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In the wake of in excess of 50 editions navigating the international Black diaspora, this signifies a final column. The journey was deeply rewarding, with immense gratitude offered to every one of the dedicated readers.

A Look Inside the Accra Festival

Attending the exhibitions, presentations and acts of the festival, observers witness how superior art feeds and shapes a country’s past and identity. The centrepiece was undoubtedly Clottey's remarkable [Dis]Appearing Rituals: An Open Lab of Now for Tomorrow, which showcased his pioneering afrogallonism on full display: a concept that reimagines plastic containers into mesmerizing art pieces, assemblages of golden hues. The exhibition was created as a testament to the endurance of Jamestown, a venerable neighbourhood of Accra.

The community – predominantly home to the Ga ethnic group, a fishing community – is furthermore where many returning Africans returned from Brazil and established themselves in the 1830s. Called the Tabom community, they introduced Portuguese tongue and customs.

All across Jamestown, you can see a mix of building designs. You'll find Fort Vicentia, boasting its characteristic Portuguese brickwork and arched doorways. Also present is the prominent Jamestown Lighthouse, constructed in the 1800s and subsequently given its signature red-and-white-striped facade.

A Culture of Celebration

Equally notable about Jamestown is the ever-present presence of funeral posters. On every corner, be it covering buildings or on big signboards, one finds funeral details and terms of farewell. In Jamestown, mirroring customs in Ghana, memorial services are major communal events.

In this impressive installation, every aspect of the visual and auditory essence of Jamestown are evoked – especially in the enveloping beach-themed piece. In this space, visitors are calmed by the sound of crashing waves with beach material at your feet, while shacks, hanging fishing nets and representations of vessels pay homage to its spirited, long-standing maritime community. However being present in this gallery, it's hard to ignore the heaps of discarded clothing that threaten the beauty and peace of the area.

Apart from the Centrepiece

The festival program included much more. Inside an unfinished structure at the University of Ghana, creator Sylvester exhibited a deeply moving minimalist collection, an incredibly moving, austere show that displayed sculptures and canvases created in partnership with welders.

Also featured was the Yaa Asantewaa Art prize for Ghanaian women creators. It included the debut presentation of a prior winner, whose work utilizes historical documents to craft a artistic representation of life in Ghana after independence. The event also crowned a current champion, whose varied work is intensely focused on the weaving practices of women in the Volta region.

An Enduring Presence

While the diaspora has increasingly been pulled home to west Africa in the colder season, more and more are thinking about journeying some months earlier to engage with the region’s cultural season. Between Accra Cultural Week and similar gatherings, what you’ll find are creative communities that are not merely nascent or “rising” but have built up an entire universe that is enduring.

Ultimately, the visit provides a vision of Accra that resembles a declaration for environmental protection and the preservation of culture. It is a powerful homage to perseverance in all its manifestations.