🔗 Share this article

In the wake of in excess of 50 issues navigating the global Black diaspora, this represents a last piece. The journey proved incredibly fulfilling, with sincere appreciation directed to all the engaged audience.

Inside Accra Cultural Week

Experiencing the showcases, presentations and performances of the festival, observers witness how the finest art sustains and constructs a nation's past and character. The highlight was without doubt Clottey's stunning [Dis]Appearing Rituals: An Open Lab of Now for Tomorrow, which displayed his pioneering afrogallonism on full display: a concept that converts yellow jerrycans into mesmerizing creations, assemblages of metallic tones. The display was designed as a homage to the resilience of the historic district, a historical quarter of Accra.

The community – mainly inhabited by the Ga people, a community of fishermen – is also where numerous returning Africans returned from Brazil and made their home in the 1830s. Known as the Tabom, they carried with them Portuguese language and culture.

In every part of Jamestown, you can see a blend of architectural styles. You'll find Fort Vicentia, boasting its characteristic colonial-era masonry and arched doorways. Also present is the famous Jamestown Lighthouse, constructed in the 1800s and eventually featuring its recognizable red-and-white-striped appearance.

Traditions of Mourning

Also notable about Jamestown is the ever-present sight of memorial notices. On every corner, whether affixed to alleyways or on big signboards, you’ll see announcements and expressions of farewell. In Jamestown, mirroring customs in Ghana, memorial services are large-scale social gatherings.

In the artist's spectacular show, the entirety of the visual and auditory essence of Jamestown are present – particularly in the enveloping beach-themed installation. Within it, you’re soothed by the recording of ocean surf with granules at your feet, while shacks, hanging fishing nets and representations of vessels celebrate its spirited, generational seafaring tradition. But experiencing this gallery, it's hard to ignore the mountains of discarded clothing that compromise the charm and serenity of the shoreline.

Beyond the Centrepiece

Accra Cultural Week also features additional highlights. Within an incomplete building at the campus, artist Reginald Sylvester II showcased a deeply moving minimalist collection, an profoundly affecting, austere show that featured sculptures and artworks made in collaboration with welders.

Another key element is the Yaa Asantewaa Art prize for Ghanaian women creators. It featured the first solo show of a recent winner, whose work draws on familial archival records to produce a depiction of life in the nation's recent history. The event also announced a new winner, whose multidisciplinary work is deeply focused on the textile traditions of women in a specific region.

A Lasting Presence

While the global African community has increasingly been attracted home to Ghana in the colder season, more and more are considering travelling for the cultural season to immerse themselves in the area's artistic calendar. From Accra Cultural Week and similar gatherings, what is evident are creative communities that are not simply emerging or “upcoming” but have built up an whole universe that is here to stay.

Ultimately, the experience leaves one with a vision of Accra that serves as a statement for conservation and the keeping alive of tradition. It is a resonant testament to adaptability in all its forms.