By John Owoo

(Tamale – Ghana)

A visit to Red Clay in Tamale – an art space operated by internationally acclaimed artist Ibrahim Mahama – is less an encounter with an art space than an immersion in a living, breathing landscape of ideas, labor, and memory. When I visited the sprawling complex in September, I was immediately struck by its sheer scale.

Vast halls, crowned with cathedral-like ceilings, opened before me, housing super-giant installations that dwarf the human body and recalibrate one’s sense of proportion. The experience is both humbling and awe-inspiring, underscoring the ambition that defines the practice of its founder, internationally acclaimed Ghanaian artist Ibrahim Mahama.

Spread across more than 200 acres, Red Clay is an expansive constellation of contemporary brick structures that serve as project spaces, research hubs, galleries, and residency facilities. Primarily built with local materials, the complex seamlessly integrates architecture and contemporary art, significantly expanding the possibilities of Ghana’s art ecosystem beyond the conventional white cube. The recently planted five thousand seedlings across the grounds signal ecological consciousness, pointing to a future-oriented vision that embraces sustainability alongside monumental art-making.

Perhaps most striking is Mahama’s transformation of abandoned infrastructure into sites of production. Disused aircraft and old trains, relics of stalled progress and abandoned systems, have been repurposed as workshops and creative spaces. These interventions resonate with the artist’s longstanding interest in value, global commerce, and the lingering debris of colonialism. At Red Clay, decay is not erased but reactivated, becoming a generative force rather than a symbol of loss.

Mahama’s global stature was further cemented when he became the first African artist to top the prestigious ArtReview Power 100 list, a milestone underscoring the international impact of his practice. Known for his large-scale installations that use materials laden with historical and economic significance—such as jute sacks, metal, and found objects—Mahama consistently foregrounds Ghana’s past and present within broader global systems.

Currently a PhD candidate at the College of Painting and Sculpture at Kwame Nkrumah University of Science and Technology in Kumasi, Mahama’s intellectual concerns mirror the physical and conceptual architecture of Red Clay.

Themes of colonial legacies, postcolonial entanglements, labor, migration, commodity dependency, and material history are woven into the site’s very fabric. Memory, decay, and reclamation are not only ideas explored in his work but also principles enacted through the space itself.

Red Clay stands as a powerful testament to how art can reimagine space, history, and possibility—rooted in the local yet in constant dialogue with the world.

Pix – Geoffrey Buta

By John Owoo

(Accra – Ghana)

An exhibition featuring Ghanaian coffin designer Eric Kpakpo and Swiss anthropologist/art historian Dr. Regula Tschumi, offering a compelling meditation on death, memory, and artistic ingenuity within Ghana’s funerary culture, is underway at Nubuke Foundation in Accra.  

Far from morbid, the show reveals how colorful designer coffins transform funerals into vibrant sites of storytelling, symbolism, and aesthetic expression, where art becomes a final act of communication between the living and the dead.

Tschumi’s long-term photographic practice anchors the exhibition, bringing an anthropological sensitivity shaped by decades of engagement with Ghana’s religious festivals and funeral rituals.

Drawn into the country’s “visually inspiring” landscape, she has documented more than one hundred figurative coffins over the years, photographing them at a fleeting yet critical moment—just before they are delivered, used, and ultimately buried.

Titled For Ending the Beginning, she presents three striking large-format photographs of funerals alongside a series of twenty coffin images. The photographs capture not only the coffins’ sculptural brilliance but also their ceremonial contexts.

Indeed, moments of mourning are infused with color, movement, and communal presence. Tschumi’s work serves as both documentation and preservation, freezing in time artworks designed to disappear into the earth.

Complementing these images are the sculptural coffins of Eric Kpakpo, a master carpenter whose practice continues and expands the Ga tradition of figurative coffin-making.

He transforms wood into eloquent forms—fish, tools, animals, and tetomic and symbolic objects—that speak for the deceased when words are no longer possible. Rooted in Ga cultural symbolism, each coffin becomes a narrative vessel, reflecting the occupant’s life, occupation, clan, social status, and even unrealized ambitions.

While rooted in tradition, Kpakpo’s work is unmistakably contemporary. By combining inherited woodworking techniques with innovative design, he has pushed the form beyond ritual utility into the realm of global contemporary art. His internationally recognized “octopus” coffin exemplifies this synthesis of craftsmanship, symbolism, and bold imagination.

Together, Tschumi and Kpakpo present designer coffins not as curiosities but as influential cultural texts. The exhibition reframes funerary art as a living practice—one that honors ancestry while evolving through artistic vision. In doing so, it invites viewers to reconsider death not as an end but as a moment when art, identity, and remembrance converge with profound clarity.

The exhibition ends Saturday, February 28, 2026.

By John Owoo

(Accra – Ghana)

Currently on view at the Museum of Science and Technology in Accra, Zado Keli: Eclipse of a Continent? by Prof. Edwin Kwesi Bodjawah is a compelling exhibition that interrogates the enduring legacies of Western modernity and its violent encounters with Africa.

Through sculpture, assemblage, and installation, Bodjawah mobilizes indigenous knowledge systems—mainly African masking traditions—to challenge historical erasure and envision alternative futures rooted in collective memory and self-determination.

Curated by Dr. Kwesi Ohene Ayeh, the exhibition draws on the conceptual inspiration of The Vultures, the seminal poem by Senegalese writer David Diop, which mourns the moral contradictions and brutalities concealed within colonial “civilizing” missions.

Echoing this lament, Bodjawah’s works confront colonial trauma not as a closed chapter but as an ongoing condition that continues to shape cultural production, perception, and value systems. His practice resists the universalizing claims of Western liberal modernity, instead foregrounding African epistemologies that emphasize community, ritual, and technical reproduction.

Central to the exhibition is Bodjawah’s sustained engagement with African masking systems that date back centuries. Rather than allowing these forms to remain frozen in museum vitrines or reduced to aestheticized objects in white-cube galleries, the artist actively restitutes them to their original social and performative contexts. In doing so, he contests the tendency to render African masks mute, decontextualized, and placeless, reasserting their vitality as communal and participatory objects.

Material experimentation is a defining feature of Zado Keli. Bodjawah employs a wide range of manual and mechanical processes—carving, pounding, embossing, hammering, and stamping—to create works that are both tactile and conceptually layered.

He repurposes unconventional materials such as decommissioned corrugated iron and Aluzinc roofing sheets, decades-old eucalyptus wood, lithographic printing plates, archival texts, and weathered metal fragments, including remnants of 17th-century cannons and cannonballs. These materials, heavy with historical resonance, expand contemporary approaches to mask-making and sculptural practice.

Techniques of seriality and repetition recur throughout the exhibition, transforming masks, wooden forms, and archival elements into strange, theatrical, and haunting presences. These works feel less like static artifacts and more like living witnesses—objects that negotiate a shared, unfinished history and a collective becoming.

Undeniably, in Zado Keli: Eclipse of a Continent?, Bodjawah offers not only a critique of the past but also a resolute affirmation of Africa’s capacity to reimagine itself.

The exhibition ends on Sunday, February 15, 2026.

By John Owoo

Accra – Ghana

An ongoing group exhibition at Crystal Homes in Accra brings together a dozen artists whose diverse visual languages converge on a shared commitment to color as both subject and strategy.

Curated by Lily Sefa-Boakye and set within the refined interior of the residential space, the exhibition transforms Crystal Homes into a vibrant arena where painting, mixed media, and expressive abstraction engage in dynamic dialogue.

Titled Spectrum in Colour – Many Artists One Vision, participating artists are Nicholas Kowalski, Kofi Agorsor, Larry Otoo, Ganriel Eklou, Seth Clottey, Hilton Korley, Barry Nze, Adjei Sowah, Felix Awotwe, Fredrick Oko Mantey, Sedem Dzade, and David Adane.

At first glance, the exhibition lives up to its title. Bold chromatic choices dominate the walls, creating an immersive visual rhythm that moves from restrained tonal studies to exuberant bursts of pigment. Yet beneath this surface celebration of color lies a deeper inquiry into identity, memory, urban life, and emotional states—concerns that recur across the works despite the artists’ differing approaches.

Nicholas Kowalski’s works lean toward textured abstraction, with layered surfaces suggesting psychological depth. His use of color feels meditative, inviting viewers to slow down and engage with subtle transitions rather than immediate spectacle. In contrast, Kofi Agorsor’s paintings are energetic and socially attuned, using expressive brushwork and figurative hints to evoke the pulse of everyday life and human interaction.

Larry Otoo’s contribution adds another dimension to the exhibition through his distinctive handling of form and space. Drawing on musicians, his compositions often balance structure with spontaneity, allowing color to guide the eye while leaving room for interpretation. Gabriel Eklou, meanwhile, brings a lyrical sensibility to the show. His works appear introspective, using harmony and contrast to explore inner landscapes and emotional resonance.

Seth Clottey’s presence in the exhibition firmly anchors it within contemporary Ghanaian artistic discourse. Known for his innovative use of materials and conceptual depth, his works refine beauty by capturing landscapes, market sounds, and city traffic, alongside sculptures, while blending traditional Ghanaian influences with contemporary flair.

What makes the exhibition compelling is not merely the diversity of styles on display but the curatorial coherence that allows these differences to speak to one another. The exhibition avoids the pitfalls of overcrowding by giving each artist space to breathe, while the Crystal Homes setting adds an unexpected intimacy to the viewing experience.

Ultimately, the exhibition affirms color as a universal language—one capable of conveying personal narratives, social commentary, and aesthetic pleasure at once. It is a timely reminder of the strength of collective vision in Ghana’s contemporary art scene, where many voices can speak as one without losing their individuality.

The exhibition ends on Thursday, January 8, 2026.

By John Owoo

(Accra – Ghana)

Tectonic Transference, the debut of a planned series of solo exhibitions by Los Angeles–born artist Lisa C Soto, unfolds as an immersive, quietly arresting meditation on land, memory, and trans-Atlantic entanglements.

Currently based between Ghana and Puerto Rico, Soto presents an exhibition that functions less as a static display and more as a living ecosystem—one that breathes, resonates, and subtly shifts as viewers move through it.

Comprising photographic transfer works printed on plant-based supports, sound recordings, and scents collected from weaver bird nests in Duende Achuwe (Western Region of Ghana), and boiled to create scents that could transport the viewer into the landscape, the near open-air exhibition is alluring and welcoming.

Curated by Patrick Nii Okanta Ankrah with support from Maane Iddrisu and Andrew Siaw Nubour, the images of land and seascapes—tree bark, roots, rocks, salt water, sand, and sky—are layered, collapsed, merged, and juxtaposed, echoing geological processes and suggesting new forms of visual and historical synthesis. The works pulse collectively, blurring distinctions among image, matter, and environment.

Soto describes these natural elements as “the original archives, our first libraries,” holding knowledge of the world alongside human histories of pain, resilience, and survival. Her articulation finds a compelling parallel in political theorist Jane Bennett’s Vibrant Matter, which calls for a shift away from human-centered narratives toward an acknowledgment of the agency and interconnectedness of non-human forces—microbes, plants, climate, and minerals. In Tectonic Transference, matter is not passive; it speaks, remembers, and insists.

Installed at The Courtyard Accra in the plush environs of the Airport Residential Area, the exhibition reactivates the site as both a contemplative space and a social crossroads. Soto’s photo transfers stand like sentries along imagined tree lines, while others hang and twist gently, inviting viewers to choreograph their own passage through the courtyard.

These movements subtly reference deeper histories: continental drift, which began over 200 million years ago; the mulberry plant’s fraught legacy as both an economic promise and an invasive species; and the trans-Atlantic slave trade, traced through the forced and hopeful transfer of plants, bodies, and cultures.

The surrounding environment seeps into the experience—the distant call to prayer, the passing ice-cream vendor, and the anticipatory hum of Ghana’s “Detty December,” all intensified by ongoing diasporic returns sparked by the 2019 Year of Return. In this context, Tectonic Transference becomes a pause, a question, and an invitation. What new stories might yet emerge from old and ongoing trans-Atlantic movements? Soto does not offer answers, but she leaves the ground fertile for them to take root.

The exhibition ends on Saturday, January 24, 2026.

Pictures – Lisa C Soto

By John Owoo

(Agadir – Morocco)

The 2025 edition of Timitar Music Festival once again affirmed Agadir’s status as one of North Africa’s most vibrant cultural crossroads, transforming the city’s central public squares into a pulsating arena of sound, movement, and shared identity.

Authentic to its enduring theme, “Signs and Cultures,” Timitar Festival delivered a powerful celebration of Amazigh heritage while embracing a rich spectrum of global musical expressions.

Initiated by the Agadir Souss-Massa regional council as a cultural meeting point for Amazigh artists and world musicians, Timitar has grown into one of Morocco’s most inclusive festivals.

Under the presidency of Aziz Akhennouch and the artistic direction of Brahim El Mazned, the festival continues to stand out for its commitment to free access, cultural diversity, and creative excellence—values fully evident in 2025.

Thousands of music lovers filled Agadir’s main square and Théâtre Verdure nightly, drawn by the festival’s electrifying atmosphere and the promise of discovery. Traditional Amazigh instruments and melodies resonated alongside contemporary interpretations, underscoring the festival’s commitment to honoring heritage without freezing it in time.

Among the standout performances were Amazigh group AZA, Marwa Naji, Hicham Temoudi Orchestra, Gabonese star Shan’L, and Mozambican artist Isabel Novella, whose appearances injected fresh energy into the program. Shan’L captivated audiences with her bold stage presence and empowering messages, blending Afro-pop rhythms with themes of female strength and self-assertion.

AZA mesmerized the audience with a rich fusion that wove Amazigh musical traditions into the textures of jazz, blues, and funk. Strokes from Telmoudi’s violin revealed a new texture, transforming the instrument into a vessel for Moroccan rhythms and melodies rarely associated with its sound. Indeed, the performance felt intensely personal—at times declarative, at others enigmatic—elevating music into a language of shared feeling.

By contrast, Novella offered a more introspective yet equally compelling set, weaving cultural depth and emotional nuance into her performance. Both artists were warmly received, reinforcing Timitar’s reputation as a platform where African voices from across the continent resonate.

The festival’s celebratory mood reached an emotional peak when news broke of Morocco’s victory over Jordan in the 2025 Arab Football Cup. The spontaneous eruption of cheers, songs, and dance blurred the line between a music festival and a national celebration, underscoring Timitar’s deep connection to Moroccan collective life.

Beyond the stages, Timitar remained a whole sensory experience. The cool Atlantic breeze, the aroma of freshly grilled seafood, and the sight of colorful costumes weaving through the crowds added layers to the festivities, transforming each evening into a communal ritual rather than a mere concert.

With a legacy of performances by icons such as Youssou N’Dour, Alpha Blondy, Salif Keita, and Rokia Traoré, Timitar 2025 upheld its status as a festival where Amazigh culture meets the world—not as a spectacle, but as a living, evolving conversation.

Pictures – Timitar Music Festival   

By John Owoo

(Agadir – Morocco)

The Timitar Music Festival 2025 offered one of its most emotionally charged moments with the performance by Egyptian vocalist Marwa Naji alongside the Hicham Telmoudi Orchestra at the Théâtre Verdure in downtown Agadir.

Set against the festival’s celebration of Amazigh and world music, the evening unfolded as a dialogue among tradition, virtuosity, and contemporary reinterpretation. At the heart of the performance was conductor and violinist Hicham Telmoudi, whose refined musical direction anchored the orchestra with sensitivity and precision.

Telmoudi demonstrated a rare ability to balance discipline and freedom, guiding the ensemble through intricate arrangements that remained faithful to the spirit of classical Arabic music while embracing innovation. His leadership ensured cohesion, allowing each musical phrase to breathe while preserving its emotional gravity.

Telmoudi’s violin work stood out as a defining feature of the night. Moving beyond conventional expectations for the instrument, he took the audience on a sonic journey across Morocco, weaving together unfamiliar rhythms, scales, and beats. Drawing on diverse traditional styles, including Deka Marrakchya, Issawa, Al Aita Jablya, Soussi scales, and Sheraoui influences, Telmoudi seamlessly fused these musical languages with the violin. 

Each stroke revealed a new texture, transforming the instrument into a vessel for Moroccan rhythms and melodies rarely linked to its sound. Indeed, the performance felt intensely personal—at times declarative, at others enigmatic—elevating music into a language of shared feeling.

Equally commanding was Marwa Naji, whose sumptuous, powerful voice filled the space with authority and grace. Known for her operatic background and her rise to prominence as a finalist on The Voice, Naji demonstrated remarkable control and emotional intelligence.

Together, Naji and Telmoudi crafted a performance that transcended nostalgia. Their collaboration transformed memory into motion, inviting the audience not only to listen but also to feel. Undeniably, at Timitar 2025, the concert stood as a testament to the enduring power of musical heritage when reimagined with respect, courage, and artistic vision.

By John Owoo

(Agadir – Morocco)

The Timitar Music Festival in Agadir once again affirmed its reputation as a global meeting point for tradition and modernity when Moroccan band AZA took the stage yesterday with a performance that was both deeply rooted and expansively contemporary.

From the opening notes, the group mesmerized the audience with a rich fusion that wove Amazigh musical traditions into the textures of jazz, blues, and funk. Led by seasoned Moroccan musician Fattah Abbou, the group’s performance was marked by confidence, warmth, and an unmistakable sense of purpose.

Drawing on the rhythmic vitality of Ahwash, the poetic storytelling of Rwais, and the trance-inducing grooves of Gnawa, the band crafted a soundscape that felt both ancestral and strikingly modern. Each composition unfolded patiently, allowing traditional melodies to converse freely with improvisational passages and contemporary harmonies.

Indeed, the atmosphere at Théâtre Verdure was electric. As percussive beats rippled through the crowd, bodies swayed instinctively, while moments of quiet introspection were met with attentive silence. The band’s musicianship was impeccable, with tight arrangements balanced by expressive solos that showcased their jazz and blues influences.

What distinguished AZA’s performance was not only its technical finesse but also its emotional sincerity. Abbou, visibly at ease on stage and constantly smiling, guided the ensemble with subtle gestures, creating space for each musician to shine while maintaining a strong collective identity.

Undeniably, the band’s commitment to preserving and reimagining Amazigh culture was palpable. Their music treated tradition not as a museum artifact but as a living, breathing force capable of dialogue with global sounds. In doing so, they embodied the very spirit of the Timitar Festival: a celebration of Amazigh identity that is open, evolving, and proudly connected to the world.

As the final notes faded and applause filled the cold night air, it was clear that AZA had delivered more than a concert. They offered a powerful reminder of music’s power to bridge generations, cultures, and geographies — affirming Amazigh heritage as both timeless and forward-looking.

Pictures – Timitar Music Festival

By John Owoo

(Agadir – Morocco)

Ivorian reggae icon Alpha Blondy used his appearance at the ongoing Timitar Music Festival to reflect on humanity, culture, and the enduring relevance of reggae music, offering philosophical insights drawn from decades of artistic and personal experience.

Speaking to journalists at the plush Hilton Hotel, the veteran musician described himself as a “simple village child,” grounding his global success in modest beginnings. For Blondy, fame does not redefine heroism. Instead, he insisted that true heroes are the audiences who sustain artists through their loyalty and presence. “Without the public, an artist has no value,” he noted, underscoring the reciprocal bond between performer and listener.

Blondy also highlighted linguistic diversity as central to his music. Known for blending multiple languages in his songs, the reggae legend explained that multilingualism helps him reach wider audiences across borders and cultures. According to him, language is not merely a tool of expression but a bridge for mutual learning and self-discovery, allowing people from different backgrounds to recognize themselves in shared human experiences.

The artist reserved special praise for Morocco, a country he credits with playing a crucial role in the early stages of his career. Blondy expressed gratitude to the North African nation, noting that Morocco contributed significantly to his international breakthrough. Beyond music, he acknowledged the country’s diplomatic role in helping stabilize the political situation in Côte d’Ivoire, underscoring Morocco’s broader influence in the region.

Regarding the future of reggae, Blondy dismissed claims that the genre is fading or outdated. He maintained that reggae remains an enduring form of expression as long as injustice, poverty, and war persist worldwide. Rooted in spirituality, he described God as the “backbone” of reggae, framing the music as both a form of resistance and a moral compass.

Addressing contemporary debates, Blondy also shared his thoughts on artificial intelligence. He rejected the notion of AI as alien or unnatural, describing it instead as a natural product of the human brain. In his view, technological advancement is part of humanity’s ongoing evolution, designed to extend human capacity rather than replace it.

By John Owoo

(Agadir – Morocco)

Théâtre de Verdure, a huge amphitheatre located in the centre of Agadir, came alive last night as two compelling female voices from Africa—Shan’L of Gabon and Isabel Novella of Mozambique—delivered contrasting yet complementary performances at the 2025 edition of the Timitar Music Festival.

Shan’L took to the stage with the confidence and charisma that have made her one of Central Africa’s most visible contemporary pop figures. Backed by tight rhythms and polished production, she commanded attention from the opening note, blending dance-driven hits with moments of personal storytelling.

Known for her strong online presence and advocacy for women’s empowerment, Shan’L carried that same message into her live performance. Between songs, she spoke about resilience, self-worth, and female solidarity, drawing warm applause from the audience.

Her performance balanced spectacle and sincerity. High-energy choreography and catchy hooks were interspersed with songs that highlighted vulnerability and strength, reinforcing her image not just as a pop star but as a voice for young women navigating identity and ambition.

If Shan’L brought fire and flair, Isabel Novella followed with depth and quiet intensity. The Mozambican singer-composer offered a more introspective set rooted in African rhythms, soul, jazz, and traditional Mozambican musical forms.

Isabel’s performance felt ceremonial at times, meditative at others. Her songs explored themes of love, healing, identity, and social transformation, carried by arrangements that fused acoustic textures with subtle contemporary influences.

There was a palpable sense of honesty in her delivery, as though each song was an offering rather than a performance. The audience listened attentively, many visibly moved by the emotional clarity and spiritual undertones of her music.

Together, Shan’L and Isabel Novella showcased the breadth of contemporary African womanhood in music—one bold and celebratory, the other reflective and soul-searching. Their performances at Théâtre de Verdure underscored Timitar’s commitment to diversity, dialogue, and the powerful presence of women artists shaping Africa’s musical future.

Pictures – Timitar Music Festival