Emily Katzenstein: You describe your own work in terms of ‘decolonising urban spaces’ through artistic interventions. Can you tell us what that decolonisation means in this context? What projects are you currently working on?

Yolanda Gutiérrez: At the moment, I have two different kinds of projects. One is the Urban Bodies Projects. That’s a project that deals with the colonial past of European cities. I am working with local dancers in each city. The next one will be in Mexico City, and then one, next year, in Kigali. My second project is the Decolonycities Project. That’s a project about dealing with the German colonial past in the city of Hamburg, through the eyes of those who were colonised. I am planning to do five projects in five countries—Togo, Cameroon, Tanzania, Namibia, and Rwanda [countries Germany colonised in the late 19th and early 20th century—eds.]

And then I have the Bismarck-Dekolonial Project, which I started when this Bismarck controversy arose. In Hamburg, they are renovating the Bismarck monument for €9 million. It became a big controversy and overlapped with the Black Lives Matter protests in the U.S., and here in Germany. Here in Hamburg, activists started to paint or graffiti all kinds of colonial monuments and symbols of white supremacy. Suddenly, overnight, these monuments had been altered. But you can’t really do that with the Bismarck statue because they’re currently renovating it and it’s surrounded by protective walls. So, we’ve been having a two year long discussion about what should happen with the Bismarck monument.

The discussion in Hamburg was driven by a lot of activists, especially people of colour. For me, however, it was important to see what would happen if we brought in the perspectives of artists from former German colonies (Namibia, Cameroon, Togo, Burundi, Rwanda and Tanzania—eds.) who are living with the consequences of Bismarck’s role in Germany’s colonial past. So I acted as a producer and curator, and I invited artists from the countries that Germany colonised in Africa to stage their own performances in Hamburg, at historical sites that are linked to Germany’s colonial past. The artists who participated were Isack Peter Abeneko[1], Dolph Banza, Vitjitua Ndjiharine, Stone, Moussa Issiaka, Fabian Villasana aka Calavera, Sarah Lasaki, Faizel Browny, Samwel Japhet, and Shabani Mugado.

That’s a political statement. When the invited artists put themselves in the spaces that have some significance in Germany’s colonial history, they appropriate those spaces. The artists put on performances that reinterpreted the meaning of the places in which they performed. During the International Summer Festival, when the invited artists from Bismarck-Dekolonial put on their performances, for example, the audience could participate in what I call a decolonising audio-walk: you could see the artists’ performance while simultaneously listening to an audio track that plays the sounds of German troops leaving the Hamburg port, for example—a huge event at the time. So, the audio of German troops leaving from the Hamburg port is juxtaposed with the performance of the artists from Namibia, Rwanda, Tanzania, and Cameroon. You are listening to an audio track about the event of German colonial troops leaving from the Hamburg port, and, simultaneously, you see the performances of artists who are descendants of those who were most directly affected by Germany’s colonial policy.

We often tend to think of history as something stale, dead—something that belongs in the past, that we don’t care about. In discussions of Germany’s colonial past, that is a reaction that you encounter quite often. People say: That’s in the past and there is nothing that we can do about it. The past cannot be undone. And my reaction is: Yes, the past cannot be undone but we can change the perspective of how we look at history.

EK That is something that brings the different contributions of this series together—the sense that the past is, in a sense, contemporaneous, and that the stories that we tell about the past are crucial to our sense of who we are today. Can I come back to the question I asked earlier? What does decolonisation mean when it comes to artistic interventions? How do you conceive of decolonisation in your own work?

YG: Yes, my work reflects on the fact that history has been written by the colonisers. For hundreds of years, the colonial gaze has shaped our understanding of the societies that Europeans colonised. For example, during the Spanish conquest of Latin America, Spanish priests often took on the role of historians. Their impressions of the societies they encountered was heavily influenced by the own cultural presuppositions. For example, they had certain notions about the role of women in society, notions about gender roles, etc. That coloured and distorted their view of the societies they tried to describe. In the case of women in Aztec society, for example, they confused expectation and reality, and described what they expected to find—they portrayed Aztec women as unemancipated and occupying a predominantly domestic role, because that’s the way they saw the role of women in Catholic Spain. But now there are new histories of indigenous societies. There was an amazing exhibition in the Linden Museum Stuttgart on Aztecs culture, for example, that reflected very critically on the ways of seeing that have shaped European impressions of Aztec society over generations. That is what I am trying to do in terms of my artistic interventions—to publicise and communicate ‘unwritten’ histories, untold stories, and marginalised historical perspectives.

To do that, I work closely with historians. For example, my most recent project is situated in Namibia, which was colonised by Germany in the late 19th and early 20th century. From the beginning, I’ve collaborated with Jan Kawlath, a doctoral student in history at the University of Hamburg. His PhD investigates how the departure of German colonial troops was publicly celebrated to performatively construct images of Germany as a colonial power. And when we visit the historical sites at which we will stage performances, we listen to his writings about events that took place there, and his writing about these places and sites informs our choreography.

In that sense, my work is influenced by Gloria Wekker’s work on the cultural archive.[2] Wekker writes so powerfully about the importance of the cultural archive. There’s also a James Baldwin quote that captures it well: “History is not the past, it is the present. We carry our history with us. We are our history. If we pretend otherwise, we literally are criminals.”[3]

EK: In your work, you’ve experimented with different modes of presentation and media to stage decolonising artistic interventions. You already mentioned the ‘decolonising audio-walk’. Can you explain the concept of a decolonising audio walk?

YG: Yes, I use the concept of decolonising audio walks in all my projects. The audience has head-phones, and walks to historical sites that have some significance in the colonial past of the city. When you arrive at a site, you see the performance while listening to the audio soundtrack. It is a combination of different types of information, historical facts, interviews with experts, statements by artists, music, etc. etc. Afterwards, you walk to the next site, and so on. It is a way to incorporate a lot of different elements: Dance, audio—it’s an embodied experience for the audience because they walk through the city. Walking through the city allows you to see familiar places with new eyes. I mean, normally, once you’ve lived in a city for a while, you assume you know the place and you’re not going to go on a tour of the city. But then, during the decolonising audio walk, you experience yourself not knowing the city that you assumed you knew, and that allows you to uncover the histories that are normally not talked about.

EK On the website of the Bismarck-Dekolonial Project, you raise a question that I found fascinating, and that I wanted to put to you: namely, what kinds of artistic interventions are effective in contributing to decolonising urban spaces? How do you think about the different artistic strategies and interventions one can stage, and about the differences in the impact they have? With regards to the ‘decolonising audio-walk’, is there a tension between this momentary performative intervention and the monuments that embody permanence? Can performances effectively contest the built environment?

YG: Performances in urban spaces are a way to reach people easily. By contrast, universities have, for a couple of years, been doing a lot of “Ringvorlesungen” (series of lectures by different speakers), where you have artists and academics talk to each other about decolonisation. I have been following all these discussions, and I think that’s also an interesting approach, but they don’t reach a broad audience. Similarly, in the arts, there are many exhibitions that deal with decolonisation, but they are framed in a very particular way, and it’s for a particular audience; they don’t reach as many people. And what I really love about dance is that it allows me to juxtapose different temporalities and sensory impressions—historical accounts or sounds from the past are juxtaposed with a performance that’s very much in the moment. You can connect the history to which you are listening to what you see. In that sense, it’s a way to demonstrate the contemporaneity of the past. It’s like puzzle pieces coming together.

But audio walks, and performances more generally, are ephemeral, and that is my big challenge. You can put on as many performances as you like—for example, during the International Summer Festival 2021 in Hamburg, we put on five performances every day, which was already a lot. But even if you do a hundred performances per day, it doesn’t change the fact that it is ephemeral. So right now, my big question is how we can turn this into something more permanent. Because it’s all about memory, right? It’s about memorials and historical sites that need to be decolonised. And the challenge for me is: How can I, as an artist in the performing arts, leave a print that’s permanent? I am trying to get ‘into memory’ and I am still trying to figure out how far we can go with these performances and audio-walks in historical sites, what their impact is.

So that’s my big next challenge. I always say that the fact that the artists who participated in the Bismarck-Dekolonial Project—Isack Peter Abeneko, Dolph Banza, Vitjitua Ndjiharine, Stone, Moussa Issiaka, Fabian Villasana aka Calave, Sarah Lasaki, Faizel Browny, Samwel Japhet, and Shabani Mugado—put on these performances around the Bismarck monument means that the space has been altered. It is no longer the same space, no longer holds the same meaning. The traces they left are ephemeral but they are there, nonetheless. There is a trace. That’s why I want to work on putting up a QR code or something similar. At the moment, my idea is to combine it with a visually appealing sculpture or something else that attracts passers-by, so that they say: “What’s that? I want to know more.” And then they can use the QR code to watch the performance that happened in the space.

EK: One of the questions that always structures debates about contested monuments, it seems to me, is how we should think about the relationship between meaning and monuments. As an artist, how do you think about this relationship between monuments and meaning? Can we speak of a ‘hegemonic’ meaning of particular monuments or should we think about a multiplicity of meanings? Should we oppose hegemonic meanings with counter-hegemonic meanings, or prioritise showcasing the diversity and multiplicity of possible interpretations and meanings? What’s your approach to this?

YG: In Germany, we haven’t spent enough time reflecting Germany’s colonial past. The Second World War is obviously a horrific part of Germany’s history, and it tends to overshadow everything else, including Germany’s colonial past. But that means that you miss crucial connections, and that people don’t know Germany’s colonial past. For example, that the idea of the concentration camps was first developed during the genocide of the Herero and Nama in Namibia, camps that were built in the beginning of the 20th century. For me, the representation of Bismarck is a symbol of the power that Germany had in the world at that time. In the case of Bismarck, this is dangerous, because it works as a magnet for the right-wing, and we experienced that in a very, very bad way. During the performance of Vitjitua Ndjiharine, a visual artist from Namibia, one person in the audience suddenly went up to her and gave the Hitlergruß. He was facing the Bismarck monument, and stood in front of her, and gave the Hitlergruß.

So, trying to deal with this statue and with what it represents is exactly where the power is, for me. I mean, just look at it. The sheer measure of the monument is so imposing. And I think that’s the way that Germans were feeling when they colonised Namibia. If you read the writings of German colonial officials at the time, there is this feeling of supremacy. And that’s difficult to deal with, especially now, when they are polishing the Bismarck monument and literally making it whiter.

EK: There have been many proposals as to what should happen with the Bismarck monument. Some have argued that the monument should be removed altogether, others have argued that it should be turned on its head, and yet others propose letting it crumble. I assume letting it crumble is not really an option for safety reasons, but I’ve always liked the symbolism of it. What do you think should happen with the monument?

YG: I think if you vanish the Bismarck monument that doesn’t mean that you’ve vanished the meaning of Bismarck in the minds of people; what his figure means for people. And you can’t simply let the monument crumble—the size of the monument means that that is unfeasible. There were issues with the static of the monument, that’s why they’re renovating it. I mean with some monuments, you can let them crumble, no problem, but given the size of the Bismarck monument that’s not feasible.

But you know what? I could see it happening in a video, a video that’s then projected unto the Bismarck monument. That’s something that we have experimented with, too. We didn’t pull the statue down but we did what we call ‘video mapping.’ We did it at night, and that’s when I really felt like an activist. I had a generator, and it was midnight, and we had to set everything up. That’s the first time where I had to inform the municipality and said: Hey, I'm going to do this at the Bismarck monument. And they said, OK, that’s fine. You're going to destroy it. Nothing is going to happen. But I mean, you could see the change—suddenly the Bismarck monument became the canvas instead of the symbol it usually represents.

Of course, that’s a temporary intervention. But I am also convinced that we need a permanent artistic intervention. I think we need an open space for discussions. For example, I could imagine a garden around the monument, a place where we can keep this dialogue and this discussion going once the renovation is done.

I am not a visual artist, obviously, but I was on a podium discussion[4] about decolonising and recontextualising the Bismarck statue with several other artists. There were two very interesting women, Dior Thiam, a visual artist from Berlin, and Joiri Minaya, a Dominican- American artist based in New York. Joiri Minaya has already covered two colonial statues at the port of Hamburg, a statue of Vasco da Gama and a statue of Christopher Columbus, with printed fabrics of her own design[5]—it’s very interesting work. As I said, I am not a visual artist, but I think that a permanent art intervention is necessary. Because what I do is so ephemeral, and I have the sense that we need to reach as broad an audience as possible.

EK: The discussions about what to do with the Bismarck monument have been ongoing for the last two years. What impact has the debate had? Do you get the sense that the debate has contributed to a broader political awareness of Bismarck’s role in Germany’s colonial past in Hamburg? Or is this largely a debate amongst a relatively narrow set of actors?

YG: Yes, the question about impact. What I got tired of were all these discussions on advisory boards, and advisory committees: People discuss a lot. I am a maker, and I sat at a lot of these discussions and said, yes, we can keep discussing but we also need to do something now. And people had a lot of reasons for why we couldn’t do anything until later. But to me it seemed wrong to wait until the renovations are finished. It seemed like a strange idea to stage an intervention once Bismarck’s shining in all his glory, you know. The discussions are good and all, but they are not enough. They don’t reach enough people; they don’t reach communities. I think it would be fantastic to have something like the project Monument Lab in the United States here in Germany. Monument Lab is combination of different layers of communities—they bring together artists, activists, municipal agencies, cultural institutions, and young people. That’s precisely what we need to do around the Bismarck statue. We need a multilayered participatory process that includes different groups in society.



[1] Due to pandemic-related travel restrictions, Isack Peter Abeneko could only participate remotely from Dar es Salaam.

[2] Gloria Wekker, White Innocence: Paradoxes of Colonialism and Race. Durham, 2016.

[3] As cited in I Am Not Your Negro, directed by Raoul Peck (2016; New York: Magnolia Pictures, 2017), Netflix. (1:26:32).

[4] Behörde für Kultur und Medien Hamburg, “(Post) colonial Deconstruction: Artistic interventions towards a multilayered monument”, 16.09.2021, https://www.youtube.com/watch?time_continue=6215&v=hRFzASv_ea4&feature=emb_logo

[5] For images of the covered statues and an explanation about the symbolism of the printed fabrics, see the link above at 1:25-1:30.

Although there is a popular drive towards a much-touted ‘pragmatic’ understanding of global events, an ideological theory of international relations has become more important due to the complexity of these events. This means the creation of new methodologies and conceptions to demonstrate that the adaptability and everydayness of ideologies has become even more essential in a dynamic world. One way of doing this is to treat ideologies as living variables that can interact with contexts to shape policies and the substance of the ideas themselves. What this also means is to further enhance the bid to see ideologies as phenomena that are “necessary, normal, and [which] facilitate (and reflect) political action”.[1] In this piece, I argue that a contextualisation of socialism and classical liberalism into the Nkrumah and Danquah-Busia-Dombo ideological debate, respectively, has been the ideological binary pervading Ghanaian politics since independence despite the changes in government and personnel.
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Making a case for thought and action through ideological contextualisation

Many African governments have not hidden their love for or association with existing macro-ideologies like liberalism, Marxism, and socialism. Yet, for most of the journey of ideological studies, since its beginnings with Antoine Destutt de Tracy, Africa has been overlooked due to the preoccupation with the assumption that African states have little room for policy manoeuvre due to foreign influence—a position captured in the extraversion and dependency arguments.[2] This has been consolidated by the view that the rhetoric and actions of policymakers do not conform to dominant ideologies, or external influences appear to override the ideological objectives of African governments. In this article, I argue against this position, emphasising that dependency is not akin to a lack of ideology; and demonstrate that ideology is indeed relevant in Ghanaian politics as it will be in the rest of Africa. What I suggest is that although the ideas of Ghanaian governments may not be pure or conform fully to the core tenets of existing macro-ideologies, paying attention to contextually relevant ideological variables and how they interact with macro-ideologies is a viable way of understanding the dynamic role of ideas in Ghanaian and African politics, in general.

Several studies have shown that events and politics in Africa are as dynamic and interesting as politics elsewhere.[3] Hence, I agree with Thompson that “if the study of ideology helps political scientists to understand the politics of the West, then the same should also be true for post-colonial Africa. Any book seeking to explain the politics of this continent, therefore, needs to identify and explore the dominant ideologies that are at work in this environment”.[4]

I first admit that the African context is unconventional and atypical. Unconventional because ideologies are embedded in context and the existing macro-ideologies evolved from contexts and situations outside the African conditions. Interestingly, in a lecture by Vijay Prashad (Indian historian) he demonstrated how India and China have integrated Euro-American ideologies, similar to the point I am making here.[5] Second, I acknowledge the tight spaces in terms of structural institutional constraints, history and the level of dependency of African states that makes it quite unique from the politics of the global North. Therefore, to embark on this analysis of ideology in an unconventional setting requires certain theoretical adjustments to reflect the dynamic conditions of the politics in African states.

My approach to these adjustments is what I call an Ideological Contextualisation Framework (ICF). Ideological contextualisation is a coined concept that connotes that ideologies and ideological analyses should consider the immediate environment and historical experience of the cases being explored. It is inspired mainly by the works of Michael Freeden and Jonathan Leader Maynard on ideology. In the process of policy-making, large abstract political ideas must be translated into actual decisions, policy documents, plans, and programmes of action. To do that, ideological concepts need to be made to ‘fit’ a particular place, time, and cultural context. Part of this bid to make ideologies ‘practicable’ in different contexts flows from the field of comparative social and political thought to a more recent conception of comparative ideological morphology by Marius Ostrowski.[6] For instance, James McCain’s experimental analyses of scientific socialism in Ghana, published in 1975 and 1979, reveal that it does not conform to the assumptions of orthodox ‘African Socialism’.[7] Instead, what a leader like Nkrumah meant with this ideology was to exploit its political mobilisation feature within the Ghanaian cultural context. This is because it was a response to the needs at the time. Emphasis is, therefore, placed on the “native point of view” and “whatever that happens to be at any point in time”.[8]

The essence of contextualising ideas is to avoid the analytical shortfalls dominant in the African context occasioned by analyses that focus on either the overbearing role of ideology, which leads to policy failures, or the non-existence of ideologies at all. These analyses fail to capture the dynamics of ideology and what falls in-between these extremes.

While Ghana is unique, its conditions resemble what happens in many African countries. This year, Ghana’s celebrates 65 years of gaining its independence and of being the first sub-Saharan African country to do so in 1957. Since independence, there have been highs and lows on the development spectrum. Ghana has experienced military, authoritarian, civilian, and democratic governments over the last six and half decades. At independence, Ghana was among the most economically promising countries in the world, but the 2020 Human Development Index Report ranked Ghana 138th in the world. Ghana has not experienced a full-blown civil war or war with other countries but has had pockets of internal conflicts. Over the years, Ghana’s politics and policy-making have also been a dynamic mix of successes and challenges that characterises many African states.

Just like many exegeses of politics in other African states, it is common to hear commentary in Ghana about how genuine commitment to ideology has ended or how it has lost its traction for understanding Ghanaian politics, especially after the Nkrumah era. In one of such instances Ransford Gyampo, in his study on Ghanaian youth, emphasises that ideology does very little in orienting party members, especially the youth.[9] He further insisted on ideological purity as a conduit for organising the youth members. However, scholars like George Bob-Milliar have argued that political parties supply ideologies for their better-informed members who vote based on ideological differences.[10] For Franklin Obeng-Odoom and Lindsay Whitefield, such ideological differences rarely exist as neoliberalism has become a supra-ideology that pervades the different ‘isms’ to which parties subscribe.[11] Although the challenge here lies in the mischaracterisation of ideology, the jury is still out on ideology and its role in Ghanaian politics, just like many other African countries. A recalibrated look at the history of Ghanaian politics from the perspective of contextualisation presents a situation where ideology stretches far beyond magniloquence.

Ideology and the history of Ghanaian politics

What I do here is to briefly explore Ghana’s political history and demonstrate that ideology is and has indeed been relevant to Ghanaian politics. This ideology is typified by the ideological dichotomy between Nkrumah and the Danquah-Busia-Dombo group, which has lasted from the late 1940s to date. As I will explain below, the late pre and early post-independence period was characterised by two groups: one led by Dr Kwame Nkrumah, leader of the Convention People’s Party (CPP) that eventually won independence for Ghana in 1957. On the other hand was the opposition United Gold Coast Convention (UGCC)—the party that brought Nkrumah to Ghana from London—led by Joseph Boakye Danquah, and later by Kofi Abrefa Busia and Simon Diedong Dombo. These two groups agreed and disagreed on many policy issues based on their ideologies and such duality has characterised Ghana’s political milieu since independence. I limit this discussion to the period from independence to the end of Kufuor’s administration in January 2009.

The beginnings of the politics of ideas in Ghana was more profound during the late colonial period after the split between Kwame Nkrumah and other members of the United Gold Coast Convention (UGCC) that manifested in the formation of different political parties till Nkrumah’s overthrow in 1966. After this split in 1949, Nkrumah formed the Conventions Peoples Party (CPP) and went ahead to win independence for Ghana in 1957. The UGCC, on the other hand, transformed into different parties which contested and lost to Nkrumah in all the pre and early post-independence elections (1951, 1954, 1956 and 1960).[12] On the internalised level, the two groups were split by their commitment to socialism, African socialism, scientific socialism, or what later came to be known as Nkrumaism for the CPP and classical liberalism or what came to be known as property-owning democracy for the UGCC. One thing to note here is that the changes in vocabularies, as mentioned above and a common feature across subsequent administrations, is a practical manifestation of the constant search not just for a vocabulary that fits the Ghanaian context but ideas that reflects the aspirations of governments.

These party formation dynamics have even deeper ideological outcomes for the Nkrumah and Danquah-Busia-Dombo group on some key issues.  For instance, beyond their internalised socialist ideas, the CPP had what they called ‘African personality’ while the Danquah-Busia-Dombo group preferred the ‘Ghanaian personality’ beyond classical liberalism. What the CPP or Nkrumah administration meant by ‘African personality’ was for “recognising that Africa now has its personality, its own history and its own culture and that it has made valuable contributions to world history and world culture”.[13] According to Nkrumah, ‘African personality’ was to demonstrate to the world Africa’s “optimism, cheerfulness and an easy, confident outlook in tackling the problems of life, but also disdain for vanities and a sense of social obligation which will make our society an object of admiration and of example”.[14]

The Danquah-Busia-Dombo group introduced the idea of Ghanaian personality counter the CPP’s African personality. By Ghanaian personality, they meant “giving more meaning to this freedom [republican status] to express our innermost selves”.[15] This meaning was contextual as it was the period after two harsh laws were passed by the Nkrumah government, CPP. The Avoidance of Discrimination Act (ADA) of 1957 banned all regionally based political parties and forced all opposition parties to merge into the United Party (UP). The Preventive Detention Act (PDA) of 1958 allowed for people to be detained without trial for five years if their actions were deemed a threat to national security. For the opposition, the best way to project an African personality, in the spirit of freedom (decolonisation) and unity (African integration), was first to project a Ghanaian personality that prioritised the same rights.

The two ideas—African and Ghanaian personality—represented their contextual aspirations and significantly impacted their policy preferences and approach. They manifested in policy differences in issues such as how and when independence should be granted, how much Ghana should be involved in the politics of other African states, perceptions about colonial metropoles and future relations with them, how to approach regional integration, economic diplomacy and foreign policy, in general. It also influenced the domestic development goals and approaches.

To give some few policy examples, the CPP fundamentally wanted independence ‘now’ regardless of the consequences while the Danquah-Busia-Dombo wanted independence within the shortest possible period through what they perceived as legal and legitimate means. Parsimoniously on regional integration, while the CPP preferred rapid regional political unity on the continent with all African states, the Danquah-Busia-Dombo group preferred functional regional integration starting with economic and from within the West African subregion. In terms of domestic developmental approach, the Danquah-Busia-Dombo group always preferred alternative routes to Nkrumah’s state-led and managed Import Substitution Industrialisation and common or state ownership.

Throughout this period, the interpretation of ideological components such as economic independence was a key part of the ideologies of the two groups. Even though they both considered it a crucial concept, their interpretations varied, leading to some significant differences in policies and approaches. However, the growing power of contextual structures such as the Bretton Woods has occasioned similar ideas and policy path-dependence over time since the overthrow of Nkrumah in 1966. A cursory look at the IMF and World Bank interventions in Ghana since 1967 shows a common neoliberal trend in approaches to resuscitate Ghana’s economy. This has later accounted for some sort of ideological convergence that some scholars have identified in their study of Ghana’s Fourth Republic (since January 1993). For a developing country that is yet to address some of its basic needs, like infrastructure and education, there are points of convergence in terms of common components that address basic developmental needs. They translate into policies that can, in most cases, appear similar because they have similar inspirations. One of such examples is how even the different ideological factions within the CPP and other political parties acknowledged the need for independence and formed some sort of ideological convergence on that regardless of their fundamental ideological differences. This late colonial and early post-independence period of ideological dichotomy and similarities set the stage for subsequent administrations amidst variations. I explain these dynamics below.

The National Liberation Council (NLC) that overthrew the CPP government pursued policies that showed ideological consistency with the anti-Nkrumah group, Danquah-Busia-Dombo. This was buttressed by the fact that a one-time opposition leader during the CPP administration, who later went into exile, Prof. Kofi Abrefa Busia, became a leading member of the administration and headed the Centre for Civic Education—an organisation responsible for public education on civil liberties and democracy. The administration shifted Ghana’s domestic and foreign policy based on that ideological dichotomy flowing from the Nkrumah and the Danquah-Busia-Dombo debate. More instructively, they shifted to framing liberal-oriented development programmes and building stronger relations with the West—something the Nkrumah-led CPP administration was wary of.

When the Progress Party (PP) took power in 1969, it continued what the NLC began after the overthrow of Nkrumah’s CPP in 1966. Led by Prof. Busia himself, the PP government pursued policies that were ideologically at variance with Nkrumah but in line with ideas espoused by the UGCC before independence. For instance, the belief in non-violent decolonisation occasioned their policy to discontinue Ghana’s financial support for the African nationalists in South Africa, preferring dialogue with apartheid South Africa instead. In 1969, the Aliens Compliance Order promulgated by the government to return undocumented migrants affected many Africans and had implications for Ghana-Nigeria relations under subsequent governments had to address. For instance, in 1983 the Shehu Shagari government of Nigeria’s decision to deport undocumented migrants (half of the about three million deportees were Ghanaians) was popularly interpreted as a retaliation for Ghana’s 1969 deportation policy.[16] 

Although economic reasons were cited for Nigeria’s decision, it is obvious that what Ghana, or the PP government did in 1969 made the Nigerian government and people more relentless to follow through with their decision in what came to be known popularly as ‘Ghana must go’—a name also associated with the type of bag the migrants travelled with.[17] Based on Nkrumah’s relations with African settlers, the Aliens Compliance Order is a policy the CPP government would not have embarked on or fully encouraged.[18] Under the CPP government, Ghana was touted as the Mecca for African nationalists due to the government’s warm reception.

Another point of difference between the two groups was the disagreement of large-scale industries of Nkrumah and the role of the state their building and operation. Therefore, a lot of Nkrumah’s industries were either discontinued or privatised. Some of these industries include the Glass Manufacturing Company at Aboso, in the Western Region, GIHOC Fibre Products Company and the Tema Food Complex Corporation, both in the Greater Accra Region.[19]

The PP government was overthrown by an Nkrumaist oriented junta, the National Redemption Council (NRC), who tried to restore Ghana to its putative glorious years under Nkrumah by resuming Ghana’s contribution to African nationalist movement against Apartheid South Africa, supporting African states in several endeavours, resuming Nkrumah’s industrialisation agenda, pursing a domestication policy that aims to at food self-sufficiency, and repudiating foreign (especially Western) debts. These policies were grounded in the contextual ideological components of economic independence and Pan-Africanism, whose interpretations were closer to the CPP administration’s intentions.

This Acheampong-led NRC government, and later Supreme Military Council (SMC I) administration, was overthrown by an Edward Akuffo-led Supreme Military Council (SMC II) who, though they orchestrated a palace coup to overthrow Acheampong, did not deviate much from the previous administration’s pro-Nkrumah policies. Instead, they were more focused on restoring Ghana to multiparty elections. However, this administration lasted for only eleven months and was overthrown by a group of young militants, the Armed Forces Revolutionary Council (AFRC), who took power until after the 1979 elections and handed over to a democratically-elected People’s National Party (PNP).

The PNP government, led by Dr Hilla Limann, was one of the latter attempts to bring introduce a full-fledged Nkrumaist party after the CPP was banned before the 1969 elections. Although to the disappointment of many Nkrumaists, this government did not pursue politics based on the ideas of Nkrumah’s CPP, its policies were somewhat closer to what the Danquah-Busia-Dombo group preferred—for instance, in attempting to the IMF for bailouts and broader pro-West economic relations. This was one of the reasons why the Rawlings-led military junta, now the Provisional National Defence Council (PNDC), returned to overthrow the PNP government in 1981. Although this group (PNDC) was generally touted as radical and anti-West, their internal ideological dynamics resembled the broader ideological dichotomy between the Nkrumah and Danquah-Busia-Dombo groups. Within the PNDC government was a group that aligned itself to Nkrumah’s CPP ideology and, for instance, were wary of the West, former colonial metropoles and programmes like the Structural Adjustment Policies. On the other side were those who were touted as less radical and ideologically closer to the Danquah-Busia-Dombo group, who were rather willing to engage the World Bank and IMF through the Structural Adjustment Programmes.

This internal dialectic shaped the government’s domestic and foreign policy. However, from 1984, there seemed to be a broader consensus within the party as one whose ideology and politics was shaped by contextual structures, which made it difficult for the government to pursue policies just based on its internalised ideology. The PNDC later metamorphosed into the National Democratic Congress (NDC) when the government, under several domestic and international pressures, adopted multiparty democracy and elections from December 1992. After leading Ghana democratically for eight years, the NDC lost the December 2000 elections to the New Patriotic Party (NPP).

Coming directly from the Danquah-Busia-Dombo tradition, the NPP government led by John Agyekum Kufuor pursued policies mainly in line with what the forerunners have proffered, especially against Nkrumah’s policies. For instance, they created an enabling environment for private property ownership and entrepreneurial development, including encouraging foreign investors, a strengthened relationship with the West, and for a greater emphasis on its economic and democratic values. To further the idea of Ghanaian personality that was based on respect for humanity and human rights, the government opened itself up for review by other African states through the African Peer Review Mechanism (APRM), and took steps to pursue regional integration from a functional economic perspective.

From the discussions above, a few things must be clarified regarding Ghana’s ideological history. Socialism (for Nkrumaists) and classical liberalism (for the Danquah-Busia-Dombo group) have been the two dominant internalised macro-ideological leanings in Ghana, since independence. However, in an ever-changing, developing, and dynamic context like Ghana and the rest of Africa, these ideologies cannot function in their pure form, in their influence on policies. Therefore, in Ghana and Africa, I argue that context matters.

Looking at the Ghanaian case teaches us three main things analytically about the African continent. First is the dominance macro-ideologies or the fact that we cannot ignore ideologies like liberalism, Marxism and socialism as they are usually primary to the ideological structure of many governments. Second is the power and relevance of contextual structures, like regional organisations and the Bretton Woods, to produce ideas that African governments take on or adjust to because of their putatively weaker position. Constructivists have long emphasised the learning function of states. Third is existence of historical conditions that have evolved into ideas over time. Chatterjee Miller’s study of India and China’s foreign policy reveals a longue durée ‘post-imperial ideology’, comprising a sense of victimisation and driven by the goal of recognition and empathy as a victim of the international system to maximise territorial sovereignty and status.[20] In the Ghanaian case, some of these conditions include economic independence, Africa consciousness and good neighbourliness. While these conditions pervade across different governments, the interpretations and approaches vary. Across the continent, these conditions of ideological value may vary, but they are very relevant to any analysis of ideology. This affords us the laxity to focus on ideological components, treating the macro-ideologies as part of the components.

One of the reasons why ideology has been overlooked is the assumption that African states are weaker and have very little policy options because a lot of their policies are dictated by foreign powers. However, looking at ideology in itself is a bid to explore existing spaces, shed more light on those that have so far been neglected, and begin analyses of African politics from a perspective that acknowledges a certain contextual relevance and policy constraints. To do this, we should see ideologies as living variables that can interact with contexts to shape policies and the substance of the ideas themselves.

Conclusion

The place of ideology in global politics has been evolving in methodologies and vocabularies. This article is borne out of the bid to take Africa more seriously in that conversation by paying more attention to the contextualisation of ideas. This is not to say that ideologies explain everything, but it is to highlight the relationship between the interpretive value of ideology and contexts, and to emphasise that such relationships have a significant effect on African politics. The Ghanaian ideological context has been dominated by different shades of the Nkrumah and the Danquah-Busia-Dombo ideological dichotomy, characterised by an interaction between big-isms, contextual components and structures. These varieties of Ghanaian nationalism is bound to manifest differently in other African cases, but its conceptual proposition of interaction between context and ideas is very relevant. It demonstrates an understanding of African politics from within. Therefore, while this application gives us an indication and confidence to probe more into ideologies and policy-making in other African states, it also responds to the agency question which is fundamental to domestic and foreign policies.
 
 

[1] Freeden, M. (2006). Ideology and Political Theory. Journal of Political Ideologies, 11(1), p. 19.

[2] Bayart, J. F. (2000). Africa in the World: A History of Extraversion. African Affairs, 99, 217–267; Robertson, J., & East, M. A. (Eds.). (2005). Diplomacy and Developing Nations: Post-Cold War Foreign-Policy Structures and Processes. Routledge Taylor & Francis.

[3] Brown, W., & Harman, S. (Eds.). (2013). African Agency in International Politics. Routledge Taylor & Francis.

[4] Thompson, A. (2016). An Introduction to African Politics. In Routledge Handbook of African Politics (4th Edition). Routledge Taylor & Francis Group, p. 32.

[5] Vijay Prashad (2021) What's the Left to Do in a World on Fire? | China and the Left. Public Lecture Retrieved from https://www.youtube.com/watch?v=vd8w3ONjv6Y&t=453s Accessed 13th March 2022

[6] Ostrowski, M. S. (2022). Ideology Studies and Comparative Political Thought. Journal of Political Ideologies, 27(1), 1–10.

[7] McCain, J. (1975). Ideology in Africa: Some Perceptual Types. African Studies Review, 18(1), 61–87; McCain, J. (1979). Perceptions of Socialism in Post-Socialist Ghana: An Experimental Analysis. African Studies Review, 22(3), p. 45.

[8] Ibid, p. 46

[9] Gyampo, R. E. Van. (2012). The Youth and Political Ideology in Ghanaian Politics: The Case of the Fourth Republic. Africa Development, XXXVII(2), 137–165.

[10] Bob-Milliar, G. M. (2012). Political Party Activism in Ghana: Factors Influencing the Decision of the Politically Active to Join a Political Party. Democratization, 19(4), 668–689.

[11] Whitfield, L. (2009). “Change for a Better Ghana”: Party Competition, Institutionalisation and Alternation in Ghana’s 2008 Elections. African Affairs, 108(433), 621–641; Obeng-Odoom, F. (2013). The Nature of Ideology in Ghana’s 2012 Elections. Journal of African Elections, 12(2), 75–95

[12] Frempong, A. K. D. (2017). Elections in Ghana (1951-2016). In Ghana Elections Series (2nd Edition). Digibooks.

[13] Potekhin, I. (1968). Pan-Africanism and the struggle of the Two Ideologies. Communist, p. 39.

[14] Kwame Nkrumah: Official Report of Ghana’s Parliament of 4th July, 1960, col. 19

[15] S. D. Dombo: Official Report of Ghana’s Parliament of 30th June 1960, col. 250

[16] Aluko, O. (1985). The Expulsion of Illegal Aliens from Nigeria: A Study in Nigeria’s Decision-Making. African Affairs, 84(337), 539–560.

[17] Graphic Showbiz (21st May, 2020) Ghana Must Go: The ugly history of Africa’s most famous bag. Retrieved from https://www.graphic.com.gh/entertainment/features/ghana-must-go-the-ugly-history-of-africa-s-most-famous-bag.html#&ts=undefined Accessed 13th March 2022

[18] Although in 1954, when Nkrumah was the Prime Minister and three years before Ghana’s independence, some Nigerians were deported; but not on the scale, in terms of number and government’s involvement, of what happened in 1969. After independence, Nkrumah’s support for African immigrants and other African states seems to have overshadowed the 1954 deportation of Nigerians.

[19] Ghana News Agency (28th September 2020) Ghana: 'Revive Nkrumah's Industries'. Retrieved from https://allafrica.com/stories/202009280728.html Accessed 13th March 2022

[20] Miller, C. M. (2013). Post-Imperial Ideology and Foreign Policy in India and China. Stanford University Press.