the military coup of 1981 led to the demise of the Ghana Film Industry. This I will explain later. Dr Kwame Nkrumah set up the Ghana Film Industry and built the largest studio in West Africa in what is today known as Studio B at TV3. The premises that today holds TV3 and all the facilities including the Executive Theatre were part of Nkrumah’s plan to create an African film industry to rival what he had seen in America during his school days and what the colonial government, championed by the BBC, were doing; though, he may have had a plan to use the industry to propagate his message. There is no denying that he built a well-equipped, world class facility for film production.

A scene from "Heritage Africa"

Early Ghanaian films

In those early days long before the great Kwaw Ansah gave us ‘Love Brewed in the African Pot’ starring Reginald Tsiboe and Anima Misa Amoah in 1980 and ‘Heritage Africa’ starring Kofi Bucknor in 1988, Ghana had recorded some achievable feats in filmmaking such as the very first Ghanaian film shot on celluloid ‘The Boy Kumasenu’ (1952) directed by British Director Sean Graham, and others such as ‘Baby Ghana’ (1957) directed by Jean Rouch,  ‘Genesis Chapter X’ (1977) directed by Tom Riberio and starring George Williams, and ‘I Told You So’ (1970) directed by Egbert Adjeso.  Indeed, actors such as Lord Bob Cole and Margaret ‘Araba Stamp’ Quainoo became household names during this period. The presence of Kwaw Ansah and King Ampaw paved the way for a new generation of actors and filmmakers to emerge. David Dontoh and Evans Hunter are remembered in ‘The Road to Kukurantumi’ (1984) by King Ampaw.

With the emergence of video, the Ghana Film Industry Corporation had to readjust to be competitive. Their very first video starring David Dontoh and Mavis Odonkor and also directed by Tom Riberio was called ‘Dede’. The company went on to produce several films including ‘A Stab in the Dark’ (1998) starring Pascaline Edwards and Edinam Atatsi and ‘Baby Thief’ (1991) which launched the acting career of John Dumelo.

I have no doubt that the foundation for the demise of the Ghana Film Industry is steeped in the Jerry John Rawlings led PNDC and NDC governments.  The film industry was seen as a drain on government resources then, so the PNDC and NDC governments starved the company of funds, gradually bringing it to its knees. Moreover, it became apparent that the government had no use for a Ghana Film Industry Corporation which with the exception of GBC and perhaps the ISD, had the largest collection of authentic Ghanaian films both on celluloid and on video. Thai company BEC-TERO set up TV3 in 1997 and sold it off two years later. In 1999, Media Prima of Malaysia took over TV3 and annexed the GFIC, renaming it GAMA Film Company Ltd, with government as a shareholder. Outrage by filmmakers over the sale at that time fell on deaf ears.

There is evidence that the Malaysians were not interested in GAMA; their primary objective was television and together with their Ghanaian partners including heavyweights in the Rawlings government, GAMA was again starved of cash to operate. The incentive to take over the Ghana Film Industry Corporation was simple. The facilities were already in place, they had the studios and the equipment which TV3 could readily use.  It is important to note that the Kufuor-led NPP government did not also make any firm commitments to reviving the industry, but also sat on the fence watching filmmakers struggle to get their films made.

Good news for filmmakers

According to the terms of reference, the Malaysians had 10 years to operate the business. In 2010, the agreement with Media Prima of Malaysia ended so TV3 was quietly put up for sale and the government of Ghana already a shareholder in GAMA, regained its shares in GAMA to once again become 100 per cent shareholder.

Filmmakers who heard the news at that time were ecstatic that the dream of Nkrumah to create a vibrant film industry could finally be realized. The facilities of the Ghana Film Industry Corporation were once again available to filmmakers and the staff of the company gloried in a new beginning for GFIC. They were wrong! Certainly the priority of the Mills led government in 2011 was not filmmaking in Ghana.

When the Coleman-led administration of GAMA, after government took control, decided to charge TV3’s new owners rent of $26,000.00 for the use of their premises so they could raise seed capital to revive the fortunes of the ailing corporation, a Deputy Minister of Information at that time, asked him to proceed on leave. All staff of GAMA also went home. Ironically, the very filmmakers charged to make and preserve our heritage were shoved out of GAMA. It is not surprising then that GAMA was again placed on divestiture and within three months was snapped up by the new owners of TV3 giving them full control of all the facilities. This brought to an end over 60 years of the Ghana Film Industry Corporation.

A new generation of filmmakers

In the meantime, private filmmakers were struggling to keep the industry going. Students of the National Film Institute, the only one of its kind in West Africa, who could have made use of the GAMA facility, were graduating in droves to find an industry all but dead and buried. The hundreds of editors, producers, directors, scriptwriters and cameramen became disillusioned with the apparent lack of support for the industry. Many faded away and some gave up on their dream and ended up doing other things. I dare say that one of the challenges brought about by the lack of support for the Ghana Film Industry Corporation was the emergence of certain filmmakers who by virtue of seeing a huge gap in the industry, started new dimensions to filmmaking. The emergence of the so-called ‘Glamour Movie’ genre and Kumawood were born. Of course, the gap had to be filled and filled it was with sub-standard scripts and poor quality acting and no one to correct the mistakes being made by these producers, actors and filmmakers.

Yet there was a silver lining. A number of people shone through. They stepped up their game and gave us a peek into the future of filmmaking. A rebirth took place and Ghanaians now had an opportunity to see some well-produced movies once again.

Shirley Frimpong Manso and Leila Djansi became icons of the industry. They both took us to new levels of digital film production. Shirley brought us ‘Life and Living it’, ‘Perfect Picture’, ‘Scorned’, ‘Checkmate’, ‘Adams Apple’, among others. Leila Djansi came with ‘I Sing of a Well’, ‘Sinking Sands’ and ‘Ties that Bind’. At the same time Ghana’s most celebrated ilmmaker Kwaw Ansah continued to make movies with ‘The Love of AA’ and ‘Papa Lasisi’s Bicycle’.

I wonder sometimes where the great actors of our time are. Many have simply gone into hibernation and only come out when something worth doing comes out. The likes of Ebenezer Brew-Riverson, Dzifa Glikpoe, Akosua Abdallah, Mawuli Semavor, Oscar Provincal and Doris Sackitey were the role models for many of us in acting school. We marvelled at Kofi Middleton Mends, Martin Owusu, Mary Yirenkyi, Kofi Yirenkyi, Kofi Bucknor and Anima Misa as they honed their craft.

Is there any hope for the film industry?

President John Mahama promised a revival. He set up the Ministry of Tourism, Culture and Creative Arts to facilitate and bring together all the Creative Arts under one Ministry. That in itself is a difficult thing for one Ministry to undertake. The Creative Arts, according to any dictionary, is the study of the following: dramaturgy, music, graphic arts/cartooning, performing arts, film, publishing, galleries, museums, and the visual arts. Some may say that anyone who is creative and innovative should be recognized as being part of the Creative Arts industry. Therefore fashion designers, carpenters, weavers are all part of this rather broad industry. What Ghana needs is a comprehensive film policy or a film commission to look closely at the film industry again. There is no way that a Ministry so enthused by Tourism will spend its time on the Creative Arts Industry. I may be wrong but that is so far what I gather.  It may try to set up a bureau within the Ministry but there is little or really nothing it can do to change anything. An example is the uncompleted theatre building belonging to the School of Performing Arts at the University of Ghana. If President John Mahama is truly passionate about the Creative Arts, then he must lead the charge to revive the Ghana Film Industry Corporation.

The sale of GAMA and its assets is unfortunate and a failure on the part of government to look beyond parochial interests and personal gain. Many of us would have been happy to see government find a way to keep the film industry alive. Selling what could have become a huge industrial base for filmmakers was certainly not the best move. The movie industry creates jobs, and gives opportunity for many young Ghanaians to make money and provide support for their families.

Our movie stars today have to travel to Nigeria to be part of Nollywood in order to survive. Yet many of these Nigerian producers saw Ghana as the home of African filmmaking in the early ’60’s, and ’70’s.  Remember that many big budget Hollywood films have been shot on location here. These include ‘Cobra Verde’ (1987) starring Klaus Kinski, ‘Ali’ (2001) starring Will Smith, ‘Deadly Voyage’ (1996) starring Omar Epps and ‘Ties that Bind’ (2011) starring Kimberley Elise.

The potential of the film industry is huge given the right support, yet the very people whose support we need, turn a blind eye to the plight of filmmakers. Today, the dream of Kwame Nkrumah lies in the sole hands of private businessmen who do not understand the tenets of filmmaking or television.  I love Ghanaian businesses and appreciate efforts by Ghanaian businessmen to succeed; but anything that ties us to our Heritage must not be disposed of. Soon we may decide to sell off the National Museum and then perhaps Ghana Broadcasting Corporation. Who now owns all the films produced under the watch of the Ghana Films Industry Corporation?  The Ministry of Information also played a part in the disposal of the Corporation, yet it finds it prudent to hang on to the Film Unit of the Information Services Department. Could the two units not merge to form a formidable unit? I guess GFIC was easy pickings just like tossing a penny in a pond, yet when we recite the pledge, we say with pride, “Our heritage won for us, through the blood and toil of our fathers”. 

The writer is a Media Practitioner, Actor, Author and a Content Development Consultant.

Sonnie Badu opens Day Care Centre in London

                     Sonnie Badu opens  Day Care Centre in London

The CEO of Sonnie Badu Ministries, Badu Homes and the Worship Radio, Sonnie Badu has added another business to his list of businesses. The music icon has opened a day care centre in London to cater for toddlers and children. The Day Care Centre dubbed Dizney Day Care caters for children aged five years and below.

The International Gospel Sensation who also doubles as a football agent, an Aircraft and Jet Consultant, believes his love for children made him   invest in a Day Care Centre. He further believes that aside from  his singing prowess to win souls for the kingdom, his God given gifts should also be channeled into his business life, hence the establishment of the Day Care Centre.

In an interview at his base in London, Sonnie explained that “being a gospel musician does not mean you have to be poor, but you actually stand the place and chance of receiving ideas to help change your generation”.

“I have great passion for kids; they are our future leaders, so I believe giving them a great foundation is a good fundamental for their future. Also nursery in London is big business”. Sonnie further called on all Ghanaians to join hands in prayers for the over 200 girls who had been kidnapped in Chibok in Nigeria.

The Dizney Day Care which has officially started operation was launched by Pastor Kingsley Appiagyei of the Trinity Baptist Church in London.

Meanwhile, Sonnie who just rounded the “Teach Me How To Worship Concert” that drew many souls to Christ in May, is preparing for the biggest live recording project on August 2 at the New Psalmist Baptist Church in Baltimore, USA. The project is dubbed “Africa goes Classic in America” and would feature three top American stars. There would be hymns and spiritual songs by Sonnie Badu. The project would be backed by String for Christ Orchestra.

Tickets for the “Africa Goes Classic in America” are available on www.sonniebadu.com and it are pegged at $15, $25, $50 and $35 for standard, couples, for a group of 5 and for VIP respectively. Dress code for the event is black tie for men and native attire for women.

The “Africa Goes Classic in America” is supported by the Worship Radio, Sonnie Badu Ministries, Plan It live, Afrique and Smartty’s Management and Production.

Sonnie Badu expresses gratitude to fans

                         

                              Sonnie Badu expresses gratitude to fans

International Gospel Singer Minister Sonnie Badu has expressed appreciation to Ghanaians, his management and  his fans for  voting  for him to win the Gospel Artiste and Male vocal performance award at last Saturday’s Vodafone Ghana Music Awards.

According to him all the nominees in the various categories are winners and deserved to win, hence he is grateful for being the ultimate winner. Expressing shock at winning the two awards, the “Worshipper” explained that with the many negative stories surrounding his nomination through to the night of the awards, he least expected to emerge the winner.

Sonnie who is also known as the “General” on the night, dedicated his second award- the Male Vocal Performance award to his fellow musicians who live outside Ghana. He disclosed that it is tough to make a mark outside your homeland, but was grateful things turned around for good in his favour.

Sonnie who left the shores of Ghana on Sunday in an interview disclosed “I am thankful to God, to my fans and my management led by Mrs Selassie Ibrahim and the entire Smartty’s production and Management team. This is my third award here in Ghana. The first from MUSIGA and the two from the VGMA’s. I am grateful to God and to my fans. We did this together Team Sonnie Badu”.

Speaking on his performance at the VGMA’s the “Worshipper” expressed appreciation to his fans on social media for commending him on his impressive performances at the VGMA. According to him, he accepted to perform at the awards night because this would be his last performance in Ghana for year 2014.

“This gig is my last performance for my fans this year and I only prayed to God to help me do my best. I am thankful to God that my ministration impacted the lives of people on the night”.

Sonnie also extended his condolences to the Fashion Industry in Ghana and to the family of the late Kofi Ansah, saying that Ghana has lost a father, a support for the fashion Industry and a true gem.

Meanwhile, Minister Sonnie Badu who left Ghana on Sunday has apologized to his fans saying he had to leave early to prepare for his “Teach me How to Worship Conference” in New Jersey, New York and Baltimore, Maryland respectively.  The conference would start on 8 May though to 2 August 2014.

The conference would highlight on how to worship and would also draw many souls to Christ

Sonnie Badu picked two awards at the just ended VGMA’s: the Gospel artiste of the year and the Male Vocal performance of the year award with his “Wonder God” song on the Aroma of Worship album.

End

Sonnie Badu draws many souls to Christ through his Worship Conferences.

         
         Sonnie Badu draws many souls to Christ through 
      his Worship Conferences.

Minister Sonnie Badu has successfully rounded up his “Teach Me How To Worship Conference” in Houston, Dallas and Texas.

The four days conference which began on March 20^th in each of the three states, ended on April 5^th. At each of the conference, the “worshipper” ministered to a host of people and taught on praise and worship. One of the many topics tackled at the conference was decoding the mysteries of worship.

In a phone interview with Sonnie Badu, he revealed that at the conference many people dedicated their lives to Christ while others gave testimonies after the conference. According to Sonnie, the decision to organize the conference stems from his realization that the body of Christ needs to know who God is and the power of his might.

The event which was free for participants also saw the minister to the sick,lost and depressed. The “Teach Me How To Worship Conference” was graced by many people from far and near.

The worship conference which has been running for 6 years has already made stops in several cities including Philadelphia and Rhode Island (USA), and is scheduled to be replicated in other countries like Minnesota (USA), Canada, Australia, Nigeria and many other places around the world. Gospel music lovers should be on the lookout as we have no doubt that very soon he will be in a city near you.

Meanwhile voting for this year’s Vodafone Ghana Music nominations is still ongoing. Fans of the Minister who are known as Team Sonnie Badu can text A Sonnie Badu for Artiste of the Year to 1767.

Text “I” Sonnie Badu  for Gospel Song of the Year to 1767 and “N” Sonnie Badu for Gospel Artiste of the Year also to 1767 on all networks.

This is your chance to join as make history!

Sonnie Badu makes VGMA list for the first time in years

                     
                     
                     Sonnie Badu makes VGMA list for the first time in years

    On 1^st March 2014 at the Golden Tulip Hotel, the event organizers of one of Ghana’s prestigious awards on the event calendar, Charter House released nominations for the various categories for this year’s Vodafone Ghana Music Awards (VGMA).

At the announcement ceremony at the Golden Tulip Hotel many entertainment writers and music lovers were surprised to witness those songs which should have supposedly been banned earned a spot or two in the nominations. As always, there was the regular recipient’s like Sakordie who made the list and new entrants.

One of such new entrant who made the list with five nominations is International Gospel Singer Minister Sonnie Badu. Sonnie who is known to many Ghanaians through his “Baba” song and in yearly concerts bagged five nominations at this year’s awards and out of the five nominations is the overall Artiste of the year award.

This is the “rainmaker’s” first nominations at the Vodafone Ghana Music Awards, which has been in existence for several years. His nominations include the Gospel artiste of the year, Gospel song of the year with his Wonder God track, Best male vocal performance, Album of the year with his Aroma of Love album and the Artiste of the year.

Sonnie who has received several international awards is looking at being the first Gospel artiste to grab the prestigious Artiste of the year award. He is in contention for the award with the likes of Castro, Kwabena Kwabena, Shatta Wale, Sarkodie, Samini and Guru.

In the Gospel Category, Minister Sonnie’s nomination would see him contend with the likes of OJ, Nicholas Omane Acheampong, Joyce Blessing and Patience Nyarko.

Although the date and venue for the final event of the 2014 Vodafone Ghana Music Awards nominees have not yet been scheduled, Minister Sonnie and his management team are appreciative for the nominations. According to them, the nominations show that the Minister’s work is appreciated in Ghana.

Meanwhile, Minister Sonnie Badu arrives in Ghana on Tuesday ahead of the Ghana Music Honours, which forms part of the GMW Festival, being organized by MUSIGA.  The Ghana Music Honours slated for 5 March 2014 would be held at the National Theatre. Minister Sonnie is one of the artiste billed to perform.

End

Uncle Ebo Whyte dedicates new play to Black Stars

               

                    Uncle Ebo Whyte dedicates new play to Black Stars

A scene from the play

 Uncle Ebo Whyte, the brain behind Roverman production,s has dedicated his 24^th play to the Black Stars of Ghana, ahead of the World Cup in Brazil.

The play, titled “Games men play”, is centred on the Black stars of Ghana and their preparations in Camp in Brazil. It also tries to highlight the many challenges the coach; in the person of Nana Bediako had to go through in camp in selection of his final 11 players that make up the squad.

Showcasing the rich Ghanaian culture coupled with that of the Brazilian culture, ace playwright portrays discipline, unity, love and respect for all teammates at the tournament. He further portrayed the role of the coach as a guardian, motivator and inspiration to the team in camp and on the pitch.

According to Uncle Ebo, the play is dedicated to the Black Stars. “We believe that we can also lift the World Cup”.  The Black Stars should stop doing the Ghanaian thing; we would try. If they put their minds to it, we can also lift the World Cup,” he emphasized.

Uncle Ebo further disclosed that the plays for the year would be repeated in December during the festival of plays. The festival of plays is a collection of all the four plays Uncle Ebo showcases during the year in question. This is mostly done in December to give patrons a chance to watch any of the four plays shown every quarter of the year.

A scene from the play

“Games men play” the play by Uncle Ebo Whyte which received support from both the public and the private sector, was rounded up over the weekend after two weeks of showing at the National Theatre. It is also a partnership between Joy FM and the National theatre and was sponsored by AIRTEL, Herbal Technology, Yomi Yoghurt, and Quality things and supplies that deal in everything Samsung. As particular of Uncle Ebo’s plays, there were surprise giveaways from sponsors to patrons at the show.

The cast with Uncle Ebo Whyte