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After in excess of 50 editions exploring the global Black diaspora, this represents a final piece. The experience was incredibly fulfilling, with sincere appreciation directed to all the dedicated followers.

Inside Accra Cultural Week

Experiencing the displays, installations and shows of Accra Cultural Week, observers witness how exceptional art feeds and constructs a nation's history and identity. The centrepiece was without doubt Clottey's exquisite [Dis]Appearing Rituals: An Open Lab of Now for Tomorrow, which displayed his pioneering afrogallonism in full view: a approach that transforms yellow jerrycans into mesmerizing creations, tapestries of golden hues. The exhibition was created as a testament to the strength of this area, a historic area of Accra.

This area – largely populated by the Ga ethnic group, a fishing community – is furthermore where a great number of freed slaves returned from Brazil and established themselves in the 1830s. Known as the Tabom, they brought Portuguese tongue and culture.

All across Jamestown, one observes a mix of architectural styles. Standing is Fort Vicentia, featuring its unique European-style construction and curved entrances. Another landmark is the prominent beacon, erected in the 19th century and later given its distinctive red-and-white-striped facade.

Customs of Mourning

Furthermore notable about Jamestown is the ubiquitous presence of funeral posters. On every corner, be it plastered over buildings or on larger hoardings, there are announcements and phrases of loss. In Jamestown, similar to the rest of Ghana, final rites are significant communal events.

In Clottey’s breathtaking installation, every aspect of the sights, sounds and religious textures of Jamestown are evoked – particularly in the enveloping shoreline piece. In this space, one is relaxed by the audio of the sea with beach material at your feet, while shacks, nets and depictions of vessels pay homage to its dynamic, long-standing maritime community. However being present in this gallery, it's hard to ignore the heaps of textile waste that mar the aesthetics and peace of the shoreline.

Beyond the Main Event

The festival program included a great deal more. Housed in an unfinished structure at the campus, creator Reginald Sylvester II showcased a deeply moving minimalist collection, an emotionally powerful, austere presentation that featured three-dimensional works and artworks made in concert with metalworkers.

And then there is the prestigious art award for women artists of Ghanaian origin. It included the first solo show of a recent winner, whose work draws on familial archival records to produce a artistic representation of life in post-independence Ghana. The event also announced a latest winner, whose diverse work is intensely concerned with the textile traditions of women in the Volta region.

An Enduring Legacy

While the overseas community has more and more been pulled home to the region in the colder season, a growing cohort are thinking about visiting some months earlier to immerse themselves in the region’s festival period. From this festival and regional art fairs, what you’ll find are creative communities that are not merely new or “rising” but have forged an complete universe that is permanent.

In the end, the visit offers a perception of Accra that serves as a manifesto for environmental protection and the safeguarding of tradition. It is a compelling testament to resilience in all its expressions.