THERE is nothing wrong with Ghana wanting to build a new chapter in its relationship with the African diaspora.
There is also nothing wrong with introducing the Black Star Experience as a year-round platform for Ghana’s creative economy, culture and tourism.
What is worrying, however, is when the person charged with selling that vision to Ghanaians and the world makes statements that suggest he may not have a firm grasp of the history of the very initiatives he is expected to build upon.
The question, therefore, is simple: Is Rex Omar on top of the issues?
At the recent Ghana Diaspora Town Hall Meeting, the Coordinator of the Black Star Experience Secretariat reportedly said the Year of Return was an event for Ghanaians in the diaspora, while the proposed Right to Return was for people of African descent.
That distinction raises eyebrows.
The Year of Return was not simply a programme for Ghanaians living abroad. It was launched in 2019 as a global campaign marking 400 years since the first recorded arrival of enslaved Africans in Virginia and was deliberately designed to engage the African diaspora, particularly people of African descent in the Americas and elsewhere.
Ghana subsequently moved into Beyond the Return, a 10-year programme launched in 2020 to consolidate the gains of the Year of Return and deepen diaspora engagement.
So when a senior official responsible for a flagship initiative involving culture, tourism and diaspora engagement appears to draw such a narrow distinction between the Year of Return and the people it sought to engage, one has to ask whether he is sufficiently familiar with the history and objectives of the programmes that preceded his own.
This is not about playing politics with Rex Omar. It is about preparedness and accountability.
The Black Star Experience was introduced as a major, year-round national platform for Ghana’s creative economy, culture and tourism. Rex Omar himself has explained that it should not be viewed as a single event but as an ongoing initiative encompassing activities across the creative and tourism sectors. (Read Don’t destroy Beyond the Return with petty politics — Socrate Safo)
Mandate
That is a big mandate. And because it is a big mandate, Ghanaians have every right to ask what exactly has been achieved so far, what the roadmap is and when they can expect to see the promised “experience”.
Instead, when concerns are raised about the visibility and implementation of the Black Star Experience, we are told to be patient.
Rex Omar recently put it this way: “Don't forget we are resetting. If I don't have money to feed, why use the small money to watch movie or concert. The economic issue is affecting all sectors including Black Star Experience, but be patient with us. You will see something. We are about to take off.”
The economic difficulties facing the country are real, and the creative industry has certainly not been immune to them.
But the Black Star Experience cannot remain perpetually in the category of “be patient with us.”
At some point, a flagship national programme must move from explanation to execution.
Ghanaians need to see the strategy. They need to see the partnerships. They need to see the programmes. They need to see how musicians, filmmakers, actors, fashion designers, event organisers, tourism operators and other creative practitioners are benefiting.
Most importantly, they need to understand what makes the Black Star Experience different from, and better connected to, the initiatives that came before it.
Because Beyond the Return was not simply an event that ended after the Year of Return. Its own architects described it as a decade-long programme running from 2020 to 2030, with seven pillars aimed at deepening diaspora engagement, investment, tourism, heritage and Ghana’s global brand. That history matters.
If the Black Star Experience is meant to take Ghana further, then it should not have to diminish what came before it to establish its relevance. It should build on it. It should improve it.
It should show us why it deserves the resources and confidence being placed in it. And that is where Rex Omar's leadership comes under scrutiny.
A coordinator of such an important national initiative must be on top of the issues. He must know the history. He must understand the policies. He must be able to articulate the difference between existing programmes and the new vision without creating unnecessary confusion.
He must also be able to answer legitimate questions about implementation with more than an assurance that something is “about to take off”.
The Black Star Experience was launched with considerable expectations. Its stated ambition is not small. It is supposed to provide a platform through which Ghana's culture, creativity and tourism can be projected to the world.
That demands more than a good slogan.
It demands a clear roadmap, visible activity, measurable outcomes and an administration capable of explaining what it is doing and why.
Accountability not criticism
Rex Omar is an experienced musician and has been given an important responsibility. He should therefore understand that criticism of the Black Star Experience is not necessarily an attack on him or the government.
It is part of the accountability that comes with public office.
If the programme is still being built, then tell Ghanaians exactly what is being built. If the economic situation has delayed implementation, explain the constraints.
If existing programmes are being incorporated into the Black Star Experience, show us how.
And if the Black Star Experience is truly about to “take off”, then the creative industry should not have to wait indefinitely at the departure lounge.
Ghana has tried the big event approach. It has also tried a longer-term diaspora strategy.
The challenge now is not to create another attractive name. The challenge is to deliver.
The Black Star Experience deserves its opportunity. But Rex Omar and his team must also give Ghanaians reason to believe that they are ready for the responsibility.
