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In the wake of more than 50 issues navigating the worldwide Black diaspora, this represents a concluding dispatch. The tenure was incredibly rewarding, with great gratitude directed to all the engaged followers.

Inside Accra Cultural Week

Attending the displays, presentations and acts of the festival, it becomes clear how the finest art sustains and constructs a nation's past and character. The centrepiece was certainly the artist's stunning [Dis]Appearing Rituals: An Open Lab of Now for Tomorrow, which put his pioneering afrogallonism for all to see: a philosophy that converts water vessels into illusory works of art, assemblages of yellow, brass and gold. The display was conceived as a tribute to the resilience of the historic district, a historical quarter of Accra.

This area – largely populated by the Ga ethnic group, a community of fishermen – is furthermore where many freed slaves arrived from South America and established themselves in the 1830s. Referred to as the Tabom community, they brought Portuguese tongue and culture.

In every part of Jamestown, you can see a blend of architectural styles. There’s Franklin House, featuring its distinct Portuguese construction and curved entrances. Another landmark is the iconic beacon, erected in the 19th century and subsequently featuring its distinctive striped appearance.

Traditions of Remembrance

Also striking about Jamestown is the ubiquitous sight of obituary announcements. On every corner, be it affixed to buildings or on big hoardings, there are announcements and expressions of mourning. In Jamestown, as throughout Ghana, final rites are significant communal events.

In the artist's breathtaking installation, the entirety of the sights, sounds and religious textures of Jamestown are present – especially in the immersive Jamestown nshonaa installation. In this space, visitors are calmed by the recording of crashing waves with sand underfoot, while shacks, hanging fishing nets and images of vessels honour its dynamic, generational seafaring tradition. Yet standing in this venue, the mind turns to the piles of discarded clothing that compromise the beauty and peace of the region.

Beyond the Main Event

The festival program included much more. Housed in an unfinished structure at the campus, artist Reginald Sylvester II exhibited On the Other Side of Languish, an incredibly moving, stripped-back show that featured sculptures and artworks produced in partnership with welders.

Also featured was the Yaa Asantewaa Art prize for female Ghanaian artists. It featured the inaugural exhibition of a prior laureate, whose work draws on personal family archives to produce a depiction of life in the nation's recent history. The event also honored a latest winner, whose diverse work is deeply concerned with the weaving practices of women in Dabala.

A Permanent Legacy

Although the diaspora has grown been attracted back to west Africa during the colder season, an increasing number are considering visiting for the cultural season to engage with the area's festival period. From this festival and similar gatherings, what is evident are art scenes that are not merely new or “rising” but have established an entire landscape that is here to stay.

Ultimately, the journey leaves one with a vision of Accra that feels like a manifesto for environmental protection and the keeping alive of culture. It is a powerful homage to perseverance in all its expressions.