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After more than 50 issues delving into the global Black diaspora, this represents a final column. The tenure was incredibly gratifying, with immense thanks directed to every one of the dedicated audience.

A Look Inside the Cultural Week

Attending the exhibitions, installations and shows of this event, observers witness how superior art sustains and constructs a nation's heritage and identity. The focal point was undoubtedly Serge Attukwei Clottey’s exquisite [Dis]Appearing Rituals: An Open Lab of Now for Tomorrow, which displayed his groundbreaking afrogallonism for all to see: a philosophy that converts yellow jerrycans into captivating art pieces, tapestries of yellow, brass and gold. The display was created as a testament to the resilience of this area, a historical neighbourhood of Accra.

Jamestown – predominantly populated by the Ga community, a community of fishermen – is furthermore where many returning Africans returned from South America and settled in the 19th century. Referred to as the Tabom people, they carried with them Brazilian tongue and culture.

All across Jamestown, visitors encounter a fusion of architecture. There’s a historic building, boasting its characteristic European-style brickwork and arched doorways. One can also see the prominent Jamestown Lighthouse, constructed in the 1800s and eventually given its distinctive red-and-white-striped exterior.

Customs of Remembrance

Furthermore notable about Jamestown is the ever-present sight of funeral posters. On every corner, be it plastered over buildings or on big signboards, you’ll see service information and terms of loss. In Jamestown, mirroring customs in Ghana, memorial services are major social gatherings.

In this breathtaking installation, the entirety of the sights, sounds and religious textures of Jamestown are captured – particularly in the engaging shoreline piece. Here, you’re soothed by the sound of ocean surf with sand underfoot, while shelters, nets and representations of vessels celebrate its vibrant, long-standing seafaring tradition. However experiencing this gallery, it's hard to ignore the piles of cast-off garments that threaten the aesthetics and peace of the area.

In Addition to the Headline Act

Accra Cultural Week also features a great deal more. Housed in an unfinished structure at the campus, artist Sylvester showcased On the Other Side of Languish, an profoundly affecting, minimalist presentation that featured sculptures and artworks created in partnership with metalworkers.

Another key element is the Yaa Asantewaa Art prize for female Ghanaian artists. It showcased the inaugural exhibition of a prior laureate, whose work draws on personal family archives to produce a visual impression of life in Ghana after independence. The event also honored a new champion, whose multidisciplinary work is intensely invested in the craft techniques of women in the Volta region.

An Enduring Legacy

Although the overseas community has grown been drawn back to west Africa during the western winter, a growing cohort are considering journeying earlier in the year to experience the region’s artistic calendar. From this festival and regional art fairs, what emerges are creative communities that are not merely nascent or “upcoming” but have forged an whole universe that is permanent.

Ultimately, the experience leaves one with a vision of Accra that serves as a statement for ecological stewardship and the safeguarding of culture. It is a powerful tribute to adaptability in all its expressions.