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In the wake of over 50 editions navigating the global Black diaspora, this marks a last column. The experience was profoundly rewarding, and immense appreciation offered to all the dedicated followers.

Inside the Cultural Week

Visiting the displays, artworks and performances of Accra Cultural Week, it becomes clear how superior art feeds and builds a country’s history and identity. The highlight was certainly Serge Attukwei Clottey’s remarkable a profound exploration of ritual and time, which put his innovative afrogallonism on full display: a philosophy that converts water vessels into mesmerizing creations, assemblages of metallic tones. The display was designed as a homage to the endurance of the historic district, a historic neighbourhood of Accra.

This area – predominantly populated by the Ga ethnic group, a seafaring people – is furthermore where a great number of formerly enslaved people returned from South America and established themselves in the 19th century. Referred to as the Tabom people, they introduced Brazilian language and customs.

Throughout Jamestown, you can see a fusion of architectural styles. Standing is Franklin House, with its characteristic colonial-era brickwork and door arches. One can also see the prominent Jamestown Lighthouse, erected in the 1800s and later featuring its signature red-and-white-striped exterior.

Customs of Celebration

Equally notable about Jamestown is the pervasive sight of memorial notices. Everywhere you turn, whether plastered over walls or on sizable signboards, you’ll see funeral details and phrases of farewell. In Jamestown, as throughout Ghana, final rites are major community celebrations.

In the artist's impressive installation, the entirety of the sensory and spiritual landscape of Jamestown are present – particularly in the enveloping Jamestown nshonaa installation. In this space, visitors are calmed by the recording of ocean surf with granules at your feet, while shacks, hanging fishing nets and representations of vessels honour its spirited, long-standing seafaring tradition. But standing in this gallery, it's hard to ignore the piles of discarded clothing that compromise the charm and peace of the region.

Apart from the Main Event

The festival program included much more. Within an raw space at the University of Ghana, artist Reginald Sylvester II presented On the Other Side of Languish, an emotionally powerful, minimalist show that displayed sculptures and canvases created in partnership with welders.

And then there is the prestigious art award for Ghanaian women creators. It featured the first solo show of a recent recipient, whose work draws on familial archival records to create a depiction of life in the nation's recent history. The event also announced a latest winner, whose diverse work is particularly focused on the craft techniques of women in the Volta region.

A Lasting Impact

Although the diaspora has grown been pulled home to the region during the winter months, more and more are thinking about travelling for the cultural season to immerse themselves in the region’s artistic calendar. From Accra Cultural Week and other major events, what emerges are art scenes that are not simply new or “upcoming” but have forged an whole world that is permanent.

Finally, the experience provides a vision of Accra that feels like a statement for environmental protection and the preservation of heritage. It is a compelling testament to adaptability in all its expressions.