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Following over fifty issues delving into the international Black diaspora, this represents a concluding column. The tenure was incredibly gratifying, with immense gratitude extended to every one of the engaged followers.

Inside Accra Cultural Week

Attending the showcases, presentations and acts of the festival, one sees how exceptional art nourishes and shapes a country’s history and character. The focal point was without doubt Serge Attukwei Clottey’s stunning [Dis]Appearing Rituals: An Open Lab of Now for Tomorrow, which showcased his pioneering afrogallonism for all to see: a concept that converts water vessels into illusory creations, tapestries of yellow, brass and gold. The show was designed as a testament to the strength of the historic district, a historical quarter of Accra.

The community – largely populated by the Ga community, a community of fishermen – is also where numerous formerly enslaved people came back from Brazil and established themselves in the 1830s. Called the Tabom community, they introduced Brazilian language and traditions.

Throughout Jamestown, you can see a mix of architectural styles. There’s Fort Vicentia, with its characteristic colonial-era construction and arched doorways. One can also see the iconic lighthouse of Jamestown, constructed in the 1871 and later featuring its recognizable banded facade.

A Culture of Mourning

Equally notable about Jamestown is the ever-present sight of obituary announcements. Everywhere you turn, be it covering walls or on larger signboards, you’ll see funeral details and phrases of mourning. In Jamestown, similar to the rest of Ghana, funerals are major social gatherings.

In Clottey’s breathtaking installation, every aspect of the sensory and spiritual landscape of Jamestown are present – especially in the enveloping beach-themed installation. Here, visitors are calmed by the recording of crashing waves with beach material underfoot, while shacks, draped nets and representations of vessels honour its spirited, long-standing maritime community. However being present in this exhibition space, one cannot help but think of the heaps of cast-off garments that threaten the aesthetics and peace of the area.

Beyond the Main Event

Accra Cultural Week also features additional highlights. Inside an unfinished structure at the campus, creator Reginald Sylvester II presented a deeply moving minimalist collection, an profoundly affecting, stripped-back show that displayed three-dimensional works and canvases made in concert with welders.

Also featured was the competition for female artists for women artists of Ghanaian origin. It showcased the inaugural exhibition of a 2024 recipient, whose work references personal family archives to craft a visual impression of life in Ghana after independence. The event also announced a new winner, whose diverse work is deeply focused on the craft techniques of women in a specific region.

An Enduring Legacy

While the overseas community has grown been attracted back to Ghana during the winter months, a growing cohort are thinking about travelling earlier in the year to immerse themselves in the region’s festival period. Between Accra Cultural Week and similar gatherings, what emerges are cultural ecosystems that are not merely emerging or “upcoming” but have built up an whole universe that is here to stay.

Finally, the journey leaves one with a vision of Accra that resembles a manifesto for ecological stewardship and the safeguarding of heritage. It is a powerful homage to adaptability in all its manifestations.