‘No writers’ residency in Ghana with same focus as Ebedi’

Francis Gbormittah recently completed his six-week residency at the Ebedi International Writers’ Residency in Iseyin, Oyo State. In this interview with ADEWALE OSHODI, the Ghanaian speaks on his recent visit to Nigeria, while comparing both countries as far as literature is concerned. Excerpts:

 

YOU are from Ghana, but how did you get to know about the Ebedi residency in Nigeria?

A colleague of mine, Nii Addokwei Moffatt, at the Ghana Association of Writers (GAW) introduced me to the Residency. He is an Ebedi fellow (November-December, 2015). He was full of commendation for the founder, Dr Wale Okediran and the initiative when he returned to Ghana after his six weeks stay in Nigeria. As a result, I got obsessed to be part of this fellowship. Recognising my enthusiasm towards the programme, he informed me about the January 2017 application, which I put in and was accepted by the board.

 

Can you compare Ebedi to other residencies in Ghana, if there are?

There is no writers’ residency in Ghana with the same focus as Ebedi. Through the ingenuity of the Dean of the School of Performing Arts at the University of Ghana, Legon, write-shops are organised at the end of each semester to academic staff, of which I have been a regular participant. This is not open to the general writing public, and academic writing is the main motivation. This is why it is my fervent hope that Ebedi receives support from donors to sustain its activities.

 

So which literary work brought you to Ebedi?

Two main literary works brought me to Ebedi. First, is to write poems based on a study on the aesthetics of Anlo-Ewe of Ghana oral poetics and traditions in religious festival songs. Second, is to complete work on “Space and Place of Action: An Analysis of the Annual Easter Festival of the Chiefs, Hunuawo and the People of Dagbamete.” This is an accepted chapter proposal for Festivals and Fairs: Celebrations of Culture, an edited collection to be published by the University of Iowa Press later this year. Although this second part of my work in Ebedi has academic dimension, its fictional aspect which is in a development stage promises to be much more impactful as it will be a commemoration of the community’s activities and experiences, their expression of ethnic pride, dignity and self-esteem. Specifically, it will be a fictional documentation of establishing representational frameworks, the construction and performance of identity, the commodification of culture, and popular culture and performance.

 

Were you able to complete the works in the six weeks you were in Nigeria?

Yes, I have been able to complete both projects during the residency period. In fact, the period afforded me a space away from home to focus and complete the works and to start the fictional phase of the festival part. Let me not forget the comfort provided by the weekly stipend, which made me not to worry about my financial resources in Iseyin. The residency inspired my writing directions and activities through interactions with my two other participants. I must say that although my work may have local interest (in Ghana), its contribution to greater understanding of related African issues should not be overlooked. It is said that local perspectives often provide insight into national and global issues. For example, values and principles of the Apetorku traditional religion, namely, “self-help, truth, good neighbourliness, respect for human lives, love, and justice,” while important to understanding Dagbamete community issues, also provide invaluable grass-roots insight into matters of national and international importance.

 

With your brief visit to Nigeria, can you make a comparison between the country and Ghana in terms of support for literature?

Politically, support for literature everywhere is a thorny issue. The charade is demoralising and devastating. Honesty in supporting literature that is supposed to go with the loud ‘noise’ of the value of literature in knowledge production and development of our countries is lacking. Nigeria’s situation in this regard is in no way different from Ghana’s. Probably, what is going well for Ghana on the authors’ front and lacking in Nigeria is the establishment of CopyGhana in 1999. CopyGhana is the body charged with the collection of monies on behalf of authors, journalists, visual artists, and book publishers as compensation for copying their works. Ghanaian authors fought for their rights for several years to earn money through reprographic activities. You will agree with me that one source of revenue that is generally lost to authors is the copying of their materials through reprographic means. So it has been agreed in Ghana that all academic institutions, libraries, among others, with reprographic equipment should pay levy annually towards the photocopying of printed materials. Additional source of revenue to the CopyGhana Fund is the levy imposed on the importation of reprographic equipment into the country. Nigeria must learn from Ghana, or, Ghana must teach Nigeria? Whichever way one looks at it, authors are the beneficiaries.

 

Apart from writing, what other things do you do?

I am a screenwriter, filmmaker, media educator and an academic. I am an executive member of the Ghana Association of Writers (GAW). In fact, I am the immediate past national treasurer. I am currently pursuing my PhD at the Institute of African Studies (IAS) in the University of Ghana, Legon, where I also lecture in media arts related courses. I worked between 2001 and 2007 as a lecturer in Film Aesthetics and Art Directing at the National Film and Television Institute (NAFTI). I have conducted research and published in many areas of knowledge production such as on media and cinema (narrative and the response to narrative; images and the perception of images; visual theory and culture; performance studies), education and technology. I participated in various conferences, seminars, workshops and festivals and presented papers on varied subjects. I also served on many institutional and book projects boards and committees.

 

So what did you take with you back to Ghana on Nigeria and Nigerians?

Generally, I have learnt not only to use and appreciate the resources of Africa, but also to locate my own intervention in this unique tradition and to make contribution to knowledge. The strong cultural and spiritual impact of the people of Iseyin (Yoruba culture) offered me a well-rounded exposure and provides excellent platform to look at myself as a proud African. The success of the residency, for me, is not only in the literary resources I generate through writing, but also one of cultural renewal. It is my hope that the residency will attract financial attention from benefactors to support its undertakings.