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In the wake of more than fifty issues navigating the global Black diaspora, this marks a concluding column. The journey proved incredibly rewarding, with sincere thanks offered to all the attentive followers.

A Look Inside the Cultural Week

Experiencing the showcases, artworks and shows of Accra Cultural Week, it becomes clear how exceptional art feeds and builds a country’s heritage and character. The focal point was certainly the artist's stunning [Dis]Appearing Rituals: An Open Lab of Now for Tomorrow, which put his groundbreaking afrogallonism for all to see: a approach that converts yellow jerrycans into mesmerizing creations, mosaics of yellow, brass and gold. The show was conceived as a homage to the strength of Jamestown, a venerable neighbourhood of Accra.

The community – largely populated by the Ga ethnic group, a seafaring people – is also where many formerly enslaved people returned from Brazil and established themselves in the 19th century. Known as the Tabom, they introduced Portuguese language and traditions.

In every part of Jamestown, one observes a mix of architectural styles. Standing is a historic building, featuring its distinct European-style brickwork and door arches. Also present is the iconic beacon, constructed in the 1800s and subsequently sporting its signature banded exterior.

Customs of Mourning

Also remarkable about Jamestown is the ever-present sight of memorial notices. Wherever you look, be it affixed to buildings or on larger signboards, you’ll see announcements and expressions of farewell. In Jamestown, mirroring customs in Ghana, memorial services are significant social gatherings.

In Clottey’s spectacular show, every aspect of the visual and auditory essence of Jamestown are present – particularly in the immersive shoreline piece. Here, one is relaxed by the audio of ocean surf with sand at your feet, while shelters, hanging fishing nets and representations of vessels honour its dynamic, long-standing seafaring tradition. However experiencing this exhibition space, one cannot help but think of the mountains of cast-off garments that threaten the charm and tranquillity of the shoreline.

Apart from the Headline Act

Accra Cultural Week also features additional highlights. Within an incomplete building at the campus, creator Reginald Sylvester II presented a deeply moving minimalist collection, an incredibly moving, austere show that displayed sculptures and canvases created in collaboration with artisans.

And then there is the competition for female artists for female Ghanaian artists. It featured the first solo show of a prior winner, whose work references historical documents to produce a visual impression of life in the nation's recent history. The event also announced a latest champion, whose diverse work is particularly invested in the textile traditions of women in Dabala.

A Lasting Presence

Although the global African community has more and more been drawn home to Ghana in the colder season, a growing cohort are thinking about travelling for the cultural season to immerse themselves in the region’s artistic calendar. Between Accra Cultural Week and similar gatherings, what emerges are art scenes that are not merely emerging or “upcoming” but have forged an complete landscape that is permanent.

Finally, the experience offers a vision of Accra that resembles a manifesto for environmental protection and the safeguarding of heritage. It is a resonant homage to resilience in all its manifestations.