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In the wake of in excess of fifty editions navigating the international Black diaspora, this represents a concluding piece. The experience proved deeply gratifying, with sincere thanks offered to every one of the dedicated followers.

Inside the Cultural Week

Visiting the exhibitions, installations and performances of the festival, one sees how the finest art sustains and builds a country’s heritage and character. The centrepiece was certainly Clottey's remarkable [Dis]Appearing Rituals: An Open Lab of Now for Tomorrow, which showcased his innovative afrogallonism for all to see: a philosophy that reimagines plastic containers into illusory works of art, tapestries of golden hues. The exhibition was conceived as a tribute to the resilience of Jamestown, a historical area of Accra.

This area – largely inhabited by the Ga people, a fishing community – is also where many freed slaves came back from Brazil and settled in the 19th century. Called the Tabom people, they introduced Brazilian language and customs.

In every part of Jamestown, visitors encounter a blend of architecture. You'll find Franklin House, boasting its characteristic European-style masonry and curved entrances. Another landmark is the prominent lighthouse of Jamestown, constructed in the 1800s and eventually featuring its signature striped facade.

Customs of Remembrance

Furthermore remarkable about Jamestown is the ubiquitous presence of obituary announcements. Wherever you look, whether plastered over alleyways or on larger hoardings, one finds funeral details and phrases of farewell. In Jamestown, mirroring customs in Ghana, memorial services are major communal events.

In this impressive installation, the entirety of the visual and auditory essence of Jamestown are present – particularly in the immersive Jamestown nshonaa installation. Within it, one is relaxed by the recording of the sea with granules on the floor, while shacks, nets and images of vessels celebrate its vibrant, multigenerational maritime community. However experiencing this gallery, it's hard to ignore the mountains of cast-off garments that mar the beauty and peace of the shoreline.

Beyond the Centrepiece

There is additional highlights. Within an unfinished structure at the University of Ghana, creator Reginald Sylvester II showcased On the Other Side of Languish, an emotionally powerful, austere exhibition that displayed sculptures and artworks created in collaboration with artisans.

Also featured was the competition for female artists for women artists of Ghanaian origin. It featured the first solo show of a prior recipient, whose work references personal family archives to craft a visual impression of life in the nation's recent history. The event also crowned a latest champion, whose diverse work is intensely invested in the weaving practices of women in the Volta region.

An Enduring Presence

Although the global African community has grown been attracted back to west Africa during the winter months, more and more are thinking about travelling some months earlier to immerse themselves in the area's festival period. From this festival and other major events, what emerges are creative communities that are not simply new or “upcoming” but have built up an whole universe that is enduring.

Ultimately, the visit offers a vision of Accra that feels like a manifesto for environmental protection and the keeping alive of tradition. It is a resonant homage to resilience in all its expressions.