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In the wake of in excess of fifty editions delving into the global Black diaspora, this marks a concluding piece. The experience was incredibly rewarding, and immense thanks directed to all the attentive followers.

Exploring the Accra Festival

Visiting the displays, installations and performances of this event, it becomes clear how exceptional art feeds and constructs a country’s past and identity. The centrepiece was undoubtedly Clottey's remarkable a profound exploration of ritual and time, which showcased his pioneering afrogallonism in full view: a approach that reimagines plastic containers into captivating creations, assemblages of metallic tones. The exhibition was created as a tribute to the endurance of the historic district, a historic area of Accra.

The community – mainly inhabited by the Ga ethnic group, a seafaring people – is also where many returning Africans returned from Brazil and established themselves in the 1830s. Known as the Tabom, they introduced Brazilian tongue and culture.

Throughout Jamestown, one observes a mix of architecture. There’s Franklin House, with its characteristic European-style masonry and door arches. One can also see the iconic Jamestown Lighthouse, erected in the 1871 and later sporting its distinctive striped facade.

Customs of Remembrance

Also striking about Jamestown is the ever-present sight of obituary announcements. On every corner, be it covering buildings or on larger hoardings, one finds announcements and expressions of mourning. In Jamestown, as throughout Ghana, final rites are major communal events.

In Clottey’s impressive exhibition, every aspect of the sensory and spiritual landscape of Jamestown are evoked – notably in the immersive Jamestown nshonaa piece. In this space, you’re soothed by the recording of crashing waves with granules on the floor, while shacks, draped nets and depictions of boats honour its vibrant, multigenerational fishing community. But standing in this exhibition space, it's hard to ignore the heaps of discarded clothing that threaten the aesthetics and peace of the area.

In Addition to the Centrepiece

Accra Cultural Week also features a great deal more. Within an incomplete building at the campus, artist Reginald Sylvester II exhibited a deeply moving minimalist collection, an profoundly affecting, minimalist presentation that featured sculptures and artworks produced in partnership with artisans.

And then there is the prestigious art award for Ghanaian women creators. It showcased the first solo show of a recent recipient, whose work references historical documents to create a artistic representation of life in post-independence Ghana. The event also announced a new winner, whose diverse work is intensely invested in the textile traditions of women in Dabala.

A Lasting Legacy

While the diaspora has grown been drawn back to the region in the winter months, a growing cohort are considering travelling for the cultural season to experience the area's artistic calendar. Between Accra Cultural Week and other major events, what emerges are creative communities that are not simply nascent or “upcoming” but have built up an whole landscape that is enduring.

Ultimately, the experience offers a perception of Accra that feels like a declaration for conservation and the keeping alive of tradition. It is a resonant homage to perseverance in all its manifestations.