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In the wake of over 50 issues navigating the international Black diaspora, this signifies a final column. The tenure has been profoundly fulfilling, with immense appreciation extended to all the dedicated followers.

Inside Accra Cultural Week

Visiting the exhibitions, presentations and acts of this event, one sees how exceptional art feeds and builds a nation's past and identity. The centrepiece was certainly the artist's remarkable [Dis]Appearing Rituals: An Open Lab of Now for Tomorrow, which put his groundbreaking afrogallonism on full display: a philosophy that reimagines water vessels into mesmerizing art pieces, tapestries of golden hues. The show was designed as a tribute to the strength of Jamestown, a venerable neighbourhood of Accra.

This area – mainly inhabited by the Ga community, a seafaring people – is also where numerous formerly enslaved people returned from Brazil and made their home in the 19th century. Referred to as the Tabom community, they introduced Brazilian language and culture.

Throughout Jamestown, one observes a mix of architecture. You'll find Franklin House, featuring its characteristic European-style brickwork and arched doorways. One can also see the iconic lighthouse of Jamestown, erected in the 1800s and later featuring its signature banded appearance.

Traditions of Remembrance

Equally remarkable about Jamestown is the pervasive sight of funeral posters. On every corner, be it affixed to alleyways or on sizable billboards, there are service information and terms of mourning. In Jamestown, mirroring customs in Ghana, funerals are large-scale communal events.

In this spectacular exhibition, all of the sights, sounds and religious textures of Jamestown are present – especially in the engaging Jamestown nshonaa installation. In this space, you’re soothed by the recording of the sea with granules on the floor, while beach huts, draped nets and images of canoes pay homage to its spirited, multigenerational seafaring tradition. However being present in this venue, the mind turns to the mountains of cast-off garments that mar the aesthetics and peace of the area.

Apart from the Main Event

There is a great deal more. Housed in an raw space at the University of Ghana, creator Reginald Sylvester II exhibited a deeply moving minimalist collection, an emotionally powerful, stripped-back exhibition that displayed sculptures and canvases created in concert with metalworkers.

Another key element is the Yaa Asantewaa Art prize for female Ghanaian artists. It included the first solo show of a 2024 laureate, whose work draws on historical documents to craft a depiction of life in post-independence Ghana. The event also announced a current winner, whose varied work is particularly invested in the craft techniques of women in a specific region.

A Permanent Presence

Although the global African community has increasingly been pulled back to the region during the winter months, more and more are contemplating journeying for the cultural season to experience the area's festival period. Between this festival and regional art fairs, what emerges are cultural ecosystems that are not simply nascent or “rising” but have forged an whole world that is here to stay.

Finally, the journey offers a image of Accra that serves as a manifesto for ecological stewardship and the keeping alive of heritage. It is a resonant tribute to resilience in all its manifestations.