By John Owoo

(Lomé – Togo)

Three artists from Togo, Congo, and Jamaica transformed the sprawling stage at the Marché Moderne de Cacavéli-Agoè on Saturday night into a vibrant sanctuary of sound, as the Les Afropéennes Music Festival continued to electrify Lomé.

Set against the vast open-air backdrop of one of the capital’s busiest commercial hubs, the evening unfolded as a cross-continental dialogue of rhythm, message, and performance. Each act brought a distinct sonic identity, yet together they crafted a seamless narrative spanning contemporary African and diasporic music.

Togolese musician Joachim Migos stepped onto the stage with the confidence of a cultural commentator and the charisma of a street poet. Fusing hip-hop and drill, he delivered sharp, witty lyrics laced with humor while subtly addressing themes of money, love, and social realities.

His performance was more than entertainment; it was a mirror of urban life in Lomé. With energetic delivery and a natural rapport with the audience, Migos captured the mood of a generation navigating both aspiration and uncertainty. For many in attendance, he embodied the city’s pulse.

The tempo shifted as Congolese artist Jocelyn Balu, accompanied by Borumba, transported the crowd into a world of layered melodies and expansive storytelling. Their set blended realism with surreal touches, reflecting the dynamism of Congo’s contemporary music scene.

Rich harmonies intertwined with pulsating rhythms, while their explosive stage presence kept the audience in constant motion. The performance underscored the depth and versatility of Central African musical traditions, reimagined for the modern stage.

Jamaican roots reggae artist Hempress Sativa, joined by Italian dub maestro Paolo Baldini of DubFiles, took the stage by storm. What followed was a masterclass in roots rock reggae and dub culture.

As the dub console came to life — echoes spiraled, delays stretched into the night air, and Baldini’s live mixing transformed the performance into an immersive sonic experience. The crowd responded with raised hands and rhythmic sways, fully absorbed in the hypnotic waves of sound.

Together, the three performances affirmed Les Afropéennes as a meeting point of cultures — a festival where borders dissolve and music speaks a shared language of rhythm, resistance, and celebration.

Launched in June 2023 by Togo Créatif, with support from the European Union and  Institut Français du Togo, Les Afropéennes has quickly become a major cultural fixture in Lomé, the Togolese capital.

Partners include the European Union, Institut Français, Goethe-Institut, ASKY, Marché Moderne de Cacavéli-Agoè, cfao, Hit Radio, GNADOE, Fanga Music, Voltic, and Hôtel École Lébénè. 

By John Owoo

(Lomé – Togo)

The fourth edition of the Afropéennes Music Festival opened in grand style on Friday, February 20, at the Magic Mirrors Theatre in the Institut Français compound in Lomé, drawing music lovers into an evening of powerful cross-continental sounds and cultural celebration.

Set inside the circular theater—a striking space adorned with reflective panels that amplify both light and sound—the festival’s opening night offered a rich blend of African and European musical traditions. The ambience alone heightened anticipation, but the performers transformed the venue into a resonant chamber of emotion and rhythm.

Cape Verdean singer Lucibela enchanted the crowd with a soul-stirring performance. Singing with remarkable depth and clarity, she captivated the packed auditorium. Her voice, at once tender and commanding, echoed beautifully against the mirrored walls.

Drawing on the repertoire of the late Cesária Évora, she paid homage to the legendary “Barefoot Diva” while seamlessly weaving in her own stylistic inflections. The result was a moving tribute that bridged generations of Cape Verdean music, leaving the audience spellbound.

The energy shifted with the entrance of Togolese artist Dieudonné Wila, whose performance pulsed with vitality. Alternating between rapid-fire rhythms and slower, contemplative melodies, Wila delivered songs that explored themes of life, hope, and peace. His set radiated optimism, underscored by tight Afrobeat arrangements that flowed effortlessly from the backline.

Visually impaired, Wila used the stage not only as a musical platform but also as a space for advocacy and inspiration. Between songs, he shared messages about resilience and social awareness. In a particularly stirring moment, five visually impaired dancers joined him onstage, transforming the performance into a celebration of inclusion and artistic excellence. Their synchronized movements drew thunderous applause and cheers from the audience.

From the Indian Ocean island of Réunion, Karba Jako closed the night with an electrifying set. The group filled the hall with layered electronic textures and hypnotic traditional percussion, creating a magnetic, almost trance-like atmosphere that had the crowd swaying to its earthy, feverish rhythms.

Launched in June 2023 by Togo Créatif, with support from the European Union and the Institut Français du Togo, Les Afropéennes has quickly become a major cultural fixture in Lomé, the Togolese capital.

Through free concerts and bold collaborations, the festival celebrates the shared musical heritage between Africa and Europe. This year’s edition highlights island cultures, underscoring their enduring influence on the African musical landscape.

Partners include the European Union, Institut Français, Goethe-Institut, ASKY, Marché Moderne de Cacavéli-Agoè, cfao, Hit Radio, GNADOE, Fanga Music, Voltic, and Hôtel École Lébénè. 

By John Owoo

(Lomé -Togo)

Lomé, the capital of Togo, will once again become a crossroads of global sounds as Les Afropéennes Music Festival returns for its fourth edition from Friday, February 20 to Sunday, February 22, 2026.

Organized under the Togo Creative program, the festival continues to strengthen cultural dialogue among Africa, Europe, and the wider diaspora. This year’s edition is themed “Islands, where music meets,” spotlighting island cultures as spaces for encounter, memory, and musical exchange.

Known for its curatorial approach to music programming, the festival offers audiences a journey across continents and archipelagos, linking African rhythms to island traditions shaped by migration and history.

The 2026 lineup brings together artists from Cape Verde, Portugal, Jamaica, Italy, Réunion, Guadeloupe, Madagascar, Cuba, Congo, France, and Hawaii, reflecting the festival’s commitment to diversity and cross-cultural dialogue.

Alongside international acts, the festival places strong emphasis on Togolese music. Artists such as Senzaa, Dieudonné Wila, Dogo from Togo, and The Alagaa Beat Band are set to perform, reaffirming the event’s role in supporting homegrown talent.

Emerging voices will also be featured, including Joachim Migos, a young composer whose live performance highlights the festival’s focus on mentorship and talent development. The Open Mic competition also returns, offering young freestylers a rare platform for exposure and professional growth.

The festival will unfold across two distinct venues, each offering a different atmosphere. An intimate opening night on February 20 will take place at the Magic Mirrors of the French Institute in Lomé, while the celebrations expand into the city on February 21 and 22 with open-air performances at the Cacavéli Market in Agoè, bringing music directly into everyday urban life.

Beyond live performances, Les Afropéennes extends into cinema and public engagement. In the lead-up to the festival, special screenings of the documentary Benda Bilili will be organized for schools, institutions, and the general public, underscoring the festival’s educational and social dimensions.

Supported by the European Union, Togo Creatif is a cultural platform dedicated to strengthening Togo’s creative industries through international collaboration, artistic exchange, and support for emerging talent. Through initiatives such as “Les Afropéennes,” the program continues to position Lomé as a key hub for contemporary cultural expression in the region.

By John Owoo

(Accra – Ghana)

An exhibition by Polish-born, German-raised artist Susanna Tarkowski, who currently lives and works in Ghana, unfolds as a quiet yet resonant meditation on memory, perception, and lived experience.

Presented at the Buro, an Accra-based co-working space and curated by Patrick Nii Okanta Ankrah, the exhibition brings together paintings, drawings, and poetry, forming an intimate archive of moments drawn from everyday life, dreams, and inner visions.

Tarkowski’s practice is resolutely multimedia, but not in the sense of spectacle. Rather, she treats each medium—painting, poetry, and drawing—as a parallel channel for recording memory. Much like entries in a personal journal, these forms coexist without the need to translate among them.

Instead, they offer different registers through which memory can surface. As the artist notes, “memory is never singular but layered, and shaped by details that remain alive when seen as part of something larger.” This understanding permeates the exhibition, where fragments accumulate into a larger emotional and sensory landscape.

Titled “A Place for Memories,” the works on display oscillate between abstraction and figuration. Vibrant segments of color are interrupted by motifs, suggesting fleeting encounters or fully remembered narratives.

This reflective atmosphere is reinforced by the exhibition’s live poetry session at the opening, which brought Tarkowski’s words to life as embodied experience rather than static text. Here, poetry functions not as explanation but as resonance—another layer through which memory vibrates.

The artist, who works across poetry and short fiction, painting, photography, and dance, uses movement as a pathway into traditional culture and spiritual healing. Her practice spans a wide emotional spectrum: on one end, it is infused with light, human connection, love, dreams, and a profound appreciation of life; on the other, it confronts difficult realities, including abuse, sexual harassment, and personal trauma. This duality lends her work a tension that feels both raw and tender.

Ultimately, the exhibition asks what is omitted in the act of “re-membering.” It urges viewers to tune in to the overlooked—fleeting sensations, emotional undercurrents, and the interconnected worlds we carry within us: physical, mental, spiritual, and emotional. Tarkowski does not offer answers; instead, she creates space for memory to breathe.

The exhibition has since ended.

By John Owoo

(Accra – Ghana)

I arrived at the famous James Town café, having passed by a number of abandoned structures predating Ghana’s independence. Standing in their own grandiose way, they remind visitors and residents alike of the rich history of Ga Mashie (Accra Central), which played a prominent role in colonial Ghana.

Entering James Twon Café, I notice a lovely garden – something conspicuously missing in Ga Mashie. It is surrounded by tables and chairs where patrons enjoy meals and drinks while flipping through art books and admiring historic photos on the walls.

That morning, my mission was to see an architectural exhibition on historic buildings titled “Shopping Emporiums of West Africa,” which focused on the influence of the Kingsway Department Stores in West Africa’s modern urban space. It also focused on their role in keeping British-American goods in the mouths of Africans, with hundreds of branches in pre- and post-colonial Ghana and Nigeria. 

Curated by Prof. Iain Jackson of the Liverpool School of Architecture (United Kingdom) and Claire Tunstall, Global Head of Art, Archives, and Records Management at Unilever, the exhibition featured previously unseen archival photographs, architectural drawings, marketing materials, and brochures from the United Africa Company archive.

Kingsway Stores, a subsidiary of the United African Company (UAC), was the vehicle through which British culture and capitalism spread from the early colonial era into the post-independence era. 

The first Kingsway store opened in 1915 on the Evans Atta Mills High Street in James Town, serving British expatriates and elite Africans. The second, a magnificent, large building in modernist design, was constructed in 1956 as part of the 1957 independence celebrations. 

Consequently, this exhibition highlights our beloved Kingsway as an icon of nostalgia and as a neo-colonial agent within modernism. Undeniably, old Accra has several urban ruins: abandoned colonial-era buildings left to decay, some of which crumbled after the 1939 earthquake, and facades that are reminders of a vibrant Euro-African mercantile past. 

Indeed, remnants of early 20th-century office buildings, warehouses, retail outlets, and trade houses now serve as custodians of the story of how Accra evolved into a commercial center from its days as a harbor city.

The exhibition is sponsored by the University of Liverpool, James Town Cafe, and the Architecture Heritage and Urbanism in West Africa organization (AHUWA), and promoted by the Center for Architecture and Arts Heritage Africa.

It ends on Friday, April 3, 2026.

Slide One is an AI reproduction by Lumii studios

By John Owoo

(Accra – Ghana)

Unchained is more than a memoir; it is a declaration of intellectual and moral freedom. In this compelling autobiographical work, Ghanaian journalist and activist SaCut Amenga-Etego chronicles a life defined by resistance to censorship, political intimidation, social constraints, and personal adversity.

Born and raised in Ghana, Amenga-Etego situates his story within the broader struggles for freedom of expression in the country’s political and media landscape. The book traces his journey from childhood in Kandiga (Upper East Region) through decades of activism, journalism, and civic engagement, culminating in what he describes as an unjust trial and imprisonment. These experiences form the emotional and political core of Unchained, revealing the high personal cost of speaking truth to power.

What makes the book particularly engaging is its expansive scope. Amenga-Etego does not limit himself to political struggle alone; he also offers a window into his private life. Readers encounter stories of economic hardship, family tensions, love affairs, and the psychological toll of living under constant pressure.

Furthermore, it touches on his personal political journey as a radical left-wing activist and offers insights into his encounter with former Ghanaian presidents, Flt. Lt. Jerry John Rawlings, Prof. John Atta Mills, and other Ghanaian leaders – past and present.

The narrative extends beyond Ghana’s borders, reflecting periods spent abroad and the dislocation that often accompanies exile, whether physical or emotional. During his stay in Europe, he came to realize that not all that glitters is gold. 

The 260-page book also captures the contemporary moment. Amenga-Etego reflects on the COVID-19 pandemic and its impact on social relations and activism, while highlighting how digital platforms and social media became crucial for amplifying his voice when traditional spaces were restricted or hostile. His intelligent, strategic use of the internet emerges as a form of modern resistance, reinforcing the book’s central theme of liberation.

Written in an accessible, direct style, Unchained reads as both a personal testimony and a political document. It will resonate with readers interested in journalism, human rights, civic activism, and Ghana’s evolving democratic discourse. Published by Euro Books, the memoir stands as a powerful reminder that freedom is not given—it is claimed, defended, and continuously negotiated.

In Unchained, Amenga-Etego offers not only the story of his life but also a broader meditation on courage, resilience, and the enduring struggle to remain free in thought and expression.

Pictures were taken by Edward Heir during the launch of “Unchained” at the 2025 PaGya Literary Festival in Accra.

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.