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Lost art: COVID-19’s devastating impact on Ghana’s arts
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The role of artists is to express themselves and tell a certain truth about their society in their work.
Art does, and always will, offer insights into who we are and what we are experiencing, as individuals and as a society as a whole.
But art is a money-making venture, and with the world effectively at a standstill, gallerists, dealers, and the artists they represent are essentially operating without one of their greatest sales tools, that is the human connection.
With the COVID-19 pandemic in place, the conventional process of communicating an artist’s vision and enticing collectors, institutions, and gallery goers to buy into it both figuratively and literally has been dormant.
In an interview, Mr. Philip Opuni, a fine artist at the Kumasi Cultural Centre in the Ashanti Region, said the pandemic had shuttered his business
“The principal effect, of course, is not being able to be present physically in front of a piece of work,” he said.
He again said that, visiting the museums, galleries, and having studio visits with artists and interacting with artwork personally was integral to the industry, especially during traumatic moments.
He said that, moments like the one we are in now, ie rising unemployment, instability, and uncertainty, could have an effect. “Many are less concerned with starting or building collections than they are with securing the basic necessities in order to survive.”
“I am not worried about the negative impact of COVID-19 on art, I am, however, worried of the people who count on a functioning art industry to make ends meet and whose livelihood is dependent on museums, galleries being open, on shows being guarded, maintenance being performed, art works being shipped, and sales being made,” he added.
One Mr. Harrison also said, artists were concerned with how long this pandemic was going to last, especially as social distancing was a serious impediment to the process of production.
He said, mass job losses, venue closures and most significantly, the threat of contracting the disease were factors that the art industry wasn’t prepared to face. “The economic hardship might have similarities, but the effect on how we look at art, and how we function as an art community has fundamentally changed,” Mr. Harrison explained.
Ms. Philomina Awudu, an artist at the Tamale Cultural Centre said, the pandemic was changing the way we valued art, which is the biggest question we do not have an answer to.
There is a world where by looking only digitally at art, I can imagine lasting effects on the perception and taste of art. One can ask: Will artwork that is virtual dictate our taste?
“Will it determine the trajectory of the art of the future?”, she asked.
She said, the outbreak of COVID-19 had also led to deeper introspection. Artists, by and large, were required to hit the pause bottom, which revealed a sense of clarity that perhaps wouldn’t have been apparent if the industry continued business as usual.
Reporters, political pundits, health experts, and commentators are all spewing facts and figures, debating over the right course of action to take to move the nation forward. Artists, on the other hand, have the ability to offer a different kind of vision of the future.
Ms Philomina said, “Art is the soul of any civilised society, and I love my part in it; but I am no expert in the business of art, only creating mine, but the current state of the art world, like that weekend at various cultural centres in the country, is cloudy.”
From Geoffrey Buta, Kumasi.
Ghanaian singer and songwriter X Lor has released his debut extended play (EP), Tornado, a seven-track project that he says reflects years of artistic development and introduces his self-created music genre, ABL (Angels Beyond Limitations).
The EP, available on major streaming platforms from Friday, explores themes including love, loyalty, forgiveness, second chances and healing through a collection of emotionally driven songs.
“Tornado is a deeply personal body of work that showcases years of musical experimentation and growth, helping shape my own sound and genre, ABL,” X Lor said in a statement.
The project opens with “I Gotchu,” a song centred on trust and reassurance, while the title track, “Tornado,” celebrates romance and admiration. Other tracks include “By 7,” which reflects longing and the desire to sustain meaningful relationships, and “They Nuh Fi Know,” which explores intimacy and privacy.
“On My Mind” focuses on loyalty and companionship, “Go Away” examines the choice of self-preservation over a relationship, and the closing track, “Till the End,” expresses enduring commitment and love.
X Lor described the EP as more than a collection of songs, saying it captures different emotions, experiences and perspectives on love.
“Tornado is a collection of emotions, experiences and perspectives on love in its many forms—its beauty, its challenges, its sacrifices and its lasting impact,” he said.
He also credited his team, particularly executive manager Richard Boahene, for helping bring the project to life.
The release serves as the most comprehensive introduction yet to ABL, a genre X Lor created to define his artistic vision. According to the artist, ABL blends Afrobeats, Highlife, R&B, Soul, Gospel and contemporary African music while emphasising spirituality, authenticity and emotional expression.
Since launching his music career in 2018, X Lor has built a following as an independent artist. His single “By 7” has surpassed 100,000 streams across digital platforms, while his songwriting credits include collaborations with artists such as Mya Sima, Naja and Whitnee Dee.
He has also contributed songwriting, vocal arrangements and vocal production assistance to Ghanaian musicians Guru and Akan, and has performed alongside artists including KiDi, Mr Drew and Coco Vanilla.
Tornado was produced by Beat Vampire (Craze), Master Maison, Bamba Beats, Madtunes, Jaemally and Trevor Beats, with mixing and mastering handled by Gigz Beat and PSM Beats.
Ghanaian musician Ezecheal Kwasi Asimeng Frimpong, popularly known as Ancienth has released a new Palmwine single titled ‘Asukese Abena’.
The song is a celebration of love, culture, and the timeless wisdom embedded in Ghana’s traditional way of life.
According to him, the project is meant to remind people that Palmwine music is not a relic of the past.
“Through this project, I want people to understand that Palmwine music is not a relic of the past, it is a living heritage that still speaks powerfully to the present,” he said.
Ancienth traces his journey in Palmwine music to the pioneering work of Kwame Asare, also known as Jacob Sam, and the Kumasi Trio. He credits them with laying the foundation for one of Ghana’s most important musical traditions, a path that later generations continue to walk.
“I entered this space because I believe every nation must protect its cultural voice,” Ancienth explained, adding that “Palmwine music carries our stories, values, humour, history, and identity. Preserving it is not only a musical responsibility but also a cultural one.”
The musician described the journey as rewarding but challenging, noting that traditional music often receives less attention and investment compared to mainstream genres.
To strengthen the space, he is calling for greater support from the media, cultural institutions, educational bodies, and the public.
“My appeal to Ghanaians is simple, support indigenous music, because when a people lose their cultural sound, they gradually lose part of their identity,” he added.
As a torchbearer of Palmwine Music, Ancienth says his mission is to honour the legacy of the pioneers while introducing Palmwine music to new generations and audiences across the world.
Asukese Abena is now available on all digital platforms, including YouTube
By Edem Mensah-Tsotorme
