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Following over fifty issues navigating the global Black diaspora, this marks a final column. The journey proved deeply fulfilling, with immense thanks directed to all the dedicated followers.

Inside the Accra Festival

Experiencing the displays, installations and performances of Accra Cultural Week, it becomes clear how exceptional art sustains and builds a nation's heritage and essence. The centrepiece was without doubt Serge Attukwei Clottey’s stunning [Dis]Appearing Rituals: An Open Lab of Now for Tomorrow, which displayed his groundbreaking afrogallonism for all to see: a approach that converts water vessels into mesmerizing creations, tapestries of yellow, brass and gold. The show was designed as a homage to the strength of the historic district, a venerable area of Accra.

Jamestown – mainly populated by the Ga people, a community of fishermen – is furthermore where many returning Africans came back from Brazil and made their home in the 19th century. Referred to as the Tabom people, they carried with them Brazilian language and traditions.

All across Jamestown, you can see a fusion of architectural styles. There’s a historic building, boasting its characteristic Portuguese brickwork and curved entrances. Also present is the prominent beacon, constructed in the 1800s and subsequently given its signature red-and-white-striped facade.

A Culture of Remembrance

Also striking about Jamestown is the pervasive sight of obituary announcements. On every corner, be it covering walls or on big billboards, you’ll see service information and terms of mourning. In Jamestown, mirroring customs in Ghana, memorial services are large-scale community celebrations.

In Clottey’s breathtaking show, all of the sights, sounds and religious textures of Jamestown are evoked – especially in the engaging beach-themed piece. Within it, visitors are calmed by the recording of the sea with beach material at your feet, while shacks, draped nets and depictions of vessels celebrate its vibrant, long-standing fishing community. Yet standing in this exhibition space, the mind turns to the piles of cast-off garments that compromise the aesthetics and tranquillity of the region.

In Addition to the Headline Act

Accra Cultural Week also features much more. Within an unfinished structure at the University of Ghana, creator Reginald Sylvester II presented On the Other Side of Languish, an incredibly moving, stripped-back exhibition that included three-dimensional works and canvases made in collaboration with metalworkers.

Another key element is the competition for female artists for Ghanaian women creators. It showcased the first solo show of a recent winner, whose work references historical documents to craft a depiction of life in Ghana after independence. The event also honored a current champion, whose diverse work is particularly concerned with the weaving practices of women in the Volta region.

A Lasting Presence

Although the diaspora has more and more been pulled home to the region during the winter months, an increasing number are considering journeying some months earlier to immerse themselves in the region’s festival period. Between this festival and regional art fairs, what is evident are creative communities that are not simply emerging or “upcoming” but have built up an whole universe that is enduring.

Ultimately, the visit provides a vision of Accra that feels like a statement for conservation and the preservation of heritage. It is a powerful homage to adaptability in all its expressions.