By Napoleon Ato Kittoe
The story behind the Akan drama group called “Obra” is traced to the early 1980s. Ghana’s Head of State at the time, Flt. Lt. Jerry John Rawlings, as I learnt later, was a fan of local television dramas which the “Osofo Dadzie” group was the primordials starting in the decade preceding his leadership of government.
The Osofo Dadzie series was the brainchild of the former Head of State, Gen. Kutu Acheampong, in power between 1972 and 1978. The drama group was among the legacy projects which survived his overthrow because the television series on Ghana’s only channel, run by the state broadcaster, GBC, were thrilling.
According to Amankwaah Ampofo, who started with “Obra” from scratch, the Revolutionary Leader had sat by television waiting to watch an “Osofo Dadzie” to a no show. He was disappointed by this, and his enquiries revealed the group could not form a quorum for a showcase because most of the members had traveled overseas.
This sowed the seed of new ideas in Rawlings who then called for the formation of another group to alternate with “Osofo Dadzie.” From the General to the Flight Lieutenant, the vigilant political regimes found time to relax with the entertainment that came with local drama. That meant something. The Obra Group, initially christened “Keteke,” got momentum and immediately caught fire, satisfying the insatiable quest in the audience for the entertainment which was depicted in local settings.
The public began to identify with their favourite characters, who then rose to fame. Among them, Joe Eyison nicknamed Station Master, David Dontoh, a.k.a. Ghanaman, Koo Nkasei, Esi Kom, and Maame Dokono, whose original name is Grace Omaboe. Others who joined the journey were Dr Rokoto, C.K. Boateng, Adwoa Smart, to mention but a few. They really lit up the system with exhilarating concerts and gave the Osofo Dadzie group a good run for their money.
Grace Omaboe emerged the protagonist in most themes of “Obra” and understandably, the cynosure. She acquired the name “Maame Dokono” from the days of “Keteke” when she played the role of a kenkey seller, which is the English translation of the name. Kenkey is a delicacy of the people of Accra but patronised on the entire map. The attention she grabbed was partly due to her fashion sense and sly behaviour in romantic roles in the dramas.
Maame Dokono later added music to her career with an album in which she was the lead vocalist. Her popularity out of television shows and generally in the showbiz assumed greatness when she hosted a programme on Ghana Television. “By the fireside,” told Ananse folklore through the “grandmother,” Maame Dokono, to children sitting by her under the moonlight and with burning firewood to warm the night. The programme, sponsored by the 31st December Women’s Movement led by Mrs Rawlings, was a depiction of an aspect of the lifestyle of past generations in which upstarts studiously took counsel from the wise grandmother and, by extension, older people. Ananse was generated to be a character of wisdom but also of artifice.
When Maame Dokono diverted course into politics, Rawlings’ National Democratic Congress became her platform from 1993 onwards, when democratic rule was restored. However, she sent shockwaves when she suddenly changed political colour by campaigning for the New Patriotic Party, which challenged Rawlings’ party in fierce electoral contests.
At this point, the identity of Maame Dokono was cast in doubt for the lack of consistency. One set of Ghanaians turned their back on her, finding her shows anything between unnecessary and requiring an outright clampdown. Things never got better but rather aggravated when her conspicuous attachment to the New Patriotic Party failed to retain it in power in 2008. She was dumped and teetered on the precipice of irrelevance. A place named after her at the Kwame Nkrumah Circle where she conducted business was erased and rebranded Holy Gardens. Her woes deepened, and she subsequently receded into the background.
However, her talent in acting remained eye-catching and could not be ignored by producers. Signed on, she billowed glows that penetrated the holes in the wall with her brilliant performances in the version of Ghanaian movies in English. Here she was, reigning again, in the light of cinema houses being in vogue, and local movies being the monarchs of all that were surveyed on the market. But the local movie industry took a hit when the Nigerians were exported to the scene in the late 90s. It was not about which was quality than the other but the instincts in people to satisfy curiosity. Consequently, sponsorship for the production of local Ghanaian movies waned. Publicity on Maamere Dokono dimmed, effectively placing her life, which took off on a stage of klieg lighting, in a paradox.
As if it was a strategy to spring forth again or it was the natural time to invoke it, she out of the blue dropped the bombshell on Ghanaians that she once dated a colleague who was no other person than “Ghanaman.”
Chalking up the milestone of 80 years in life in 2024, Maame Dokono, who is a mother of 6, struck a new cord with sumptuous beauty even as an octogenarian. Does the current generation know about her and national history? What informed the opinions of this intense personality who is enveloped in a profound career and chequered life? A good lead to prompt a comparison between then and now.
