Rex Omar, the Board Chairman of the Ghana Music Rights Organization (GHAMRO), has voiced serious concerns regarding the government’s approach to the country’s creative economy. In a recent discussion with media personality George Quaye, Omar emphasized that Ghana has yet to fully capitalize on its creative potential.
Omar pointed out that the current and past governments have not prioritized the intellectual property (IP) sector, leading to ineffective institutions and struggling collective management organizations (CMOs). He stated, “Ghana is still not ready. Our IP industry is in turmoil, and the government’s role in this should be taken seriously.”
Despite his long-standing involvement with GHAMRO during both the previous New Patriotic Party (NPP) administration and the current National Democratic Congress (NDC) government, Omar lamented that GHAMRO has been operating without a license since it was revoked in 2023. He expressed frustration over the lack of urgency from the Attorney General’s office, saying, “I’ve discussed this issue multiple times, but it remains a low priority for them.”
In a stark revelation, Omar mentioned that approximately 97% of Ghanaian musicians are struggling to earn from their artistry. He underscored the necessity for a robust framework that supports not just music but extends to film, design, patents, and other creative sectors. He argued, “A thriving creative economy cannot exist without a solid IP foundation. The national mindset regarding the creative ecosystem needs a shift.”
Looking ahead, Omar expressed optimism that President Mahama would deliver on promises made to the creative sector, noting that he campaigned on the premise of supporting artists. Currently, he serves within the Black Star Experience Secretariat and believes that recent budget proposals for the film and music funds signal a positive direction.
“The year 2025 was particularly challenging for us,” he noted, “but the allocations for 2026 represent a positive move forward.”
As Ghana’s creative community continues to navigate these hurdles, the call for a more supportive and structured approach to the creative economy remains urgent.
