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In the wake of over fifty issues navigating the global Black diaspora, this marks a last column. The tenure was deeply gratifying, and great gratitude directed to all the engaged followers.

Exploring the Accra Festival

Experiencing the exhibitions, installations and performances of this event, observers witness how superior art sustains and shapes a country’s heritage and character. The centrepiece was without doubt Serge Attukwei Clottey’s stunning [Dis]Appearing Rituals: An Open Lab of Now for Tomorrow, which showcased his innovative afrogallonism on full display: a approach that converts water vessels into mesmerizing art pieces, assemblages of golden hues. The exhibition was created as a tribute to the strength of the historic district, a venerable neighbourhood of Accra.

The community – largely inhabited by the Ga people, a community of fishermen – is furthermore where many freed slaves arrived from South America and settled in the 1830s. Known as the Tabom, they introduced Brazilian tongue and traditions.

Throughout Jamestown, one observes a fusion of architectural styles. Standing is Franklin House, featuring its distinct Portuguese construction and arched doorways. One can also see the iconic Jamestown Lighthouse, constructed in the 1800s and eventually given its distinctive striped exterior.

Customs of Celebration

Equally striking about Jamestown is the pervasive sight of funeral posters. Everywhere you turn, whether affixed to alleyways or on big billboards, there are funeral details and expressions of farewell. In Jamestown, mirroring customs in Ghana, final rites are major social gatherings.

In Clottey’s impressive show, every aspect of the sensory and spiritual landscape of Jamestown are captured – particularly in the engaging shoreline piece. In this space, visitors are calmed by the sound of the sea with beach material at your feet, while shelters, hanging fishing nets and depictions of vessels honour its spirited, long-standing seafaring tradition. However being present in this exhibition space, one cannot help but think of the heaps of textile waste that threaten the beauty and peace of the shoreline.

In Addition to the Headline Act

The festival program included much more. Inside an incomplete building at the University of Ghana, artist Sylvester exhibited On the Other Side of Languish, an profoundly affecting, austere show that displayed sculptures and canvases created in collaboration with artisans.

And then there is the Yaa Asantewaa Art prize for women artists of Ghanaian origin. It showcased the inaugural exhibition of a recent recipient, whose work utilizes familial archival records to craft a depiction of life in the nation's recent history. The event also honored a new winner, whose diverse work is intensely concerned with the textile traditions of women in Dabala.

An Enduring Impact

Although the global African community has increasingly been drawn home to the region during the colder season, an increasing number are thinking about travelling for the cultural season to immerse themselves in the region’s cultural season. Between Accra Cultural Week and regional art fairs, what you’ll find are creative communities that are not merely new or “rising” but have forged an whole world that is permanent.

Ultimately, the experience leaves one with a vision of Accra that serves as a statement for conservation and the preservation of tradition. It is a resonant testament to resilience in all its forms.