Juliet Ibrahim, a prominent Ghanaian-Nollywood actress, filmmaker, and media entrepreneur, has strongly condemned the growing trend of media piracy plaguing Ghana’s entertainment landscape.
In a heartfelt public address, she criticized several television stations in Ghana for the unauthorized airing of her films. Her comments come amid mounting frustration within the West African film community, as more creatives speak out about the illicit exploitation of their intellectual property.
The issue of copyright infringement has taken center stage, with multiple filmmakers accusing TV networks of rebroadcasting their work without permission or compensation.
The conversation around media piracy was reignited in March when Nigerian actress Omoni Oboli called out Ghanaian broadcasters for airing her films without securing the necessary licenses.
This allegation opened the floodgates for a broader industry reckoning. Soon after, another Nollywood actress, Bimbo Ademoye, shared a similar experience, expressing outrage after a Ghanaian station allegedly aired her film without approval.
Ademoye claimed that not only was her work used illegally, but the station went a step further by duplicating the title and artwork of her production, essentially hijacking her creative identity.
These incidents have exposed a troubling pattern of exploitation that crosses national borders and threatens the integrity of African cinema.
Adding her voice to this growing protest, Juliet Ibrahim took to Instagram with a passionate and detailed post, shedding light on her own experiences with piracy.
She recounted how her films, initially released on her official YouTube channel—Juliet Ibrahim Studios—were downloaded illegally and rebroadcast by Ghanaian networks without her consent.
“As an independent filmmaker, actress, director, and producer, I find it extremely disheartening to witness the blatant disregard for intellectual property rights by several TV stations operating within Ghana,” she wrote, her words laced with both frustration and disappointment.
Ibrahim specifically mentioned Pemsan TV as one of the culprits, accusing the network of rebroadcasting her work without permission.
“Over the past few months, I’ve observed that some of my films originally and legally uploaded to my official YouTube channel, Juliet Ibrahim Studios, have been pirated, rebroadcast, and exploited by unauthorised Ghanaian television stations, including Pemsan TV, without my permission or that of my team,” she stated.
Her post served not only as a personal testimony but as a broader indictment of the systemic failure to protect content creators in Ghana.
Despite efforts to resolve the issue amicably, Ibrahim revealed that her management and legal team had been met with silence and continued noncompliance from the offending stations.
“Despite repeated efforts by my management and legal representatives, who have sent cease and desist letters, contacted these networks directly, and offered an opportunity for a formal resolution, Pemsan TV and others have continued to air my work unlawfully, ignoring our calls and refusing to do the needful,” she lamented.
This lack of accountability, she argued, underscores the urgent need for stronger enforcement of copyright laws in Ghana.
Standing in solidarity with her Nigerian counterparts, Ibrahim emphasized that the issue of media piracy is not confined to any one country.
“This isn’t just happening to me. I stand in full support of my Nigerian colleagues, Omoni Oboli and Bimbo Ademoye, who are also speaking up against the piracy of their creative works,” she said.
“This is not just a Nigerian issue; it is an African issue, and as a Ghanaian, I am ashamed that our local media houses are playing a central role in such unethical and illegal activities.” Her words were a clarion call to both industry stakeholders and policy makers across the continent.
Juliet Ibrahim’s appeal adds critical weight to an ongoing battle faced by many African filmmakers, who often work without the security of robust copyright protections or meaningful recourse when their work is stolen.
Her decision to speak out publicly signals a turning point, urging creatives to demand accountability and legislative reform. As the voices of protest grow louder, it remains to be seen whether media regulators and broadcasters in Ghana and beyond will finally act to protect the creative industry from this pervasive threat.
Juliet Ibrahim has continued to speak out passionately against the unchecked piracy ravaging Ghana’s film industry, revealing that she and her team have pursued all formal channels to rectify the issue—but to no avail.
She disclosed that her management and legal representatives have made every effort to engage with the television networks involved in the unauthorized airing of her films.
These efforts included sending cease and desist letters, initiating direct communication, and offering opportunities for peaceful resolution.
Yet, these gestures were repeatedly ignored. “We tried to do things the right way,” she emphasized. “Our outreach was clear and professional. But we were met with silence, disregard, and further violations.”
In a more detailed statement, Ibrahim singled out some of the offending networks, such as Pemsan TV, for persistently ignoring legal warnings while continuing to air her content without permission.
“Despite repeated efforts by my management and legal representatives, who have sent cease and desist letters, contacted these networks directly, and offered an opportunity for a formal resolution,” she stated, “Pemsan TV and others have continued to air my work unlawfully, ignoring our calls and refusing to do the needful.”
Her words conveyed a mix of exhaustion and exasperation, signaling just how entrenched the issue has become.
Refusing to remain silent, Ibrahim expressed strong solidarity with fellow Nollywood actresses Omoni Oboli and Bimbo Ademoye, who have also spoken up about similar infringements by Ghanaian media outlets.
She stressed that what is happening isn’t limited to a single artist or nationality. “This isn’t just happening to me,” she asserted. “I stand in full support of my Nigerian colleagues, Omoni Oboli and Bimbo Ademoye, who are also speaking up against the piracy of their creative works. This is not just a Nigerian issue; it is an African issue, and as a Ghanaian, I am ashamed that our local media houses are playing a central role in such unethical and illegal activities.”
Labeling the actions of the broadcasters as both “shameful” and “damaging,” Ibrahim didn’t mince words in describing the broader consequences of piracy. She noted that the illicit rebroadcasting of creative content undermines not just the rights of the original creators but the entire ecosystem of the African film industry.
“Piracy is a crime,” she declared. “Exploiting someone’s hard-earned intellectual property is theft. It undermines years of investment, creativity, and the livelihoods of everyone involved in production, from actors to editors to camera operators.”
The actress warned that if such acts are allowed to persist, the African film industry—which has been gaining global attention and acclaim—risks losing both its credibility and its financial sustainability.
“These actions demoralize creators, stunt growth, and send a dangerous message to up-and-coming filmmakers: that their work can be stolen and misused without consequence,” she wrote.
Juliet’s message was not only about her personal experiences but also a call to defend the future of African storytelling.
Concluding her statement, Ibrahim made a direct appeal to the appropriate governing bodies in Ghana. She urged institutions like the National Communications Authority (NCA), Ghana Copyright Office, Ghana Police Service, National Film Authority, Ministry of Tourism, Arts and Culture, and the Ghana Media Commission to urgently step in and take definitive action.
“Please step in immediately,” she pleaded. “We need robust action, regulation, and enforcement to protect content creators and restore the dignity of our film industry.”
Her final words carried the weight of someone who believes in the power and promise of African cinema but who also recognizes the urgent need for reform.
“This behaviour brings disgrace not only to the perpetrators but also to the nation of Ghana as a whole, which should be a beacon of excellence in arts and culture,” she concluded. “Africa’s creative economy deserves respect.”
With her voice added to the chorus of protest, Juliet Ibrahim has placed herself at the forefront of a crucial conversation—one that demands answers, justice, and lasting change.
