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After in excess of 50 installments delving into the global Black diaspora, this signifies a last column. The experience was deeply gratifying, with sincere thanks extended to all the engaged followers.

Inside Accra Cultural Week

Visiting the exhibitions, installations and acts of this event, one sees how the finest art feeds and builds a nation's heritage and identity. The focal point was undoubtedly Clottey's stunning a profound exploration of ritual and time, which put his pioneering afrogallonism on full display: a philosophy that transforms plastic containers into mesmerizing creations, tapestries of golden hues. The display was designed as a testament to the resilience of Jamestown, a venerable area of Accra.

Jamestown – mainly populated by the Ga community, a community of fishermen – is furthermore where many freed slaves returned from Brazil and established themselves in the 1830s. Called the Tabom community, they introduced Portuguese language and traditions.

Throughout Jamestown, visitors encounter a blend of architectural styles. Standing is Franklin House, with its unique Portuguese construction and arched doorways. Another landmark is the iconic beacon, constructed in the 1800s and eventually featuring its distinctive banded facade.

Traditions of Remembrance

Furthermore notable about Jamestown is the ever-present presence of funeral posters. Wherever you look, whether covering buildings or on big billboards, there are announcements and phrases of mourning. In Jamestown, similar to the rest of Ghana, memorial services are significant communal events.

In this breathtaking exhibition, all of the sensory and spiritual landscape of Jamestown are captured – notably in the immersive beach-themed piece. Within it, you’re soothed by the sound of ocean surf with granules at your feet, while shelters, nets and representations of boats celebrate its dynamic, generational maritime community. However being present in this exhibition space, it's hard to ignore the mountains of cast-off garments that mar the charm and serenity of the shoreline.

Apart from the Main Event

There is a great deal more. Within an unfinished structure at the local university, artist Sylvester presented a deeply moving minimalist collection, an profoundly affecting, austere exhibition that displayed three-dimensional works and paintings made in collaboration with artisans.

And then there is the competition for female artists for women artists of Ghanaian origin. It showcased the inaugural exhibition of a prior winner, whose work draws on familial archival records to craft a artistic representation of life in the nation's recent history. The event also announced a new winner, whose multidisciplinary work is particularly focused on the textile traditions of women in Dabala.

A Permanent Impact

Although the overseas community has more and more been attracted back to Ghana in the western winter, an increasing number are thinking about travelling for the cultural season to immerse themselves in the area's festival period. From Accra Cultural Week and other major events, what emerges are art scenes that are not merely new or “upcoming” but have built up an whole landscape that is permanent.

Finally, the experience leaves one with a vision of Accra that feels like a manifesto for environmental protection and the safeguarding of tradition. It is a compelling testament to resilience in all its expressions.