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After over 50 issues navigating the international Black diaspora, this marks a final column. The tenure was incredibly fulfilling, with great thanks offered to every one of the dedicated followers.

Inside the Accra Festival

Attending the displays, artworks and performances of this event, it becomes clear how exceptional art sustains and builds a nation's heritage and identity. The highlight was undoubtedly Clottey's remarkable [Dis]Appearing Rituals: An Open Lab of Now for Tomorrow, which put his groundbreaking afrogallonism in full view: a philosophy that transforms water vessels into illusory creations, mosaics of metallic tones. The display was designed as a testament to the resilience of Jamestown, a historic quarter of Accra.

The community – mainly inhabited by the Ga ethnic group, a community of fishermen – is additionally where numerous freed slaves returned from Brazil and established themselves in the 1830s. Known as the Tabom community, they introduced Portuguese language and traditions.

In every part of Jamestown, visitors encounter a blend of building designs. Standing is a historic building, boasting its distinct Portuguese brickwork and arched doorways. Another landmark is the iconic beacon, constructed in the 19th century and eventually sporting its distinctive banded facade.

A Culture of Remembrance

Equally striking about Jamestown is the ever-present sight of memorial notices. Everywhere you turn, whether plastered over alleyways or on big billboards, you’ll see funeral details and terms of mourning. In Jamestown, mirroring customs in Ghana, memorial services are large-scale social gatherings.

In the artist's breathtaking show, the entirety of the sights, sounds and religious textures of Jamestown are captured – particularly in the enveloping beach-themed installation. Within it, one is relaxed by the recording of ocean surf with sand at your feet, while shelters, hanging fishing nets and representations of vessels pay homage to its vibrant, multigenerational maritime community. However being present in this venue, the mind turns to the piles of discarded clothing that compromise the charm and tranquillity of the shoreline.

Apart from the Centrepiece

There is a great deal more. Housed in an incomplete building at the University of Ghana, artist Sylvester presented On the Other Side of Languish, an emotionally powerful, stripped-back show that displayed sculptures and canvases produced in partnership with artisans.

Also featured was the Yaa Asantewaa Art prize for female Ghanaian artists. It featured the debut presentation of a 2024 winner, whose work draws on familial archival records to create a artistic representation of life in Ghana after independence. The event also crowned a current winner, whose diverse work is deeply focused on the craft techniques of women in Dabala.

A Lasting Legacy

Although the overseas community has more and more been pulled home to west Africa in the western winter, a growing cohort are thinking about travelling some months earlier to immerse themselves in the region’s festival period. From Accra Cultural Week and other major events, what emerges are art scenes that are not merely new or “rising” but have built up an entire landscape that is enduring.

Finally, the visit offers a vision of Accra that serves as a manifesto for environmental protection and the preservation of heritage. It is a resonant homage to adaptability in all its forms.