Ghana to The World SZN

Updated: Mar 5, 2019

‘Ghana to the world’ is a commonality these days and I love it.

No, we do not need any validation from anyone, no less people who do not understand nor respect the workings of our culture and the things we stand for but the acknowledgement is indeed long overdue. For the longest time, news coming out of Africa circles back to the ‘dark continent’ narrative but this is gradually being overwritten. The spotlight that has been thrown on Ghana is a testament to the strides she has been making a multitude of sectors. Full Circle Festival, R2Bees – Universal Studios distribution deal, exploits of Abraham Attah, TIDAL Afrochella playlist are just a few of the reasons the name Ghana is floating in the international talk space and long shall it progress.

The train rolls on with The Burial of Kojo; an intimate, poignant film by Blitz the Ambassador which brings the core Ghanaian societal values to the fore and is inspired by the menace of galamsey (illegal small-scale mining) in Ghana. Blitz is part of the new crop of youthful artistic minds who have waltzed their way into various art sectors and are looking to breathe a new lease of life into the industry through their crafts. The raw energy they bring to the table, coupled with the need to address pertinent issues with little or no monetary backing, while keeping the various aesthetics created top-notch makes their ‘come-up’ alone cinematic. Following the release of Fofo Gavua’s Lucky – another flawless youth-centered production – the much-anticipated ‘The Burial of Kojo’ was released worldwide in the second half of 2018 to an overwhelming amount of positive reviews from critics.

It is no secret that funding the film, which has a contentious and uncharacteristic theme, was a huge challenge. Blitz and his team, who are no Marvel Productions, self-funded the entire production and also had to make public their need for funds to execute post-production activities before the film could be released. It warms my heart that the hard work of his team and the generosity of several individuals can today be rewarded by Netflix’s announcement that the film will be available on their database from March 31, 2019. Perhaps, the screening of the movie could have done more rounds in Ghana after the crowdsourcing escapades proved to be a success out here.

Details of the deal that takes the film to Netflix screens are unknown for now but I hope Blitz got something to show for it. Nonetheless, a larger audience for Blitz should be the trampoline that lunges him to the greatest of heights on his journey in the arts world.


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