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In the wake of over 50 editions navigating the worldwide Black diaspora, this marks a final column. The tenure was incredibly rewarding, and sincere gratitude directed to every one of the attentive audience.

Inside the Accra Festival

Visiting the displays, artworks and acts of this event, it becomes clear how the finest art nourishes and shapes a country’s past and character. The focal point was without doubt Serge Attukwei Clottey’s stunning a profound exploration of ritual and time, which showcased his innovative afrogallonism for all to see: a philosophy that converts water vessels into mesmerizing creations, mosaics of metallic tones. The display was created as a testament to the resilience of this area, a venerable area of Accra.

The community – largely home to the Ga community, a seafaring people – is furthermore where numerous formerly enslaved people arrived from South America and settled in the 1830s. Known as the Tabom people, they carried with them Portuguese tongue and traditions.

All across Jamestown, visitors encounter a fusion of architecture. Standing is Fort Vicentia, featuring its unique colonial-era masonry and curved entrances. One can also see the iconic lighthouse of Jamestown, erected in the 1800s and subsequently featuring its distinctive banded exterior.

A Culture of Celebration

Furthermore striking about Jamestown is the ever-present sight of obituary announcements. Everywhere you turn, whether covering alleyways or on larger billboards, one finds funeral details and phrases of mourning. In Jamestown, similar to the rest of Ghana, funerals are major social gatherings.

In this spectacular exhibition, every aspect of the sensory and spiritual landscape of Jamestown are evoked – especially in the engaging beach-themed piece. Here, one is relaxed by the sound of crashing waves with beach material underfoot, while shacks, nets and representations of vessels pay homage to its dynamic, long-standing maritime community. However being present in this exhibition space, it's hard to ignore the piles of textile waste that compromise the charm and peace of the area.

Apart from the Centrepiece

There is additional highlights. Inside an unfinished structure at the University of Ghana, creator Reginald Sylvester II showcased On the Other Side of Languish, an profoundly affecting, minimalist show that featured sculptures and artworks made in partnership with welders.

Another key element is the Yaa Asantewaa Art prize for female Ghanaian artists. It featured the debut presentation of a recent recipient, whose work references historical documents to create a depiction of life in Ghana after independence. The event also crowned a current winner, whose multidisciplinary work is intensely focused on the textile traditions of women in Dabala.

An Enduring Impact

Although the overseas community has more and more been drawn home to west Africa during the winter months, more and more are contemplating travelling for the cultural season to immerse themselves in the region’s festival period. From Accra Cultural Week and similar gatherings, what emerges are art scenes that are not merely new or “rising” but have established an complete universe that is enduring.

Ultimately, the experience provides a vision of Accra that feels like a statement for environmental protection and the safeguarding of tradition. It is a powerful tribute to perseverance in all its manifestations.