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Following in excess of 50 issues delving into the international Black diaspora, this signifies a last column. The tenure was deeply gratifying, and great thanks directed to all the dedicated readers.

Exploring the Cultural Week

Visiting the displays, installations and performances of Accra Cultural Week, observers witness how the finest art feeds and constructs a country’s past and essence. The focal point was without doubt Clottey's stunning a profound exploration of ritual and time, which put his innovative afrogallonism in full view: a concept that reimagines yellow jerrycans into mesmerizing creations, assemblages of yellow, brass and gold. The display was conceived as a tribute to the endurance of the historic district, a venerable neighbourhood of Accra.

This area – mainly inhabited by the Ga community, a fishing community – is also where numerous formerly enslaved people arrived from South America and established themselves in the 1830s. Referred to as the Tabom people, they introduced Portuguese tongue and customs.

Throughout Jamestown, you can see a mix of architecture. Standing is a historic building, with its distinct Portuguese brickwork and curved entrances. Also present is the prominent Jamestown Lighthouse, erected in the 19th century and subsequently sporting its recognizable striped appearance.

Traditions of Mourning

Furthermore striking about Jamestown is the ubiquitous presence of obituary announcements. Everywhere you turn, whether covering buildings or on big signboards, you’ll see service information and terms of mourning. In Jamestown, as throughout Ghana, final rites are significant social gatherings.

In Clottey’s impressive installation, every aspect of the sights, sounds and religious textures of Jamestown are captured – particularly in the enveloping beach-themed installation. Here, you’re soothed by the audio of the sea with beach material on the floor, while shacks, hanging fishing nets and representations of canoes honour its spirited, generational maritime community. Yet being present in this exhibition space, it's hard to ignore the mountains of textile waste that compromise the aesthetics and peace of the region.

In Addition to the Centrepiece

The festival program included much more. Housed in an unfinished structure at the local university, artist Reginald Sylvester II presented a deeply moving minimalist collection, an incredibly moving, stripped-back presentation that featured three-dimensional works and canvases produced in partnership with artisans.

Another key element is the prestigious art award for Ghanaian women creators. It featured the inaugural exhibition of a 2024 winner, whose work utilizes historical documents to craft a depiction of life in post-independence Ghana. The event also announced a latest winner, whose multidisciplinary work is deeply focused on the textile traditions of women in a specific region.

A Permanent Legacy

While the global African community has increasingly been drawn back to Ghana in the winter months, more and more are thinking about journeying earlier in the year to engage with the area's cultural season. From this festival and regional art fairs, what emerges are creative communities that are not merely nascent or “rising” but have forged an whole universe that is here to stay.

Ultimately, the visit offers a perception of Accra that feels like a manifesto for conservation and the keeping alive of tradition. It is a resonant testament to perseverance in all its manifestations.