COMEDIAN Oh Joo is sounding an alarm, one that cuts through the laughter and lands squarely on an uncomfortable truth: in Ghana, comedy may be booming on the surface, but behind the curtain, many comedians are barely breaking even.
It’s a paradox that’s hard to ignore. Shows are selling out. Audiences are showing up in their numbers. Social media is buzzing with clips and catchphrases. Yet, for the very people creating the laughter, the financial reality tells a different story.
According to him, many comedians are left with little or no profit after staging shows, making it difficult to sustain their craft and invest in future productions.
“The cost of organising events in Ghana is extremely high. By the time venues are booked, production, sound and lighting secured, promotion rolled out and other logistics are paid for, what’s left is often disappointing. Sometimes, nothing at all. Especially if you had no sponsorship.
“More reason why our sold-out shows do not always translate into profit. In other words, a full house doesn’t guarantee a full pocket. And that’s where the illusion begins to crack,” he told Graphic Showbiz in a recent interview.
He noted that beyond production cost come the taxes, which are layered, heavy, and, in some cases, overwhelming.
“The multiple levies and operational charges eat further into the already thin margins and make it difficult for comedy shows to become financially sustainable. Most times, the tax bill is so huge that it can exceed the actual profit made,” he stated.
And yet, the challenges don’t end there. Oh Joo further pointed out that corporate Ghana has been slow to fully embrace comedy as a serious investment space.
“Our corporate brands tend to invest more in music and film because those industries already have established commercial structures and have wider media exposure.
“Comedy is still developing in Ghana, so many brands are yet to fully recognise its marketing potential. We are picking up now, compared to the previous years, though.
“Opportunities are limited, and competition for sponsorship is tight. A company can tell you they are on another comedian’s show, so they cannot be on yours. And there’s nothing you can do about that”, he added.
In addition to funding, Oh Joo said “the absence of deliberate government support is slowing the industry’s evolution. Unlike in some countries where creative sectors receive backing and strategic investment, Ghana’s comedy scene largely operates on its own.
“A comedian from Botswana came to Ghana, and the trip was funded by his government. I’m not saying we should do the exact thing, but there should be structures that are designed for our comedy industry to grow as well,” he said.
Also, Oh Joo indicated that Ghana still lacks enough dedicated spaces to support the growth of stand-up comedy.
“Venues designed specifically for stand-up are almost nonexistent, forcing comedians to adapt event spaces that come with higher costs and limitations.
“Places like 2927 Comedy Club in Tesano and another in Kumasi offer a glimpse of what’s possible, but they are still the exception, not the norm,” he noted.
He warned that the current challenges could push some comedians to seek greener pastures outside the country.
“When opportunities and financial sustainability are limited locally, some comedians may explore markets abroad.
“I have experienced comedy outside Ghana. The reception and value placed on comedians is something else. So if the system doesn’t evolve, Ghana risks exporting not just its talent but its laughter too,” he said.
Source:
www.graphic.com.gh