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In the wake of in excess of 50 installments exploring the international Black diaspora, this marks a final column. The experience proved deeply rewarding, with immense thanks directed to all the attentive readers.

Exploring the Accra Festival

Experiencing the exhibitions, artworks and acts of Accra Cultural Week, it becomes clear how exceptional art nourishes and shapes a country’s history and character. The highlight was undoubtedly Serge Attukwei Clottey’s remarkable [Dis]Appearing Rituals: An Open Lab of Now for Tomorrow, which put his innovative afrogallonism for all to see: a concept that converts yellow jerrycans into captivating creations, assemblages of yellow, brass and gold. The display was designed as a testament to the resilience of this area, a historical neighbourhood of Accra.

The community – largely inhabited by the Ga ethnic group, a seafaring people – is also where numerous freed slaves returned from South America and made their home in the 1830s. Known as the Tabom community, they brought Brazilian tongue and traditions.

Throughout Jamestown, you can see a mix of architecture. Standing is a historic building, with its characteristic European-style masonry and door arches. One can also see the iconic Jamestown Lighthouse, built in the 1800s and subsequently sporting its distinctive banded facade.

Traditions of Remembrance

Also remarkable about Jamestown is the ubiquitous sight of memorial notices. Wherever you look, be it plastered over buildings or on larger billboards, you’ll see service information and terms of loss. In Jamestown, mirroring customs in Ghana, funerals are major social gatherings.

In this breathtaking show, all of the sights, sounds and religious textures of Jamestown are evoked – notably in the immersive shoreline work. In this space, visitors are calmed by the sound of the sea with granules on the floor, while shacks, hanging fishing nets and depictions of boats pay homage to its vibrant, long-standing seafaring tradition. Yet standing in this exhibition space, one cannot help but think of the mountains of discarded clothing that mar the beauty and serenity of the shoreline.

Beyond the Headline Act

There is a great deal more. Housed in an unfinished structure at the local university, creator Sylvester showcased On the Other Side of Languish, an profoundly affecting, minimalist exhibition that included sculptures and paintings made in concert with artisans.

Also featured was the prestigious art award for Ghanaian women creators. It showcased the first solo show of a recent recipient, whose work utilizes personal family archives to create a artistic representation of life in post-independence Ghana. The event also announced a new champion, whose multidisciplinary work is deeply invested in the craft techniques of women in the Volta region.

An Enduring Legacy

Although the global African community has increasingly been attracted home to Ghana in the colder season, more and more are contemplating visiting for the cultural season to immerse themselves in the region’s artistic calendar. Between Accra Cultural Week and other major events, what emerges are creative communities that are not simply emerging or “rising” but have built up an entire landscape that is here to stay.

Finally, the journey offers a image of Accra that serves as a statement for ecological stewardship and the safeguarding of tradition. It is a resonant homage to resilience in all its forms.