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In the wake of more than fifty issues delving into the global Black diaspora, this represents a concluding column. The tenure was deeply gratifying, and immense thanks offered to all the dedicated readers.

A Look Inside the Accra Festival

Experiencing the displays, installations and acts of this event, it becomes clear how exceptional art nourishes and builds a nation's past and character. The focal point was without doubt Clottey's exquisite a profound exploration of ritual and time, which showcased his pioneering afrogallonism for all to see: a philosophy that converts water vessels into illusory works of art, tapestries of metallic tones. The exhibition was created as a testament to the endurance of the historic district, a historical neighbourhood of Accra.

The community – predominantly home to the Ga people, a seafaring people – is also where many freed slaves returned from South America and established themselves in the 1830s. Referred to as the Tabom community, they brought Brazilian language and traditions.

Throughout Jamestown, you can see a fusion of building designs. Standing is a historic building, boasting its unique European-style brickwork and curved entrances. Another landmark is the iconic lighthouse of Jamestown, built in the 1871 and subsequently given its signature banded facade.

Traditions of Mourning

Equally remarkable about Jamestown is the ubiquitous presence of memorial notices. Wherever you look, whether affixed to walls or on larger billboards, you’ll see funeral details and expressions of loss. In Jamestown, similar to the rest of Ghana, memorial services are large-scale community celebrations.

In Clottey’s breathtaking exhibition, the entirety of the sights, sounds and religious textures of Jamestown are evoked – notably in the engaging shoreline piece. Here, you’re soothed by the recording of the sea with granules on the floor, while beach huts, draped nets and images of canoes celebrate its dynamic, long-standing fishing community. Yet experiencing this exhibition space, one cannot help but think of the piles of cast-off garments that mar the charm and serenity of the region.

Beyond the Centrepiece

There is additional highlights. Inside an incomplete building at the local university, artist Sylvester exhibited a deeply moving minimalist collection, an incredibly moving, austere exhibition that included three-dimensional works and canvases created in collaboration with metalworkers.

And then there is the prestigious art award for women artists of Ghanaian origin. It included the first solo show of a 2024 recipient, whose work draws on historical documents to produce a artistic representation of life in post-independence Ghana. The event also crowned a new champion, whose varied work is intensely focused on the weaving practices of women in Dabala.

An Enduring Presence

While the global African community has grown been pulled home to Ghana in the colder season, more and more are thinking about journeying some months earlier to engage with the area's cultural season. From this festival and other major events, what is evident are creative communities that are not merely new or “rising” but have built up an whole landscape that is here to stay.

Ultimately, the journey offers a perception of Accra that feels like a declaration for ecological stewardship and the keeping alive of heritage. It is a compelling testament to perseverance in all its manifestations.