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In the wake of in excess of fifty issues delving into the worldwide Black diaspora, this marks a last piece. The journey has been incredibly gratifying, with immense thanks offered to every one of the attentive readers.

Exploring Accra Cultural Week

Experiencing the exhibitions, presentations and performances of this event, it becomes clear how the finest art feeds and constructs a country’s heritage and identity. The focal point was certainly Serge Attukwei Clottey’s exquisite [Dis]Appearing Rituals: An Open Lab of Now for Tomorrow, which displayed his pioneering afrogallonism on full display: a philosophy that reimagines plastic containers into captivating art pieces, tapestries of golden hues. The exhibition was designed as a tribute to the resilience of Jamestown, a historic neighbourhood of Accra.

This area – mainly inhabited by the Ga community, a community of fishermen – is furthermore where a great number of returning Africans came back from South America and established themselves in the 1830s. Known as the Tabom, they brought Brazilian language and customs.

All across Jamestown, one observes a fusion of architectural styles. Standing is Franklin House, boasting its distinct Portuguese masonry and door arches. One can also see the famous Jamestown Lighthouse, built in the 19th century and subsequently given its signature striped exterior.

A Culture of Mourning

Also notable about Jamestown is the ever-present presence of obituary announcements. On every corner, be it plastered over walls or on larger hoardings, there are funeral details and expressions of loss. In Jamestown, mirroring customs in Ghana, memorial services are significant communal events.

In this impressive exhibition, the entirety of the sights, sounds and religious textures of Jamestown are evoked – especially in the immersive shoreline piece. Here, visitors are calmed by the recording of crashing waves with sand underfoot, while shacks, nets and images of boats honour its spirited, generational seafaring tradition. Yet experiencing this venue, one cannot help but think of the piles of textile waste that compromise the aesthetics and serenity of the shoreline.

Beyond the Headline Act

Accra Cultural Week also features a great deal more. Housed in an unfinished structure at the University of Ghana, creator Reginald Sylvester II exhibited On the Other Side of Languish, an emotionally powerful, minimalist exhibition that included sculptures and paintings produced in collaboration with welders.

Also featured was the competition for female artists for female Ghanaian artists. It showcased the inaugural exhibition of a 2024 laureate, whose work draws on historical documents to craft a visual impression of life in the nation's recent history. The event also honored a current winner, whose multidisciplinary work is particularly invested in the weaving practices of women in Dabala.

A Lasting Presence

While the diaspora has increasingly been attracted back to Ghana during the western winter, a growing cohort are considering journeying earlier in the year to experience the region’s cultural season. From this festival and regional art fairs, what is evident are cultural ecosystems that are not simply emerging or “upcoming” but have built up an whole world that is here to stay.

In the end, the visit offers a image of Accra that feels like a manifesto for conservation and the preservation of tradition. It is a compelling tribute to perseverance in all its forms.