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In the wake of more than fifty issues delving into the international Black diaspora, this signifies a final column. The tenure has been deeply gratifying, and immense thanks extended to all the attentive audience.

Inside the Cultural Week

Experiencing the exhibitions, presentations and shows of the festival, observers witness how the finest art feeds and builds a nation's history and essence. The highlight was undoubtedly Serge Attukwei Clottey’s remarkable a profound exploration of ritual and time, which showcased his groundbreaking afrogallonism on full display: a approach that transforms plastic containers into illusory works of art, tapestries of golden hues. The exhibition was designed as a homage to the endurance of this area, a historic area of Accra.

The community – largely inhabited by the Ga people, a fishing community – is furthermore where numerous freed slaves arrived from Brazil and made their home in the 1830s. Referred to as the Tabom community, they brought Portuguese tongue and customs.

In every part of Jamestown, visitors encounter a blend of architectural styles. There’s Franklin House, with its unique European-style brickwork and door arches. Also present is the iconic Jamestown Lighthouse, built in the 19th century and eventually featuring its recognizable red-and-white-striped exterior.

Customs of Remembrance

Equally remarkable about Jamestown is the ubiquitous presence of funeral posters. On every corner, whether affixed to buildings or on larger billboards, you’ll see funeral details and terms of farewell. In Jamestown, similar to the rest of Ghana, final rites are major communal events.

In this impressive show, all of the sights, sounds and religious textures of Jamestown are present – notably in the enveloping shoreline piece. In this space, one is relaxed by the sound of the sea with beach material underfoot, while shacks, nets and images of vessels celebrate its dynamic, multigenerational seafaring tradition. However experiencing this venue, one cannot help but think of the mountains of cast-off garments that mar the charm and peace of the shoreline.

In Addition to the Centrepiece

The festival program included much more. Within an unfinished structure at the University of Ghana, artist Sylvester exhibited a deeply moving minimalist collection, an incredibly moving, minimalist show that featured sculptures and paintings made in concert with metalworkers.

Also featured was the competition for female artists for women artists of Ghanaian origin. It featured the debut presentation of a prior laureate, whose work draws on historical documents to produce a depiction of life in the nation's recent history. The event also honored a current winner, whose diverse work is intensely concerned with the weaving practices of women in the Volta region.

A Lasting Impact

While the global African community has grown been attracted back to the region during the winter months, a growing cohort are contemplating journeying for the cultural season to experience the region’s cultural season. Between this festival and regional art fairs, what is evident are art scenes that are not simply new or “upcoming” but have established an complete landscape that is permanent.

Ultimately, the visit provides a perception of Accra that serves as a manifesto for ecological stewardship and the keeping alive of culture. It is a resonant homage to adaptability in all its expressions.