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Concert party, a platform for wealth creation

The board chairman of the National Theatre of Ghana, Nana Fredua Agyeman Ofori-Atta, in a meeting with the ever popular concert party groups on Thursday  July 18, 2019, appealed to the sector to endeavor to do things right, be pro-active and fight for the collective good of the sector.

Speaking at the meeting, he explained that the National Theatre of Ghana is not just a building, but an institution that exist to make the performing arts the anchor for the preservation, presentation, promotion and the development of the Ghanaian culture. The institution is, therefore, instituting measures to ensure all the needed support in the area of direction, development of resources and promotion of all that is important to the sector, is provided to enhance the activities of the sector.

Nana Fredua added that the ever popular, educative and entertainment programme by concert party groups, had the capacity to foster national unity among the diverse ethnic groups of Ghana by promoting cultural interaction and inter-ethnic understanding, through programmes that create an enabling environment for national development.

Through their hilarious educative drama, they present topical social issues facing the country.

It is also a platform for creating, identifying, developing and unearthing more budding stars for the creative art. Concert party consequently contributes to the nation’s human development, job opportunities, wealth creation and alleviating poverty.

Nana Fredua said that it had become necessary for the creative art bodies to rigorously undertake and promote research to enable them obtain information that would allow them to make informed decisions, empower them to understand various issues of life in a broader way, and increase public awareness.

According to him, the players in the creative arts must place a high value on the sector, to generate the pride and respect for the creative art, and that can only be achieved through collective effort, dignity of labour and unity.

By Joyce O. Bekoe

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