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After over fifty editions delving into the international Black diaspora, this signifies a final dispatch. The tenure proved deeply rewarding, with sincere appreciation offered to every one of the dedicated readers.

A Look Inside the Accra Festival

Visiting the displays, installations and shows of the festival, one sees how the finest art feeds and constructs a nation's heritage and identity. The centrepiece was undoubtedly Serge Attukwei Clottey’s stunning a profound exploration of ritual and time, which displayed his innovative afrogallonism for all to see: a concept that reimagines water vessels into mesmerizing art pieces, assemblages of golden hues. The display was conceived as a testament to the strength of Jamestown, a historic neighbourhood of Accra.

Jamestown – mainly home to the Ga community, a community of fishermen – is also where a great number of returning Africans came back from Brazil and made their home in the 1830s. Referred to as the Tabom community, they brought Brazilian tongue and customs.

Throughout Jamestown, one observes a mix of architectural styles. There’s a historic building, featuring its unique Portuguese masonry and door arches. Another landmark is the prominent beacon, constructed in the 1871 and eventually given its recognizable banded facade.

Customs of Celebration

Equally remarkable about Jamestown is the ever-present presence of funeral posters. Everywhere you turn, whether covering walls or on big hoardings, there are service information and terms of mourning. In Jamestown, mirroring customs in Ghana, final rites are large-scale community celebrations.

In the artist's impressive installation, all of the sensory and spiritual landscape of Jamestown are captured – especially in the enveloping beach-themed installation. Here, you’re soothed by the audio of the sea with beach material at your feet, while shacks, hanging fishing nets and depictions of boats honour its spirited, generational maritime community. Yet being present in this exhibition space, the mind turns to the mountains of discarded clothing that threaten the beauty and peace of the region.

Beyond the Centrepiece

There is a great deal more. Within an raw space at the local university, artist Sylvester exhibited a deeply moving minimalist collection, an incredibly moving, austere presentation that included three-dimensional works and canvases made in concert with welders.

Another key element is the prestigious art award for women artists of Ghanaian origin. It showcased the first solo show of a recent recipient, whose work utilizes familial archival records to produce a depiction of life in post-independence Ghana. The event also announced a current winner, whose diverse work is deeply focused on the craft techniques of women in a specific region.

An Enduring Legacy

While the global African community has more and more been attracted back to the region in the winter months, an increasing number are thinking about journeying earlier in the year to experience the region’s artistic calendar. From this festival and similar gatherings, what is evident are cultural ecosystems that are not merely nascent or “upcoming” but have established an whole landscape that is here to stay.

In the end, the visit provides a vision of Accra that serves as a manifesto for conservation and the preservation of heritage. It is a compelling tribute to resilience in all its expressions.