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Following in excess of 50 editions delving into the global Black diaspora, this represents a last column. The tenure proved incredibly gratifying, and sincere thanks offered to all the dedicated audience.

Inside the Cultural Week

Visiting the showcases, presentations and shows of the festival, one sees how the finest art nourishes and shapes a country’s history and identity. The highlight was undoubtedly Clottey's stunning [Dis]Appearing Rituals: An Open Lab of Now for Tomorrow, which put his innovative afrogallonism in full view: a philosophy that reimagines yellow jerrycans into illusory art pieces, tapestries of golden hues. The display was designed as a tribute to the resilience of this area, a historical neighbourhood of Accra.

This area – predominantly populated by the Ga community, a seafaring people – is also where many returning Africans arrived from South America and settled in the 1830s. Known as the Tabom community, they brought Portuguese language and culture.

In every part of Jamestown, visitors encounter a fusion of architectural styles. Standing is a historic building, boasting its unique colonial-era brickwork and curved entrances. One can also see the prominent lighthouse of Jamestown, erected in the 1800s and eventually featuring its distinctive striped appearance.

A Culture of Mourning

Equally remarkable about Jamestown is the ever-present sight of funeral posters. Everywhere you turn, whether affixed to walls or on big hoardings, there are service information and terms of mourning. In Jamestown, similar to the rest of Ghana, memorial services are major community celebrations.

In Clottey’s impressive installation, all of the sights, sounds and religious textures of Jamestown are evoked – notably in the engaging Jamestown nshonaa work. In this space, visitors are calmed by the sound of crashing waves with sand at your feet, while shelters, draped nets and representations of boats honour its dynamic, generational fishing community. But experiencing this gallery, it's hard to ignore the piles of discarded clothing that threaten the charm and tranquillity of the shoreline.

In Addition to the Centrepiece

The festival program included a great deal more. Housed in an raw space at the campus, artist Sylvester showcased a deeply moving minimalist collection, an profoundly affecting, minimalist exhibition that featured three-dimensional works and canvases made in concert with metalworkers.

And then there is the prestigious art award for women artists of Ghanaian origin. It showcased the debut presentation of a prior recipient, whose work draws on historical documents to produce a artistic representation of life in the nation's recent history. The event also crowned a current champion, whose varied work is intensely focused on the textile traditions of women in a specific region.

An Enduring Legacy

While the overseas community has increasingly been drawn back to west Africa during the colder season, more and more are thinking about travelling earlier in the year to experience the region’s festival period. Between this festival and similar gatherings, what you’ll find are art scenes that are not simply nascent or “upcoming” but have built up an complete landscape that is permanent.

Ultimately, the journey provides a image of Accra that feels like a statement for ecological stewardship and the keeping alive of heritage. It is a resonant testament to adaptability in all its expressions.