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After in excess of 50 editions delving into the international Black diaspora, this marks a concluding piece. The journey was profoundly fulfilling, with sincere thanks offered to every one of the dedicated readers.

A Look Inside Accra Cultural Week

Attending the showcases, artworks and shows of this event, it becomes clear how superior art nourishes and constructs a country’s history and identity. The centrepiece was without doubt the artist's remarkable [Dis]Appearing Rituals: An Open Lab of Now for Tomorrow, which put his pioneering afrogallonism on full display: a philosophy that transforms water vessels into illusory creations, mosaics of golden hues. The display was created as a testament to the strength of Jamestown, a historical area of Accra.

The community – predominantly home to the Ga ethnic group, a community of fishermen – is also where numerous formerly enslaved people came back from South America and settled in the 19th century. Referred to as the Tabom people, they brought Brazilian tongue and culture.

Throughout Jamestown, you can see a fusion of building designs. Standing is a historic building, with its distinct Portuguese brickwork and arched doorways. Another landmark is the iconic lighthouse of Jamestown, constructed in the 19th century and subsequently given its distinctive banded exterior.

A Culture of Remembrance

Furthermore remarkable about Jamestown is the ubiquitous presence of memorial notices. On every corner, whether affixed to walls or on sizable hoardings, there are funeral details and expressions of farewell. In Jamestown, similar to the rest of Ghana, funerals are significant communal events.

In Clottey’s spectacular show, every aspect of the visual and auditory essence of Jamestown are present – notably in the enveloping beach-themed piece. Here, visitors are calmed by the sound of ocean surf with beach material on the floor, while shelters, draped nets and depictions of canoes pay homage to its dynamic, multigenerational fishing community. But standing in this gallery, one cannot help but think of the heaps of discarded clothing that threaten the beauty and peace of the region.

Beyond the Centrepiece

Accra Cultural Week also features a great deal more. Within an incomplete building at the local university, creator Reginald Sylvester II showcased a deeply moving minimalist collection, an emotionally powerful, minimalist show that featured three-dimensional works and canvases produced in collaboration with artisans.

Also featured was the Yaa Asantewaa Art prize for women artists of Ghanaian origin. It included the first solo show of a recent laureate, whose work references personal family archives to create a visual impression of life in post-independence Ghana. The event also announced a new champion, whose diverse work is intensely concerned with the craft techniques of women in the Volta region.

An Enduring Presence

Although the overseas community has more and more been attracted home to the region during the colder season, an increasing number are contemplating travelling for the cultural season to engage with the area's festival period. Between this festival and regional art fairs, what is evident are cultural ecosystems that are not merely new or “upcoming” but have built up an complete world that is enduring.

Finally, the experience provides a image of Accra that resembles a statement for conservation and the preservation of culture. It is a powerful homage to resilience in all its forms.