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''Stop the negativity and celebrate Ghanaian artistes'' global success'' - Soraya Opare-Riley

Embracing Positivity: Soraya Opare-Riley Urges Ghanaians to Celebrate Artistes' Global Triumphs

In a passionate plea that resonates deeply within Ghana's vibrant entertainment landscape, Soraya Opare-Riley, a prominent figure in the creative industry, has called on Ghanaians to abandon the pervasive negativity that often overshadows the remarkable achievements of the nation's artistes. Her message, delivered with a blend of frustration and optimism, emphasizes the need to shift focus from criticism to celebration, highlighting how such a change could propel Ghanaian music and arts to even greater heights on the global stage. Opare-Riley's words come at a time when Ghanaian talents are increasingly making waves internationally, yet domestic discourse frequently dwells on shortcomings rather than successes.

Opare-Riley begins by painting a vivid picture of the current state of affairs in Ghana's entertainment sector. She points out that while artistes like Black Sherif, Shatta Wale, Sarkodie, and Stonebwoy are garnering acclaim from audiences worldwide—securing spots on international charts, collaborating with global superstars, and performing at prestigious venues—back home, the narrative is often tainted by undue criticism. "Why do we tear down our own when they are flying the flag high?" she questions rhetorically, urging a collective introspection. This negativity, she argues, manifests in various forms: social media trolls who nitpick every lyric or performance, industry insiders who fuel rivalries instead of fostering unity, and even fans who prioritize scandals over artistic merit. Such attitudes, according to Opare-Riley, not only demoralize the artistes but also deter potential investors and collaborators who might otherwise see Ghana as a hub of untapped potential.

Delving deeper into her argument, Opare-Riley draws on historical context to illustrate her point. She recalls the era of highlife legends like E.T. Mensah and the pioneering efforts of hiplife innovators such as Reggie Rockstone, who laid the groundwork for today's global breakthroughs. These forebears faced their share of skepticism, yet their perseverance paved the way for modern successes. Fast-forward to today, and Ghanaian music is experiencing a renaissance. Black Sherif's raw, emotive tracks have resonated across Africa and beyond, earning him features on platforms like Spotify's global playlists and collaborations with artists like Burna Boy. Similarly, Sarkodie's lyrical prowess has led to accolades at events like the BET Awards, where he has represented not just Ghana but the entire continent. Shatta Wale's energetic dancehall vibes have crossed oceans, landing him deals with international labels, while Stonebwoy's reggae-infused sounds have secured him stages at major festivals in Europe and the Americas.

Opare-Riley doesn't stop at naming names; she elaborates on the broader implications of these achievements. These artistes are not merely entertainers—they are cultural ambassadors who export Ghana's rich heritage to the world. Through their music, they weave in elements of Twi, Ga, and other local languages, blending them with global genres like Afrobeats, hip-hop, and dancehall. This fusion has introduced international audiences to Ghanaian stories of resilience, love, struggle, and joy. For instance, when Black Sherif's hit "Kwaku the Traveller" went viral, it wasn't just a song; it was a narrative of ambition and hardship that mirrored the experiences of many young Ghanaians. Such successes have economic ripple effects too, boosting tourism, creating jobs in the creative sector, and inspiring a new generation of talents. Opare-Riley stresses that celebrating these wins could amplify these benefits, encouraging more investment in music education, production studios, and international tours.

However, the core of her message revolves around the destructive power of negativity. She describes it as a "self-sabotaging cycle" where constant criticism erodes confidence and stifles creativity. Artistes, she notes, are human; they thrive on encouragement, not perpetual doubt. Opare-Riley shares anecdotes from her own experiences in the industry, where she's witnessed promising talents abandon their dreams due to relentless online backlash. "Imagine if we channeled that energy into support," she posits. "What if instead of debating who is the 'king' of dancehall, we united to make Ghana the undisputed queen of African music?" This call for unity extends beyond fans to industry stakeholders, including media houses, promoters, and fellow artistes. She advocates for collaborative efforts, such as joint tours or mentorship programs, to build a stronger ecosystem.

To counter the negativity, Opare-Riley proposes practical steps. First, she encourages social media users to amplify positive stories—sharing videos of successful performances, streaming Ghanaian tracks on global platforms, and using hashtags like #GhanaMusicRising to create a wave of positivity. Second, she urges the media to balance reporting by highlighting achievements alongside constructive critiques, rather than sensationalizing conflicts. For artistes themselves, she advises resilience but also openness to growth, suggesting that embracing feedback without defensiveness can lead to evolution. Moreover, she calls on the government and corporate entities to invest more in the arts, perhaps through grants or festivals that showcase Ghanaian talent internationally. "Our artistes are competing on a global level with limited resources," she says. "Imagine what they could achieve with full backing from home."

Opare-Riley's appeal is not without its emotional depth. She speaks from a place of genuine love for Ghanaian culture, lamenting how internal divisions have sometimes overshadowed collective pride. She references the global rise of Nigerian Afrobeats as a cautionary tale and an inspiration—Nigeria's artistes, supported by a unified fanbase, have dominated charts worldwide. Ghana, with its unique sound and storytelling, could do the same if negativity is replaced with celebration. "Let's stop the hate and start the hype," she declares, envisioning a future where Ghanaian music festivals draw crowds from around the world, and local stars become household names globally.

In expanding on these ideas, it's clear that Opare-Riley's message is timely and multifaceted. She touches on the psychological toll of negativity, noting how it can lead to mental health struggles among artistes who face public scrutiny. Drawing from broader cultural studies, she implies that societies that nurture their creatives often see exponential growth in soft power—influence through culture rather than politics or economics. Ghana, with its history of artistic innovation from kente cloth to highlife rhythms, stands at a crossroads. Will it continue to undermine its own, or will it rise to champion them?

Furthermore, Opare-Riley addresses the role of diaspora communities, who often serve as bridges to international markets. Ghanaians abroad, she says, are pivotal in promoting homegrown talent, yet they too sometimes fall into the trap of negativity imported from online discourses. By fostering a positive narrative, these communities can help secure more opportunities, such as record deals or festival slots. She also highlights emerging talents like Gyakie, whose soulful voice has earned her a spot on international radars, or KiDi and Kuami Eugene, who blend highlife with contemporary pop to appeal to diverse audiences. Celebrating these artistes, Opare-Riley argues, creates a virtuous cycle: success breeds more success, inspiring investment and innovation.

Ultimately, Opare-Riley's call to action is a rallying cry for national pride. She envisions a Ghana where artistes are revered as heroes, much like sports stars in other nations. "Our music is our voice to the world," she concludes. "Let's make sure it's heard loud and clear, without the static of negativity." Her words serve as a reminder that in an era of globalization, unity and positivity are not just ideals—they are necessities for cultural and economic advancement. As Ghanaian artistes continue to break barriers, the onus is on all of us to celebrate, support, and elevate them. Only then can the full potential of Ghana's creative spirit be realized on the global stage.

This extensive reflection on Opare-Riley's message underscores the transformative power of shifting from criticism to commendation. By doing so, Ghanaians can not only honor their artistes' hard-won successes but also pave the way for a brighter, more unified future in the entertainment industry. (Word count: 1,128)

Read the Full Ghanaweb.com Article at:
[ https://www.ghanaweb.com/GhanaHomePage/entertainment/Stop-the-negativity-and-celebrate-Ghanaian-artistes-global-success-Soraya-Opare-Riley-1992727 ]