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Following in excess of fifty editions exploring the global Black diaspora, this marks a final column. The journey was profoundly fulfilling, with great appreciation extended to every one of the engaged audience.

Inside Accra Cultural Week

Visiting the displays, artworks and performances of this event, observers witness how superior art sustains and constructs a nation's past and essence. The centrepiece was undoubtedly the artist's exquisite a profound exploration of ritual and time, which displayed his pioneering afrogallonism for all to see: a approach that transforms water vessels into mesmerizing creations, assemblages of golden hues. The exhibition was designed as a testament to the strength of the historic district, a venerable neighbourhood of Accra.

Jamestown – mainly inhabited by the Ga ethnic group, a fishing community – is furthermore where a great number of formerly enslaved people arrived from South America and established themselves in the 1830s. Called the Tabom community, they introduced Portuguese language and culture.

In every part of Jamestown, one observes a fusion of architecture. You'll find a historic building, boasting its unique European-style brickwork and door arches. One can also see the famous beacon, built in the 1800s and later featuring its signature red-and-white-striped facade.

Traditions of Remembrance

Also notable about Jamestown is the ever-present sight of obituary announcements. On every corner, be it affixed to walls or on sizable hoardings, you’ll see service information and terms of farewell. In Jamestown, as throughout Ghana, final rites are major communal events.

In Clottey’s impressive show, the entirety of the visual and auditory essence of Jamestown are present – especially in the enveloping shoreline piece. Within it, one is relaxed by the sound of the sea with beach material underfoot, while shacks, nets and images of vessels celebrate its vibrant, multigenerational fishing community. However standing in this gallery, it's hard to ignore the heaps of discarded clothing that compromise the charm and peace of the shoreline.

Apart from the Centrepiece

There is a great deal more. Inside an raw space at the University of Ghana, artist Reginald Sylvester II presented On the Other Side of Languish, an incredibly moving, minimalist exhibition that included three-dimensional works and canvases produced in collaboration with welders.

And then there is the prestigious art award for women artists of Ghanaian origin. It showcased the first solo show of a recent recipient, whose work draws on historical documents to craft a depiction of life in the nation's recent history. The event also announced a new champion, whose varied work is particularly focused on the craft techniques of women in Dabala.

A Permanent Impact

Although the diaspora has more and more been drawn home to west Africa during the winter months, an increasing number are thinking about journeying earlier in the year to immerse themselves in the region’s festival period. Between Accra Cultural Week and regional art fairs, what emerges are art scenes that are not merely emerging or “rising” but have established an entire landscape that is permanent.

Finally, the experience provides a vision of Accra that feels like a statement for environmental protection and the keeping alive of heritage. It is a resonant homage to perseverance in all its manifestations.