The cocoa innovator in Ghana is for sure a political theatre. It is scripted in Accra, passionately rehearsed in opposition, and dramatically staged in govt. Each season brings a brand new forged, a revised script, and acquainted traces delivered with renewed conviction.

Yet, regardless of the converting actors, one personality stays consistent: the cocoa farmer who’s regularly praised, persistently referenced, however too incessantly lowered to a supporting prop-puppet in a drama the place the true script is written somewhere else.

Once once more, the level is ready for any other tragicomedy.

The announcement that the manufacturer value of cocoa has been lowered from GH¢3,625 according to bag to GH¢2,587 through some of the lead actors has precipitated outrage, justification, and the now-familiar choreography of political rationalization.

Government voices cite cross-border growth milestone forces, declining cross-border costs, and the fiscal realities of cocoa financial management. The language is technical, sober, and persuasive.

But to the farmer, it feels like a script he has heard sooner than.

Because within the final act of this identical play, when the fee was once round GH¢3,100, the exact same voices then dressed within the clothes of opposition declared that determine depraved, insensitive, and proof of a central authority that had misplaced contact with the struggling of the bizarre Ghanaian.

People have been referred to as Nebuchadnezzars. The rhetoric was once fiery. The ethical outrage was once theatrical. The farmer was once defended, sanctified, and given hope with optimism.

Today, the costumes have modified, and unfortunately, so has the script.

What was once as soon as termed “wicked” is now “necessary.” What was once as soon as “insensitive” is now “realistic.” What was once as soon as an ethical disaster has change into an financial inevitability.

In theatre, we name this personality metamorphosis. In politics, it is known as energy.

The tragedy isn’t that costs vary. Markets do what markets do. Cocoa is traded globally, and Ghana does now not regulate the invisible hand that dictates cross-border call for and provide. The tragedy is that political reminiscence in Ghana seems shorter than the existence cycle of a cocoa pod.

Because if the cost of GH¢3,100 was once as soon as an act of cruelty, what then we could name GH¢2,587?
Or does morality, like marketing campaign posters, expire after elections? This is the place cocoa coverage ceases to be economics and turns into a state efficiency.

The announcement of cocoa costs is now not simply a coverage resolution; this can be a in moderation staged act. There is the click convention the outlet scene. There are the spokespersons primary and minor characters.

There are the excuses mmoguo. And there’s the target market the Ghanaian public, who’re anticipated to droop disbelief lengthy sufficient to applaud, or no less than settle for, the efficiency in no matter shape it takes.
Meanwhile, the cocoa farmer- the puppet watches helplessly.

Not from the entrance row, however from the fringes.

Because on this drama, he isn’t the creator of the script. He isn’t even the director. He is the nature whose struggling provides the play its emotional intensity; however whose voice hardly shapes its end result.

Our elders say that “truth does not change with position.” But on this our political theatre, fact helps to keep dancing in musical chairs.

It may be stated, “By their fruits you shall know them” Not through their speeches. Not through their press releases. Not through their marketing campaign guarantees and slogans however through results.

And results, on this case, are measurable; now not in rhetoric, however in livelihoods…in wallet.
The cocoa farmer does now not survive speeches. He lives on costs.

He lives at the talent to pay college charges, handle his farm, rent labour, and continue to exist any other season.

When the ones costs vary dramatically with out corresponding structural fortify, the effects aren’t imaginary. They are rapid and catastrophic.

Yet, within the grand theatre of politics, those realities are incessantly overshadowed through efficiency.
The farmer turns into a logo. A speaking level. A marketing campaign slogan. And, when essential, a handy sufferer.

From a theatrical viewpoint, what we’re witnessing is a masterclass in political dramaturgy. The identical actors who as soon as carried out outrage now carry out pragmatism. The identical traces are delivered with other intonations. Yet the target market is predicted to reply another way relying on who’s talking.

This isn’t coverage. This is theatre with out responsibility.

And not like the theatre we apply, this model refuses critique. In theatre, when a efficiency fails, opinions are written. The director displays. The actors modify. The manufacturing evolves.

In this political tragedy, alternatively, the efficiency continues; overview or no overview, excuse or no excuse, consistency or no consistency. Dare to critique, and you’re branded a nation-wrecker, a saboteur, a sore loser.

The risk of this perpetual efficiency isn’t simply financial; it’s epistemic. It teaches the general public that fact is versatile, rules are negotiable, and outrage is seasonal. It normalizes contradiction as venture capital.

Afterall the Ghanaian forgets simply

Today, GH¢2,587 is “necessary and unprecedented.” Tomorrow, it can be “historic.” Very quickly, in opposition, it is going to most likely change into “wicked,” “unrealistic,” and “Nebuchadnezzar-like” once more.

And the cycle will repeat.

Still, the farmer watches on and as standard, helplessly.

The deeper query, then, isn’t about value by myself. It is set integrity. It is set whether or not coverage is guided through idea or through place. It is set whether or not the cocoa farmer is a stakeholder in nationwide marketing or simply a personality in an ongoing political dramatic circus.

Because if the script helps to keep converting with each and every exchange of presidency, then the farmer isn’t being ruled.

He is being carried out.

He is a puppet.

As a Theatre Artist, I’m tempted to appreciate the precision of this manufacturing—the timing, the rhetoric, the emotional attraction. It is, in some ways, a compelling efficiency.

But as a citizen, I’m much less inspired.

Because not like theatre, the place phantasm is stated, this efficiency claims to be truth. And not like theatre, the place the target market can go away when the play isn’t excellent, the Ghanaian citizen has no such luxurious.

He should sit down thru all the play.

Season after season.

Election after election.

Price after value.

Until most likely in the future, when the script will exchange, now not based on political comfort, however in dedication to nationwide consistency.

Until then, the cocoa farmer stays within the theatre and applauded in speeches, praised in campaigns, and forgotten in coverage.

And the play continues.

The Drama of Cocoa Politics.

A manufacturing through which the stakes are actual however the efficiency is all too acquainted.

Cocoa, as a countrywide asset, will have to be controlled past partisan pursuits. Governments would possibly exchange, however the farmer stays. It is subsequently necessary that we construct insurance policies which are constant, clear, and sustainable, in order that farmers can market their lives with sure bet.

Political transitions will have to now not translate into coverage uncertainty for the ones whose livelihoods rely on cocoa.

It is time we stopped over-politicizing the cocoa innovator. Cocoa isn’t a marketing campaign slogan, and the farmer isn’t a political pawn. When each and every value adjustment turns into a partisan argument, the true problems are misplaced and the farmer continues to pay the fee.

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DISCLAIMER: The Views, Comments, Opinions, Contributions and Statements made through Readers and Contributors in this platform don’t essentially constitute the perspectives or coverage of Multimedia Group Limited.