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In the wake of more than 50 issues exploring the international Black diaspora, this marks a concluding piece. The experience was deeply gratifying, with great gratitude directed to every one of the dedicated readers.

Inside Accra Cultural Week

Experiencing the displays, installations and performances of the festival, observers witness how exceptional art sustains and builds a nation's past and character. The focal point was certainly Serge Attukwei Clottey’s remarkable a profound exploration of ritual and time, which showcased his pioneering afrogallonism in full view: a concept that converts yellow jerrycans into captivating art pieces, tapestries of yellow, brass and gold. The exhibition was created as a tribute to the resilience of this area, a historical quarter of Accra.

This area – largely home to the Ga community, a fishing community – is additionally where numerous returning Africans came back from Brazil and made their home in the 19th century. Referred to as the Tabom people, they brought Brazilian tongue and customs.

In every part of Jamestown, visitors encounter a mix of architectural styles. Standing is Franklin House, boasting its unique European-style masonry and curved entrances. Another landmark is the famous beacon, erected in the 19th century and eventually sporting its distinctive striped exterior.

Traditions of Remembrance

Furthermore striking about Jamestown is the ubiquitous sight of memorial notices. On every corner, be it affixed to alleyways or on big billboards, you’ll see announcements and phrases of farewell. In Jamestown, as throughout Ghana, final rites are major community celebrations.

In this breathtaking installation, the entirety of the sights, sounds and religious textures of Jamestown are present – particularly in the enveloping shoreline installation. Here, you’re soothed by the sound of the sea with granules at your feet, while beach huts, draped nets and images of vessels honour its vibrant, generational maritime community. But being present in this venue, the mind turns to the heaps of textile waste that compromise the beauty and tranquillity of the area.

In Addition to the Centrepiece

The festival program included additional highlights. Inside an unfinished structure at the University of Ghana, artist Reginald Sylvester II exhibited a deeply moving minimalist collection, an incredibly moving, minimalist presentation that included sculptures and canvases created in collaboration with welders.

Another key element is the Yaa Asantewaa Art prize for Ghanaian women creators. It showcased the debut presentation of a recent recipient, whose work references familial archival records to create a visual impression of life in post-independence Ghana. The event also crowned a current champion, whose diverse work is deeply focused on the textile traditions of women in Dabala.

A Lasting Presence

While the diaspora has increasingly been attracted back to Ghana in the winter months, a growing cohort are considering visiting some months earlier to engage with the area's cultural season. From Accra Cultural Week and regional art fairs, what you’ll find are creative communities that are not merely nascent or “upcoming” but have forged an entire landscape that is here to stay.

Ultimately, the visit provides a vision of Accra that resembles a manifesto for ecological stewardship and the safeguarding of tradition. It is a resonant tribute to perseverance in all its manifestations.