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In the wake of over 50 issues delving into the global Black diaspora, this represents a final piece. The experience proved profoundly fulfilling, with sincere thanks extended to every one of the attentive followers.

Inside the Accra Festival

Attending the showcases, artworks and acts of this event, it becomes clear how exceptional art feeds and constructs a country’s past and character. The centrepiece was without doubt Serge Attukwei Clottey’s stunning [Dis]Appearing Rituals: An Open Lab of Now for Tomorrow, which displayed his groundbreaking afrogallonism in full view: a philosophy that converts plastic containers into mesmerizing creations, mosaics of yellow, brass and gold. The display was conceived as a tribute to the strength of the historic district, a venerable neighbourhood of Accra.

The community – predominantly populated by the Ga community, a community of fishermen – is additionally where a great number of freed slaves came back from Brazil and established themselves in the 19th century. Referred to as the Tabom, they introduced Portuguese language and culture.

All across Jamestown, one observes a blend of architecture. Standing is Fort Vicentia, boasting its unique Portuguese construction and curved entrances. Another landmark is the iconic beacon, constructed in the 19th century and subsequently featuring its signature banded exterior.

A Culture of Mourning

Furthermore striking about Jamestown is the ever-present sight of memorial notices. On every corner, whether covering alleyways or on big hoardings, one finds service information and expressions of mourning. In Jamestown, similar to the rest of Ghana, memorial services are major community celebrations.

In this impressive show, every aspect of the visual and auditory essence of Jamestown are evoked – especially in the immersive Jamestown nshonaa piece. In this space, one is relaxed by the sound of crashing waves with sand at your feet, while beach huts, draped nets and depictions of boats celebrate its dynamic, generational seafaring tradition. But being present in this exhibition space, it's hard to ignore the mountains of discarded clothing that mar the aesthetics and peace of the region.

Beyond the Centrepiece

There is a great deal more. Inside an incomplete building at the campus, artist Sylvester exhibited a deeply moving minimalist collection, an emotionally powerful, minimalist exhibition that included sculptures and artworks made in partnership with welders.

And then there is the prestigious art award for Ghanaian women creators. It included the inaugural exhibition of a prior winner, whose work references personal family archives to produce a artistic representation of life in post-independence Ghana. The event also announced a latest winner, whose multidisciplinary work is deeply focused on the weaving practices of women in the Volta region.

A Lasting Impact

While the diaspora has increasingly been drawn back to the region in the colder season, more and more are thinking about travelling for the cultural season to immerse themselves in the region’s festival period. From Accra Cultural Week and similar gatherings, what is evident are cultural ecosystems that are not merely new or “rising” but have built up an entire landscape that is enduring.

Ultimately, the journey offers a perception of Accra that serves as a declaration for conservation and the keeping alive of tradition. It is a compelling testament to perseverance in all its manifestations.