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In the wake of over fifty issues exploring the international Black diaspora, this marks a concluding piece. The journey proved deeply fulfilling, with great gratitude directed to every one of the engaged followers.

Exploring the Cultural Week

Attending the showcases, artworks and acts of Accra Cultural Week, it becomes clear how exceptional art sustains and shapes a country’s past and character. The focal point was undoubtedly Clottey's stunning a profound exploration of ritual and time, which displayed his innovative afrogallonism in full view: a concept that reimagines yellow jerrycans into captivating works of art, tapestries of yellow, brass and gold. The show was designed as a homage to the strength of the historic district, a venerable quarter of Accra.

The community – predominantly populated by the Ga ethnic group, a fishing community – is furthermore where a great number of formerly enslaved people arrived from Brazil and established themselves in the 1830s. Called the Tabom, they brought Brazilian language and traditions.

Throughout Jamestown, one observes a blend of building designs. You'll find a historic building, with its unique European-style masonry and door arches. Another landmark is the prominent beacon, erected in the 1871 and eventually given its signature banded appearance.

A Culture of Remembrance

Also remarkable about Jamestown is the ubiquitous sight of funeral posters. Everywhere you turn, be it affixed to buildings or on sizable hoardings, one finds funeral details and terms of farewell. In Jamestown, similar to the rest of Ghana, memorial services are significant community celebrations.

In Clottey’s spectacular installation, all of the sensory and spiritual landscape of Jamestown are present – notably in the enveloping shoreline piece. In this space, you’re soothed by the recording of crashing waves with sand at your feet, while shelters, nets and representations of canoes pay homage to its dynamic, long-standing seafaring tradition. However experiencing this exhibition space, it's hard to ignore the piles of discarded clothing that compromise the beauty and serenity of the area.

Beyond the Headline Act

There is a great deal more. Within an incomplete building at the University of Ghana, creator Reginald Sylvester II showcased On the Other Side of Languish, an incredibly moving, austere exhibition that included sculptures and paintings produced in partnership with welders.

Also featured was the prestigious art award for Ghanaian women creators. It showcased the inaugural exhibition of a recent winner, whose work draws on historical documents to produce a artistic representation of life in Ghana after independence. The event also announced a new winner, whose diverse work is deeply invested in the textile traditions of women in the Volta region.

A Lasting Presence

Although the diaspora has more and more been drawn home to the region in the western winter, more and more are considering journeying for the cultural season to experience the region’s festival period. From this festival and similar gatherings, what emerges are art scenes that are not merely emerging or “rising” but have forged an entire universe that is permanent.

Finally, the visit leaves one with a perception of Accra that feels like a statement for ecological stewardship and the safeguarding of heritage. It is a resonant tribute to resilience in all its expressions.