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After in excess of 50 installments delving into the global Black diaspora, this marks a concluding column. The journey has been incredibly fulfilling, with sincere thanks extended to all the dedicated followers.

A Look Inside the Accra Festival

Experiencing the displays, presentations and shows of the festival, one sees how exceptional art nourishes and constructs a country’s heritage and identity. The centrepiece was undoubtedly Serge Attukwei Clottey’s remarkable a profound exploration of ritual and time, which showcased his pioneering afrogallonism on full display: a concept that transforms yellow jerrycans into illusory creations, assemblages of golden hues. The show was conceived as a testament to the resilience of Jamestown, a historical neighbourhood of Accra.

This area – largely home to the Ga ethnic group, a seafaring people – is also where many formerly enslaved people came back from Brazil and established themselves in the 1830s. Referred to as the Tabom community, they carried with them Brazilian tongue and traditions.

In every part of Jamestown, you can see a mix of architectural styles. You'll find Franklin House, boasting its characteristic European-style brickwork and arched doorways. One can also see the famous lighthouse of Jamestown, constructed in the 19th century and eventually given its distinctive banded appearance.

A Culture of Celebration

Furthermore remarkable about Jamestown is the ever-present presence of obituary announcements. Wherever you look, whether affixed to buildings or on larger hoardings, one finds funeral details and phrases of loss. In Jamestown, as throughout Ghana, memorial services are significant communal events.

In this breathtaking show, the entirety of the visual and auditory essence of Jamestown are evoked – particularly in the engaging Jamestown nshonaa work. In this space, one is relaxed by the audio of ocean surf with beach material at your feet, while shelters, draped nets and representations of boats pay homage to its dynamic, generational maritime community. But experiencing this exhibition space, one cannot help but think of the mountains of discarded clothing that threaten the charm and serenity of the shoreline.

In Addition to the Centrepiece

There is additional highlights. Housed in an incomplete building at the University of Ghana, creator Sylvester presented a deeply moving minimalist collection, an emotionally powerful, stripped-back exhibition that displayed sculptures and paintings made in collaboration with metalworkers.

And then there is the competition for female artists for female Ghanaian artists. It included the inaugural exhibition of a 2024 recipient, whose work draws on familial archival records to produce a depiction of life in the nation's recent history. The event also honored a new champion, whose diverse work is deeply invested in the weaving practices of women in the Volta region.

A Permanent Impact

Although the global African community has increasingly been attracted home to west Africa in the winter months, a growing cohort are considering visiting earlier in the year to engage with the region’s festival period. From this festival and regional art fairs, what emerges are art scenes that are not simply emerging or “rising” but have forged an whole landscape that is permanent.

Finally, the experience offers a image of Accra that resembles a statement for environmental protection and the preservation of heritage. It is a resonant homage to perseverance in all its forms.