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Following over 50 issues exploring the global Black diaspora, this signifies a concluding piece. The tenure proved incredibly gratifying, with immense thanks extended to every one of the dedicated followers.

A Look Inside Accra Cultural Week

Visiting the exhibitions, presentations and shows of the festival, it becomes clear how superior art feeds and constructs a nation's history and essence. The highlight was without doubt Serge Attukwei Clottey’s stunning [Dis]Appearing Rituals: An Open Lab of Now for Tomorrow, which displayed his innovative afrogallonism for all to see: a philosophy that transforms yellow jerrycans into illusory creations, tapestries of yellow, brass and gold. The show was created as a testament to the strength of Jamestown, a historical neighbourhood of Accra.

Jamestown – mainly populated by the Ga people, a seafaring people – is furthermore where numerous freed slaves came back from South America and established themselves in the 1830s. Known as the Tabom people, they brought Brazilian language and traditions.

All across Jamestown, visitors encounter a blend of building designs. There’s a historic building, boasting its distinct Portuguese masonry and door arches. One can also see the famous lighthouse of Jamestown, built in the 19th century and subsequently featuring its recognizable red-and-white-striped facade.

Traditions of Remembrance

Furthermore striking about Jamestown is the ubiquitous presence of obituary announcements. On every corner, be it affixed to alleyways or on sizable billboards, you’ll see announcements and expressions of mourning. In Jamestown, similar to the rest of Ghana, memorial services are large-scale communal events.

In Clottey’s impressive show, every aspect of the sights, sounds and religious textures of Jamestown are captured – particularly in the engaging beach-themed installation. Here, you’re soothed by the recording of the sea with sand underfoot, while beach huts, nets and images of vessels celebrate its vibrant, long-standing seafaring tradition. Yet being present in this exhibition space, the mind turns to the piles of textile waste that mar the charm and serenity of the region.

Beyond the Centrepiece

Accra Cultural Week also features much more. Inside an unfinished structure at the campus, creator Reginald Sylvester II presented On the Other Side of Languish, an emotionally powerful, minimalist presentation that featured sculptures and canvases produced in collaboration with metalworkers.

Also featured was the Yaa Asantewaa Art prize for female Ghanaian artists. It featured the first solo show of a recent laureate, whose work draws on personal family archives to create a depiction of life in the nation's recent history. The event also crowned a new winner, whose diverse work is deeply invested in the craft techniques of women in a specific region.

A Permanent Impact

While the global African community has grown been attracted home to the region in the colder season, an increasing number are contemplating travelling for the cultural season to immerse themselves in the region’s cultural season. From this festival and other major events, what emerges are creative communities that are not merely nascent or “rising” but have established an complete landscape that is enduring.

Ultimately, the experience leaves one with a vision of Accra that serves as a statement for ecological stewardship and the keeping alive of culture. It is a compelling tribute to resilience in all its forms.