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In the wake of more than 50 installments exploring the global Black diaspora, this marks a concluding piece. The journey was deeply fulfilling, with sincere gratitude offered to all the engaged audience.

Exploring the Accra Festival

Visiting the displays, artworks and acts of the festival, observers witness how exceptional art feeds and constructs a nation's history and character. The focal point was without doubt Serge Attukwei Clottey’s exquisite [Dis]Appearing Rituals: An Open Lab of Now for Tomorrow, which displayed his innovative afrogallonism in full view: a approach that transforms yellow jerrycans into captivating works of art, mosaics of golden hues. The show was designed as a testament to the resilience of this area, a venerable neighbourhood of Accra.

Jamestown – mainly inhabited by the Ga ethnic group, a community of fishermen – is furthermore where many returning Africans came back from Brazil and made their home in the 1830s. Called the Tabom community, they brought Brazilian language and traditions.

In every part of Jamestown, one observes a mix of building designs. Standing is Franklin House, with its characteristic European-style brickwork and curved entrances. One can also see the iconic Jamestown Lighthouse, constructed in the 1800s and later given its signature striped facade.

A Culture of Celebration

Also notable about Jamestown is the ubiquitous sight of obituary announcements. Everywhere you turn, whether covering alleyways or on sizable signboards, one finds funeral details and phrases of mourning. In Jamestown, similar to the rest of Ghana, final rites are major communal events.

In the artist's spectacular installation, the entirety of the sights, sounds and religious textures of Jamestown are evoked – especially in the engaging Jamestown nshonaa installation. In this space, you’re soothed by the sound of the sea with beach material on the floor, while shacks, nets and representations of canoes honour its spirited, multigenerational fishing community. But being present in this venue, the mind turns to the piles of discarded clothing that compromise the charm and peace of the region.

Apart from the Centrepiece

The festival program included much more. Housed in an raw space at the local university, artist Reginald Sylvester II exhibited a deeply moving minimalist collection, an emotionally powerful, stripped-back show that featured sculptures and artworks produced in partnership with welders.

And then there is the competition for female artists for Ghanaian women creators. It featured the debut presentation of a 2024 laureate, whose work references historical documents to create a artistic representation of life in Ghana after independence. The event also announced a current winner, whose multidisciplinary work is intensely focused on the textile traditions of women in Dabala.

A Lasting Legacy

Although the overseas community has more and more been drawn home to west Africa in the colder season, more and more are thinking about travelling for the cultural season to engage with the region’s festival period. From Accra Cultural Week and similar gatherings, what is evident are cultural ecosystems that are not simply emerging or “upcoming” but have forged an complete world that is permanent.

Finally, the visit provides a image of Accra that resembles a statement for conservation and the keeping alive of heritage. It is a compelling tribute to perseverance in all its forms.