The creative forces of the Ghanaian music video industry have brought to bear much creativity on most of the music videos that have recently hit the screens. The grip of the hiplife sensation on the music industry has again set new standards. It may be claiming too much to say that Ghanaian music videos stand tall among music videos from other countries in the sub-region.
But then a critical look at the music video scene across the continent might even place Ghana second to South Africa in terms of the creative in-put of her music videos.
The use of more state-of-the-art-equipment and technology in producing South African music videos is largely responsible for this difference. The innovation and often-breathtaking concepts that most Ghanaian music videos now display is evidence that the industry is growing.
The idea of producing videos for recorded music creates the opportunity for musicians to express the vision of their music on yet another level; that of translating what is first written as lyrics into pictures. The lyrics of any song could therefore make more meaning when its video is produced.
Music videos that depend heavily on style might, however, explore the aesthetic values of the music through editing of the use of spectacular video effects instead of actually telling the story of the song. The fact that music video do not necessarily adhere to the otherwise restrictive principles of filming drama also give directors the freedom to explore their creative prowess.
The airing of programmes such as ?Music For You? on GTV has played a very important role in launching the music video industry in the country. The fact that music videos were aired for the listening pleasure of audiences at a time when the industry had hardly taken shape perhaps nurtured interest in the production of music videos. Today, many more professionals specialize in production music videos for hiplife, reggae, highlife or traditional-style music artistes.
Apart from boosting the industry, the production of music videos also markets artistes, their music and the individuals who direct these music videos. The growth of the industry has brought into being quite a number music-oriented television programmes such as ?Allo Buzz?, ?Advertising Circle (Metro)? and ?Viewers Choice (TV Africa). The viewing of programmes on television has also been made pleasurable by the occasional music interludes.
The rise of some directors in the industry is also refreshing. Names such as Abraham Djan, Felix Dakaat, Abuldulai Awudu, Gerald Gimah, Paa Kwesi, Ivan Quasigah, Ato Brown and Bernard Meliness, among others, ring of creativity and innovation in music video land.
In view of the interest that these and many more directors have generated in the industry through their creative music video awards. Promoting the growth of this industry also has the potential, in the long run, to better equip directors to take up the more challenge field of film.
In spite of all these, the use of more sexually explicit visuals in some Ghanaian music videos presents a bother. Scenes of ladies performing sexually provocative stunts or costumed in too sexy dresses is fast becoming the trademark of many videos. The idea that sex sells in Showbiz might be true, but then directors of music videos should be mindful of how they use the tricks of their trade.
Artistes will be also doing society a favour if they desist from pressuring directors to include these so-called ?honey shots?. For although directors and artistes might get inspiration from some foreign music videos, the kind of visuals they displayed could make or break society and the youth for that matter.
The concerns expressed by a writer that most gospel music videos have become ?one way? is very genuine. The classic scene of characters being mistreated has outlived its usefulness. The few gospel music videos that have broken away from this chain of telling the same story tend to strike better cords of inspiration in audience.
Many directors of these gospel videos are, however, likely to consider other options a non-starter. The reason being that, gospel music videos, like any other music video, has assumed a commercial nature.
The fact that many of us go to church so that we can experience breakthroughs in the area of our marriages, travel, health, business and child-bearing, among others, makes the business-minded director cash in one these situations. In hopes that audience will be better appreciated and also experience some catharsis at the end of the video.
The growth and creativity that is seizing the music video industry is all good. It is necessary for directors of these videos to use their creativity to positively inspire society. Other stakeholders could also sustain the industry by rewarding the genuine efforts of many creative people in this industry.
The creative forces of the Ghanaian music video industry have brought to bear much creativity on most of the music videos that have recently hit the screens. The grip of the hiplife sensation on the music industry has again set new standards. It may be claiming too much to say that Ghanaian music videos stand tall among music videos from other countries in the sub-region.
But then a critical look at the music video scene across the continent might even place Ghana second to South Africa in terms of the creative in-put of her music videos.
The use of more state-of-the-art-equipment and technology in producing South African music videos is largely responsible for this difference. The innovation and often-breathtaking concepts that most Ghanaian music videos now display is evidence that the industry is growing.
The idea of producing videos for recorded music creates the opportunity for musicians to express the vision of their music on yet another level; that of translating what is first written as lyrics into pictures. The lyrics of any song could therefore make more meaning when its video is produced.
Music videos that depend heavily on style might, however, explore the aesthetic values of the music through editing of the use of spectacular video effects instead of actually telling the story of the song. The fact that music video do not necessarily adhere to the otherwise restrictive principles of filming drama also give directors the freedom to explore their creative prowess.
The airing of programmes such as ?Music For You? on GTV has played a very important role in launching the music video industry in the country. The fact that music videos were aired for the listening pleasure of audiences at a time when the industry had hardly taken shape perhaps nurtured interest in the production of music videos. Today, many more professionals specialize in production music videos for hiplife, reggae, highlife or traditional-style music artistes.
Apart from boosting the industry, the production of music videos also markets artistes, their music and the individuals who direct these music videos. The growth of the industry has brought into being quite a number music-oriented television programmes such as ?Allo Buzz?, ?Advertising Circle (Metro)? and ?Viewers Choice (TV Africa). The viewing of programmes on television has also been made pleasurable by the occasional music interludes.
The rise of some directors in the industry is also refreshing. Names such as Abraham Djan, Felix Dakaat, Abuldulai Awudu, Gerald Gimah, Paa Kwesi, Ivan Quasigah, Ato Brown and Bernard Meliness, among others, ring of creativity and innovation in music video land.
In view of the interest that these and many more directors have generated in the industry through their creative music video awards. Promoting the growth of this industry also has the potential, in the long run, to better equip directors to take up the more challenge field of film.
In spite of all these, the use of more sexually explicit visuals in some Ghanaian music videos presents a bother. Scenes of ladies performing sexually provocative stunts or costumed in too sexy dresses is fast becoming the trademark of many videos. The idea that sex sells in Showbiz might be true, but then directors of music videos should be mindful of how they use the tricks of their trade.
Artistes will be also doing society a favour if they desist from pressuring directors to include these so-called ?honey shots?. For although directors and artistes might get inspiration from some foreign music videos, the kind of visuals they displayed could make or break society and the youth for that matter.
The concerns expressed by a writer that most gospel music videos have become ?one way? is very genuine. The classic scene of characters being mistreated has outlived its usefulness. The few gospel music videos that have broken away from this chain of telling the same story tend to strike better cords of inspiration in audience.
Many directors of these gospel videos are, however, likely to consider other options a non-starter. The reason being that, gospel music videos, like any other music video, has assumed a commercial nature.
The fact that many of us go to church so that we can experience breakthroughs in the area of our marriages, travel, health, business and child-bearing, among others, makes the business-minded director cash in one these situations. In hopes that audience will be better appreciated and also experience some catharsis at the end of the video.
The growth and creativity that is seizing the music video industry is all good. It is necessary for directors of these videos to use their creativity to positively inspire society. Other stakeholders could also sustain the industry by rewarding the genuine efforts of many creative people in this industry.
