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After in excess of fifty issues exploring the international Black diaspora, this represents a final dispatch. The journey was incredibly fulfilling, and immense appreciation extended to all the engaged readers.

Inside the Accra Festival

Attending the showcases, presentations and performances of this event, one sees how exceptional art nourishes and constructs a country’s heritage and character. The centrepiece was without doubt Clottey's remarkable a profound exploration of ritual and time, which showcased his innovative afrogallonism for all to see: a concept that converts plastic containers into illusory creations, mosaics of golden hues. The exhibition was conceived as a homage to the strength of Jamestown, a venerable neighbourhood of Accra.

Jamestown – predominantly inhabited by the Ga ethnic group, a community of fishermen – is furthermore where a great number of returning Africans came back from Brazil and made their home in the 19th century. Referred to as the Tabom community, they carried with them Portuguese language and culture.

In every part of Jamestown, visitors encounter a blend of architecture. You'll find Fort Vicentia, with its characteristic European-style masonry and door arches. Also present is the famous Jamestown Lighthouse, erected in the 19th century and later sporting its signature red-and-white-striped facade.

A Culture of Mourning

Furthermore striking about Jamestown is the pervasive presence of funeral posters. Wherever you look, be it plastered over walls or on sizable billboards, you’ll see service information and phrases of farewell. In Jamestown, similar to the rest of Ghana, funerals are large-scale community celebrations.

In Clottey’s impressive exhibition, every aspect of the sensory and spiritual landscape of Jamestown are captured – notably in the enveloping beach-themed installation. Here, visitors are calmed by the recording of crashing waves with granules underfoot, while beach huts, nets and representations of boats pay homage to its spirited, long-standing maritime community. Yet experiencing this venue, it's hard to ignore the mountains of cast-off garments that threaten the aesthetics and tranquillity of the region.

Apart from the Headline Act

The festival program included much more. Within an incomplete building at the campus, artist Sylvester presented a deeply moving minimalist collection, an profoundly affecting, minimalist exhibition that included sculptures and canvases produced in partnership with artisans.

Also featured was the prestigious art award for female Ghanaian artists. It showcased the first solo show of a prior recipient, whose work utilizes personal family archives to create a visual impression of life in the nation's recent history. The event also honored a current champion, whose varied work is particularly concerned with the weaving practices of women in Dabala.

A Permanent Legacy

While the overseas community has grown been attracted home to the region in the winter months, an increasing number are contemplating travelling some months earlier to engage with the area's cultural season. Between this festival and similar gatherings, what you’ll find are cultural ecosystems that are not simply nascent or “rising” but have established an entire landscape that is permanent.

Finally, the journey provides a perception of Accra that feels like a manifesto for ecological stewardship and the preservation of culture. It is a resonant testament to perseverance in all its manifestations.