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Following in excess of 50 editions exploring the international Black diaspora, this represents a final column. The journey has been deeply rewarding, with immense gratitude offered to every one of the attentive readers.

A Look Inside the Accra Festival

Experiencing the exhibitions, artworks and performances of this event, one sees how exceptional art sustains and builds a country’s past and identity. The centrepiece was undoubtedly the artist's remarkable [Dis]Appearing Rituals: An Open Lab of Now for Tomorrow, which put his groundbreaking afrogallonism in full view: a philosophy that reimagines yellow jerrycans into illusory works of art, tapestries of metallic tones. The show was designed as a tribute to the strength of Jamestown, a venerable quarter of Accra.

This area – mainly populated by the Ga people, a seafaring people – is additionally where many freed slaves arrived from Brazil and settled in the 1830s. Called the Tabom people, they carried with them Brazilian tongue and traditions.

All across Jamestown, you can see a mix of building designs. There’s Franklin House, with its characteristic European-style construction and door arches. Another landmark is the iconic Jamestown Lighthouse, erected in the 19th century and eventually featuring its recognizable banded appearance.

Customs of Celebration

Also notable about Jamestown is the ever-present sight of obituary announcements. On every corner, whether plastered over buildings or on larger billboards, you’ll see service information and expressions of farewell. In Jamestown, mirroring customs in Ghana, memorial services are large-scale community celebrations.

In this impressive show, the entirety of the sights, sounds and religious textures of Jamestown are captured – especially in the immersive shoreline work. In this space, you’re soothed by the audio of the sea with beach material at your feet, while beach huts, hanging fishing nets and representations of boats pay homage to its dynamic, multigenerational seafaring tradition. Yet being present in this gallery, one cannot help but think of the heaps of cast-off garments that compromise the beauty and serenity of the area.

Beyond the Main Event

There is a great deal more. Inside an unfinished structure at the University of Ghana, artist Sylvester presented a deeply moving minimalist collection, an profoundly affecting, stripped-back presentation that featured three-dimensional works and canvases made in concert with metalworkers.

Also featured was the competition for female artists for Ghanaian women creators. It included the first solo show of a 2024 recipient, whose work draws on historical documents to produce a visual impression of life in post-independence Ghana. The event also crowned a latest champion, whose diverse work is deeply focused on the craft techniques of women in a specific region.

An Enduring Legacy

Although the diaspora has grown been attracted home to Ghana during the winter months, more and more are contemplating visiting some months earlier to immerse themselves in the region’s artistic calendar. From Accra Cultural Week and regional art fairs, what is evident are creative communities that are not simply emerging or “upcoming” but have established an entire universe that is enduring.

Ultimately, the visit provides a vision of Accra that feels like a declaration for ecological stewardship and the safeguarding of tradition. It is a powerful tribute to resilience in all its manifestations.