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Following more than 50 installments exploring the international Black diaspora, this marks a final column. The journey was incredibly rewarding, with sincere thanks directed to every one of the attentive audience.

Inside the Cultural Week

Attending the exhibitions, presentations and acts of Accra Cultural Week, observers witness how the finest art nourishes and builds a nation's history and identity. The highlight was undoubtedly Serge Attukwei Clottey’s exquisite a profound exploration of ritual and time, which put his pioneering afrogallonism for all to see: a approach that converts yellow jerrycans into mesmerizing creations, tapestries of yellow, brass and gold. The show was created as a homage to the resilience of Jamestown, a venerable area of Accra.

This area – predominantly populated by the Ga people, a fishing community – is also where a great number of returning Africans arrived from Brazil and made their home in the 19th century. Called the Tabom community, they brought Brazilian tongue and culture.

Throughout Jamestown, visitors encounter a fusion of building designs. Standing is Franklin House, with its distinct European-style brickwork and curved entrances. One can also see the iconic beacon, constructed in the 1800s and subsequently given its recognizable striped facade.

Customs of Remembrance

Equally notable about Jamestown is the pervasive presence of funeral posters. Wherever you look, be it covering alleyways or on larger signboards, there are funeral details and phrases of farewell. In Jamestown, mirroring customs in Ghana, final rites are large-scale community celebrations.

In Clottey’s breathtaking exhibition, the entirety of the sensory and spiritual landscape of Jamestown are evoked – notably in the enveloping beach-themed piece. In this space, you’re soothed by the audio of crashing waves with beach material on the floor, while shacks, draped nets and images of boats pay homage to its dynamic, multigenerational maritime community. Yet experiencing this venue, one cannot help but think of the mountains of textile waste that mar the charm and serenity of the region.

Beyond the Headline Act

The festival program included much more. Housed in an raw space at the University of Ghana, creator Sylvester presented a deeply moving minimalist collection, an incredibly moving, stripped-back show that displayed three-dimensional works and canvases made in partnership with welders.

Another key element is the Yaa Asantewaa Art prize for female Ghanaian artists. It featured the debut presentation of a recent winner, whose work utilizes personal family archives to create a artistic representation of life in post-independence Ghana. The event also crowned a latest winner, whose diverse work is deeply invested in the weaving practices of women in the Volta region.

A Lasting Legacy

Although the overseas community has grown been drawn home to Ghana during the western winter, a growing cohort are contemplating travelling some months earlier to engage with the region’s artistic calendar. From Accra Cultural Week and regional art fairs, what is evident are art scenes that are not merely emerging or “rising” but have established an whole landscape that is enduring.

Ultimately, the journey leaves one with a perception of Accra that feels like a declaration for ecological stewardship and the safeguarding of heritage. It is a compelling tribute to resilience in all its forms.