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Following over fifty installments exploring the international Black diaspora, this represents a last column. The tenure proved incredibly gratifying, with sincere gratitude directed to every one of the dedicated readers.

A Look Inside the Cultural Week

Experiencing the exhibitions, installations and performances of Accra Cultural Week, it becomes clear how superior art feeds and builds a country’s history and essence. The highlight was certainly Serge Attukwei Clottey’s stunning a profound exploration of ritual and time, which put his pioneering afrogallonism for all to see: a approach that reimagines plastic containers into illusory creations, mosaics of metallic tones. The show was conceived as a tribute to the endurance of the historic district, a historical neighbourhood of Accra.

The community – largely home to the Ga people, a community of fishermen – is also where a great number of formerly enslaved people returned from Brazil and established themselves in the 1830s. Called the Tabom people, they carried with them Brazilian tongue and traditions.

In every part of Jamestown, you can see a blend of architectural styles. You'll find a historic building, boasting its distinct European-style brickwork and door arches. Another landmark is the iconic lighthouse of Jamestown, constructed in the 1871 and later given its recognizable red-and-white-striped facade.

A Culture of Celebration

Also notable about Jamestown is the pervasive presence of obituary announcements. On every corner, whether covering buildings or on sizable signboards, there are funeral details and terms of mourning. In Jamestown, similar to the rest of Ghana, funerals are major communal events.

In Clottey’s impressive show, every aspect of the visual and auditory essence of Jamestown are present – particularly in the engaging Jamestown nshonaa work. Here, you’re soothed by the sound of crashing waves with granules on the floor, while shelters, hanging fishing nets and depictions of vessels honour its spirited, multigenerational fishing community. But being present in this gallery, one cannot help but think of the mountains of cast-off garments that compromise the charm and serenity of the region.

Apart from the Centrepiece

There is much more. Inside an incomplete building at the local university, creator Reginald Sylvester II showcased a deeply moving minimalist collection, an emotionally powerful, austere exhibition that displayed three-dimensional works and canvases created in partnership with metalworkers.

And then there is the Yaa Asantewaa Art prize for female Ghanaian artists. It included the inaugural exhibition of a recent recipient, whose work references familial archival records to produce a visual impression of life in the nation's recent history. The event also announced a current champion, whose multidisciplinary work is particularly focused on the craft techniques of women in the Volta region.

A Permanent Legacy

While the overseas community has grown been attracted home to Ghana in the winter months, a growing cohort are thinking about visiting some months earlier to immerse themselves in the area's cultural season. From Accra Cultural Week and similar gatherings, what emerges are cultural ecosystems that are not merely new or “rising” but have forged an complete landscape that is permanent.

In the end, the experience leaves one with a perception of Accra that resembles a statement for conservation and the preservation of culture. It is a resonant testament to perseverance in all its manifestations.