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In the wake of more than 50 installments navigating the global Black diaspora, this marks a last piece. The tenure has been deeply rewarding, and immense gratitude offered to all the engaged readers.

Inside the Cultural Week

Visiting the showcases, installations and performances of the festival, observers witness how the finest art nourishes and builds a nation's heritage and essence. The centrepiece was without doubt Serge Attukwei Clottey’s stunning a profound exploration of ritual and time, which displayed his groundbreaking afrogallonism on full display: a philosophy that converts yellow jerrycans into illusory art pieces, mosaics of golden hues. The display was designed as a tribute to the resilience of this area, a venerable neighbourhood of Accra.

The community – predominantly populated by the Ga ethnic group, a fishing community – is also where a great number of formerly enslaved people returned from South America and established themselves in the 1830s. Referred to as the Tabom, they brought Brazilian language and customs.

All across Jamestown, you can see a fusion of architecture. Standing is Franklin House, boasting its distinct European-style construction and arched doorways. One can also see the famous Jamestown Lighthouse, constructed in the 19th century and subsequently sporting its distinctive banded facade.

Customs of Mourning

Equally remarkable about Jamestown is the ever-present presence of obituary announcements. On every corner, whether affixed to walls or on sizable billboards, one finds funeral details and expressions of loss. In Jamestown, as throughout Ghana, final rites are major community celebrations.

In Clottey’s breathtaking installation, all of the visual and auditory essence of Jamestown are present – especially in the enveloping beach-themed installation. Within it, visitors are calmed by the audio of the sea with sand underfoot, while beach huts, draped nets and images of boats pay homage to its dynamic, long-standing fishing community. But standing in this gallery, one cannot help but think of the piles of discarded clothing that compromise the beauty and serenity of the area.

Apart from the Main Event

There is additional highlights. Inside an raw space at the University of Ghana, creator Sylvester presented a deeply moving minimalist collection, an profoundly affecting, stripped-back show that displayed three-dimensional works and paintings produced in partnership with welders.

And then there is the Yaa Asantewaa Art prize for women artists of Ghanaian origin. It featured the debut presentation of a prior recipient, whose work utilizes personal family archives to produce a visual impression of life in Ghana after independence. The event also announced a current champion, whose diverse work is intensely focused on the weaving practices of women in a specific region.

A Lasting Presence

While the overseas community has more and more been attracted back to west Africa during the western winter, an increasing number are considering travelling earlier in the year to engage with the area's festival period. Between this festival and regional art fairs, what you’ll find are art scenes that are not simply nascent or “upcoming” but have established an whole universe that is permanent.

Ultimately, the visit offers a vision of Accra that resembles a statement for ecological stewardship and the preservation of heritage. It is a powerful testament to resilience in all its expressions.