Cultural Diplomacy in Action: Prof. Roy Horovitz’s Theatre Exchange with Ghana

Introduction: A Stage Set for International Understanding

In January 2026, the vibrant cultural landscape of Accra, Ghana, became the focal point for a significant exercise in soft power and people-to-people diplomacy. Professor Roy Horovitz, a distinguished Israeli actor, director, and Head of the Theatre Department at Bar-Ilan University, embarked on his first-ever visit to Ghana. This week-long mission, officially hosted by the Embassy of Israel in Ghana from January 25-29, transcended a simple academic tour. It was a meticulously planned program of cultural exchange between Israel and Ghana, designed to build bridges through the universal language of performing arts, foster educational partnerships, and commemorate shared historical memory. This event highlights how theatre and international relations can intertwine to create lasting impact, offering a case study in academic cultural diplomacy.

Key Points: The Core Outcomes of the Visit

• Educational Workshops: Prof. Horovitz conducted intensive, two-part theatre workshops at the University of Ghana’s School of Performing Arts and the National Theatre of Ghana, engaging over 100 students.
• Holocaust Education: The visit coincided with International Holocaust Remembrance Day (January 27), featuring a major commemorative event with Ghanaian and Israeli scholars, emphasizing Holocaust education in West Africa.
• Professional Networking: A dedicated cultural dinner connected Israeli and Ghanaian theatre professionals, actors, and directors, sparking concrete discussions for future collaborations, including potential co-productions.
• Public Diplomacy: The initiative successfully showcased Israeli contemporary theatre culture to a Ghanaian audience, strengthening bilateral cultural ties under the auspices of the Israeli Embassy.
• Institutional Partnerships: The visit laid the groundwork for formalized relationships between Bar-Ilan University and Ghana’s premier performing arts institutions.

Background: The Architects of a Cultural Mission

Prof. Roy Horovitz: A Ambassador of Israeli Theatre

Professor Roy Horovitz is not merely an academic; he is a pivotal figure in Israel’s dynamic theatre scene. As head of the Theatre Department at Bar-Ilan University, he represents an institution known for blending rigorous academic study with practical, contemporary theatre practice. His expertise spans acting, directing, and Israeli dramaturgy, making him an ideal emissary to showcase the vibrant Israeli theatrical scene, often centered in Tel Aviv’s prolific nightly production schedule. His presence in Ghana was a form of cultural diplomacy—using artistic achievement to foster mutual understanding.

Ghana’s Thriving Performing Arts Ecosystem

Ghana possesses a rich and diverse performing arts tradition, from indigenous storytelling and drama to contemporary theatre. Key institutions like the University of Ghana’s School of Performing Arts (based in Legon, Accra) and the National Theatre of Ghana (a landmark building in central Accra) are the twin pillars of formal theatre training and production. The National Theatre, in particular, houses resident companies like the National Dance Company and the National Drama Company, making it a hub for national and international cultural activity. Engaging with these institutions was strategic, targeting both the academic pipeline and the professional core of Ghanaian theatre.

The Diplomatic Framework: Embassy of Israel in Ghana

The visit was executed under the auspices of the Israeli Embassy in Ghana, specifically through its Public Diplomacy and Culture attaché. This indicates a strategic priority on Israel-Ghana cultural relations as a pillar of bilateral diplomacy. The involvement of the Israeli Ministry of Foreign Affairs in funding the project underscores its national importance. The collaboration with the German Embassy and the UN for the Holocaust remembrance event further demonstrates a multilateral approach to shared values and historical education.

Analysis: Deconstructing the Exchange

Prof. Horovitz’s visit was not a single event but a multi-layered program with distinct yet interconnected objectives, each serving a specific diplomatic and educational purpose.

Workshop Pedagogy: “Welcome to Theatreland”

The core educational activity was the workshop series themed “Welcome to Theatreland – The Theatrical Scene in Israel Today.” This was a masterclass in cultural presentation. By combining formal lectures with video excerpts of Israeli productions, text readings, physical warm-ups, and open discussions, Horovitz moved beyond a simple talk. This interactive, immersive methodology is key to effective international arts education. It allowed Ghanaian students to not just hear about Israeli theatre but to experience its methods and ethos. The focus on practical engagement—exercises and quizzes—ensured active participation from over 100 students, creating a memorable, hands-on introduction to a foreign artistic tradition.

Theatre as a Diplomatic Tool: Navigating Complex Histories

The timing of the visit to include International Holocaust Remembrance Day (January 27) was profoundly significant. The joint commemoration, organized with the German Embassy and the UN at the German Ambassador’s residence, was a powerful exercise in shared historical memory. The participation of students from Accra Girls’ Senior High School, Achimota School, and the University of Ghana’s History and Religion departments expanded the reach beyond theatre students to a broader academic and youth audience.

The panel discussion, featuring Ghana’s sole Holocaust Studies professor, Samuel Adu Gyamfi from KNUST, and Prof. Horovitz on “the Holocaust in our lives and in Israeli theatre,” was the intellectual centerpiece. It directly addressed how a nation’s traumatic history is processed and reflected in its national art form. This elevated the cultural exchange from aesthetic appreciation to a profound dialogue on memory, identity, and the role of art in society. The musical performances (Streisand’s “Our Fathers, Our Kings,” Vivaldi) provided a solemn, universal emotional framework, demonstrating how arts and Holocaust remembrance can create a shared, reflective space across cultures.

Industry Networking: From Dialogue to Deals

The cultural dinner hosted by the Israeli Ambassador was a critical forum for theatre professional exchange. Attendees like James Ebo Whyte (a giant of Ghanaian theatre), Latif Abubakar, Akofa Edjeani-Asiedu, Adjetey Anang, and Henry Herbert Malm (Acting Director of the National Theatre) represent the decision-makers and creative leaders in Ghana. The conversation’s focus on Israeli satirical theatre and concrete next steps—discussions about staging an Israeli play at the University of Ghana and potential co-directing—moves the relationship from symbolic exchange to tangible, project-based collaboration. Prof. Horovitz’s observation about shared “artistic views” and “great sense of humor” identifies the soft, human common ground essential for successful Ghana-Israel artistic collaboration.

Practical Advice: Lessons for Future Cultural Exchanges

This initiative provides a replicable model for institutions and embassies seeking to launch effective cultural diplomacy projects:

1. Leverage Symbolic Dates: Aligning the visit with International Holocaust Remembrance Day provided immediate thematic depth and attracted a high-level, diverse audience. It connected cultural exchange to universal values.
2. Target Dual Institutions: Engaging both the academic (University) and the professional/production (National Theatre) bodies ensures the impact reaches students, educators, and practicing artists simultaneously.
3. Blend Pedagogy with Performance: The workshop format (lecture + video + practice + discussion) caters to different learning styles and maximizes engagement. Showing clips of actual work is more powerful than just describing it.
4. Facilitate Direct Professional Networking: Creating a dedicated, informal yet curated space (the ambassador’s dinner) for established artists to meet is crucial for moving from talk to actionable plans.
5. Document and Publicize: The event was covered by media (Life Pulse Daily), and the embassy publicly thanked key partners (Dr. Sylvanus Kuwor, Mr. Henry Malm). This recognizes contributions, builds goodwill, and publicly cements the partnership for future support.
6. Have a Clear “Ask” and Follow-up: Prof. Horovitz explicitly mentioned discussing a play production. The embassy’s statement thanked partners and mentioned funding from the Israeli Ministry, indicating a clear understanding of resources and next steps.

FAQ: Addressing Common Questions

What is the significance of Prof. Roy Horovitz’s role at Bar-Ilan University?

As Head of the Theatre Department, Prof. Horovitz is a key leader in shaping Israel’s next generation of theatre artists and scholars. His visit represents not just a personal exchange but an institutional outreach, making Bar-Ilan University a potential formal partner for Ghanaian institutions.

Why is Holocaust Studies notable in Ghana?

Ghana is not typically associated with Holocaust education. The fact that KNUST hosts a professor dedicated to this field (Prof. Samuel Adu Gyamfi) is exceptional in West Africa. The joint commemoration highlighted Ghana’s engagement with global historical narratives and provided a profound context for discussing Israeli theatre’s relationship to memory and trauma.

What specific forms of Israeli theatre were highlighted?

The article mentions a focus on Israel’s “colourful theatre culture” and “Israeli satirical theatre.” This points to two strengths: the diverse, prolific commercial scene (often in Tel Aviv) and a tradition of sharp political and social satire, which can be a particularly engaging and relatable form for international audiences.

What are the potential long-term outcomes?

Long-term outcomes could include: student and faculty exchange programs between Bar-Ilan and University of Ghana; co-produced plays performed in both countries; joint research on theatre and post-colonial or memory studies; and the establishment of a recurring Israel-Ghana cultural diplomacy arts festival or workshop series.

Conclusion: More Than a Visit—The Beginning of a Dialogue

Professor Roy Horovitz’s 2026 trip to Ghana was far more than a series of lectures and meetings. It was a strategic, multi-front deployment of cultural diplomacy that successfully:

• Educated: Introducing Israeli theatrical practice to Ghanaian students and professionals.
• Commemorated: Placing cultural exchange within a framework of shared historical responsibility and memory.
• Connected: Facilitating direct relationships between influential artists and administrators.
• Instituted: Laying the concrete groundwork for future institutional partnerships and co-productions.

The phrase “the sky is the limit,” used by Prof. Horovitz, captures the optimistic potential sparked by this visit. It demonstrates that when cultural exchange is thoughtfully designed, professionally executed, and aligned with shared values, it can build bridges that politics alone sometimes cannot. The lasting impact will be measured in the plays co-created, the students exchanged, and the ongoing artistic dialogue between Ghana and Israel—a true testament to theatre’s power as a tool for international connection.

Sources and Further Reading

• Embassy of Israel in Ghana. (2026). Public Diplomacy and Cultural Activities Report.
• University of Ghana, School of Performing Arts. Event Archives, January 2026.
• National Theatre of Ghana. Official Communications, 2026.
• Kwame Nkrumah University of Science and Technology (KNUST). Department of History and Holocaust Studies.
• Bar-Ilan University, Faculty of Jewish Studies, Department of Theatre. Faculty Profiles.
• Life Pulse Daily. (2026). “Israeli theatre pupil Prof Roy Horovitz brings cultural trade to Ghana.”
• United Nations. International Holocaust Remembrance Day (January 27) Official Observances.