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After over fifty issues exploring the global Black diaspora, this signifies a last column. The journey proved deeply rewarding, and great gratitude directed to all the attentive readers.

Exploring the Accra Festival

Visiting the displays, installations and acts of Accra Cultural Week, one sees how exceptional art nourishes and builds a country’s heritage and essence. The centrepiece was certainly the artist's exquisite [Dis]Appearing Rituals: An Open Lab of Now for Tomorrow, which put his groundbreaking afrogallonism for all to see: a philosophy that reimagines plastic containers into captivating works of art, tapestries of yellow, brass and gold. The display was created as a testament to the strength of the historic district, a venerable neighbourhood of Accra.

This area – largely home to the Ga community, a community of fishermen – is additionally where many returning Africans came back from Brazil and established themselves in the 1830s. Known as the Tabom community, they introduced Portuguese language and customs.

In every part of Jamestown, you can see a blend of architectural styles. Standing is Franklin House, with its unique colonial-era construction and door arches. Also present is the prominent Jamestown Lighthouse, built in the 1800s and eventually featuring its recognizable striped exterior.

Traditions of Remembrance

Equally notable about Jamestown is the ubiquitous sight of funeral posters. Everywhere you turn, whether affixed to alleyways or on larger hoardings, there are announcements and phrases of loss. In Jamestown, mirroring customs in Ghana, final rites are large-scale community celebrations.

In Clottey’s breathtaking show, every aspect of the visual and auditory essence of Jamestown are present – particularly in the engaging beach-themed piece. Here, one is relaxed by the audio of crashing waves with sand underfoot, while shelters, hanging fishing nets and images of boats honour its dynamic, multigenerational seafaring tradition. Yet standing in this venue, the mind turns to the heaps of discarded clothing that compromise the beauty and serenity of the area.

In Addition to the Main Event

There is a great deal more. Within an raw space at the University of Ghana, creator Sylvester exhibited On the Other Side of Languish, an incredibly moving, minimalist show that featured three-dimensional works and paintings made in concert with welders.

And then there is the competition for female artists for Ghanaian women creators. It featured the debut presentation of a recent winner, whose work references familial archival records to create a visual impression of life in the nation's recent history. The event also honored a new champion, whose varied work is particularly focused on the craft techniques of women in a specific region.

A Permanent Impact

Although the diaspora has more and more been attracted home to west Africa during the western winter, an increasing number are thinking about journeying for the cultural season to immerse themselves in the region’s festival period. From this festival and other major events, what is evident are art scenes that are not merely nascent or “rising” but have built up an complete universe that is permanent.

Ultimately, the visit provides a vision of Accra that feels like a declaration for environmental protection and the keeping alive of tradition. It is a compelling testament to adaptability in all its forms.