From Facing the Mirror to Intentional Conversations

Midday almost catch for Accra. Today be Sunday, September 4, 2022. This be the day wey dem dey bury wona paddy, Isaac Nana Osei “Na’sei” Kwadwo (aka Ashanti Immigrant) for Offinso; ein hometown wey dey Ashanti Region, Ghana. Yestee (Saturday, September 3, 2022), the art community for Accra gather for W.E.B. Dubois Centre take mourn Na’sei. We cry wona cry that day. Today we relax small. We dey the Dubois Centre again.

We come sey we go come clean the place as we finish the memorial service. We also come meet Laurel Richardson. She be artist den academic. She san be guest facilitator for Exit Frame demma critlab (2022) for Tamale. As we drop for Dubois Centre, we see Professor Linda Dey. Prof. Dey be one of Laurel ein former lecturers. She also knor Ato Annan den Adwoa Amoah sekof dem talk before for the Foundation of Contemporary Art, Ghana (FCA-Ghana) office. This be how we all come dey sit for the FCA-Ghana office ein front dey talk about art, life, spirit, memories, connections den the humanity wey we all dey share…

Some few weeks after we meet for Accra, we get bad news sey Mr. Seth Dei, one of people wey start FCA-Ghana, die. Den Mr. Dei dey love collect art wey e san be patron of more art tins wey happen for Ghana. Ebi ein collection wey dem take start Dei Centre. As dem launch FCA-Ghana for some seminar under November, 2004, den Mr. Dei dey tap the panel top. Den the late Professor Joe Nkrumah (den times e dey the National Museum), den the late Mr. Nat Nunoo Amarteifio (he chop Accra Mayor before) dey tap the panel top plus am.

That seminar ein theme be “Facing the Mirror: Does Contemporary Art Reflect Contemporary Society?” Dem pass the seminar top take launch FCA-Ghana. Ebi Professor Joe Nkrumah den Virginia Ryan wey launch am. That time the two of dem be co-directors. Dem hold the seminar for Accra, where the old Busy Internet office dey. Canada demma High Commissioner, H. E. Mr Donald Bobiash, play some film dem dey call am “Recalling the Future: Art in Contemporary Africa”. After that, some open discussion happen. Den Renée Neblet (Kokrobite Institute), Lesley Lokko (architect den author), Kofi Setordji, Godfried Donkor, den me, Benard Akoi-Jackson, dey the panel top. More tins happen that day. One thing wey also happen be Empress Olivia ein exhibition. Den she dey stay Kokrobite that time. This be the same day wey dem launch FCA-Ghana demma website.

Since dem start am for November 11, 2004, FCA-Ghana dey lead everybody for the way dem dey take contemporary art show Ghanaians. Dem dey change how more Ghanaians dey see art. FCA-Ghana get members, wey the people wey dey ron am be artists. Since the time dem start, FCA-Ghana dey do more tins take give artists opportunity. Dem dey hold exhibitions, seminars, screenings den workshops give artists. FCA-Ghana dey love collaborate plus other institutions den artists. Demma office dey inside the W. E. B Dubois Centre for Pan-African Research, for First Circular Road (Cantonments, Accra). This office no just be for administration tins, but dem also dey use am as reference library den experimental exhibition space take show contemporary art.

So as we meet that Sunday afternoon for the FCA-Ghana office ein front — plus wona diaspora sisters den people wey dey commot from all over the world — after we fini dey mourn wona brother wey die lef we; e kai we of the work wey FCA-Ghana dey do since the time wey e start.

Bernard Akoi-Jackson (BA-J): I dey welcome you all to this short conversation. Adwoa Amoah den Ato Annan be co-directors of FCA-Ghana. Fatric Bewong too be artist for FCA-Ghana wey e collabo plus dem more times.

Adwoa Boakyewaa Amoah (ABA): Thanks sey you make we dey here, Bernard.

BA-J: Me too I dey thank you sey I fit dey here plus you guys for W. E. B Dubois Centre.

Ato Annan (AA): Thanks, Akoi. Ebi great sey we fit sit here talk.

BA-J: As we manage find small chance from wona busy lives, make we enjoy am, anaa?

Fatric Bewong (FB): This moment be precious mmom…Edoa life fit make busy waa. We no go even talk Accra traffic matter! But as we dey here, make we just enjoy am.

BA-J: I promise. This thing, we kyɛɛ sef. More tins happen since the time wey we talk sey we for meet. Ato den Adwoa, you people no curate some exhibition dem dey call am “If we’re happy in our dreams, does that count?” 1See further documentation from the exhibition here: for ifa Gallery for Stuttgart, Germany? Fatric, you sef den you be one of the artists for the show under. We go talk more about dem projects later. For now, make we discuss FCA-Ghana. You people start almost twenty years this. You fit kai any moment since the time FCA-Ghana start wey dey show your impact for the art scene for Ghana?

AA: Today, more tins make normal for the art scene wey den we no get before. We fit talk of tins like art talks, crits, art events wey dey happen for public — ones wey dey focus on community. Projects wey dey combine art, urban space den architecture. I no go talk chao sef.

FB: Yeah, I dey kai one of the first talks wey I ever go. Den ebi you sef wey dey give talk for Goethe Institut, Akoi. FCA-Ghana organize am. Den the title be somtin like…

BA-J: Den e be somtin like “Do art and not dabble in witchcraft” or so?

AA: Yes, yes. Den that one good waa. I for talk true, den what you dey talk that time dey over me but somehow at the same time I dey fit barb am some style. E dey make sense.

BA-J: Or e be disastrous. [laughing]

AA: No, no. You for barb sey that talk no, e really enter everybody wey come the event.

ABA: You Fatric sef, you present your work that time for the FCA-Ghana here, no be so?

FB: Yes, den I make nervous waa. The time wey I dey art school for KNUST, den we dey do more seminar presentations for the Department of Painting and Sculpture inside. So as I see sey people make engaged plus my work, e make I relax small, start dey enjoy the moment.

ABA: We fit talk sey ebi we wey start dey do more of these activities. Rydee e come make normal for town. More people dey do am demma own style sef.

BA-J: So as you dey talk sey you wey start dey organize these tins; what you go fit talk sey be some of the most notable tins wey FCA-Ghana do?

ABA: Well, FCA-Ghana come check like support structure give artists den demma audience. We fit talk sey ebi we be one of the organization wey push contemporary art practice from time. Sekof that, we come get name for Ghana den abroad sef.

BA-J: Tell we some of the institutions den people wey you people work plus since the time you start. You fit add some of the projects wey you people work on; the ones you feel sey dey contribute to FCA-Ghana ein story.

ABA: I no go even suffer mention Bisi Silva, founder of CCA-Lagos. Den she be part of the Global Crit team plus Kianga Ford den Shane Aslan Selzer. I no go lie you, as we meet Bisi for December 2010, we come see sey we for change the direction of the work we dey do for Ghana inside.

AA: She come turn wona mentor sef. No be as practictioners pɛ, she san dey mentor how we dey manage wona arts organization.

ABA: Ebi through am we take meet the Global Crit team for 2011 inside. By the time 2013 come, we den am organize den host the second Àsìkò Art School inside Ghana. We san organize Global Crit Clinics for Accra plus am, from 2012 to 2014.

AA: More artists wey dey on the continent, or wey dey work for Ghana inside benefit from the projects. Either sey dem benefit directly or even through other people wey benefit. 2Some few artists wey participate den chop from Global Crit Clinics be Fatric Bewong (Ghana), Violet Nantume (Uganda), Mimi Cherono Ng’ok (Kenya), Tijay Mohammed (Ghana, USA), Serge Attukwei Clottey (Ghana), Jeremiah Quarshie(Ghana), Stary Mwamba (Zambia), Peter Nii Narku Thompson (Ghana, USA), den Tejuoso Olanrewaju (Nigeria).

ABA: Bernard, den you sef be guest presenter for some of the Global Crit Clinics. Kwasi Ohene-Ayeh den Adomaa too be presenters. The Critlab project wey dey run for Ghana for four years now commot from these projects. 3Exit Frame Collective dey run Critlab plus FCA-Ghana, blaxTARLINES KUMASI, Savannah Centre for Contemporary Art, Tamale, den KNUST Museum.

BA-J: Den no be you people wey dey run FCA-Ghana from time. You fit talk we the time wey you start run the organization, den the tins wey you do as you come make directors?

AA: I start dey make active for FCA-Ghana 2007. That time den Adwoa already dey. She join around 2005. By the time wey we take over no, den we dey change-change some FCA-Ghana project dem dey bell am “Art in the Garden”. Den we dey do that project sekof more artists demma exhibitions no dey fit go inside the galleries wey dey Accra that time. As we come FCA-Ghana, den dem dey hold dem kind events for expatriates den diplomats demma houses inside. So around 2009 den 2010, we decide sey we go take the garden exhibitions commot places like Cantonments for Accra, take go Jamestown, Freedom Park for Koforidua, den Busua community for Takoradi.

ABA: Den wona minds be sey we go allow make more artists fit access the project, den more people fit access de art.

AA: We start dey call the new format “Art in Public Spaces”. Den we also wan make people see how the artistic process dey happen. Sekof these kind initiatives den we dey visit communities like Jamestown. For there, we dey work plus artists den the people wey dey stay the communities inside so sey we fit create murals, installations den site-specific sculptures. One thing wey commot wona community work be Chale Wote Street Art Festival. Den we dey mong of the organizers from 2011 to 2015, as Visual Art coordinators.

BA-J: As the art scene for Ghana constantly dey change, what be some of the strategies you dey take operate over the years so sey you fit keep FCA-Ghana ein relevance?

ABA: Chale we dey work for space inside wey public funding no shedaa dey. This dey mean sey, as we be not-for-profit institution, wona money matter fit make tight. Sekof this we always dey love work plus institutions den people. As we dey do am so, wona network too dey expand; make we dey see innovative ways of how we fit do tins.

AA: We dey believe sey hand dey go, hand dey come. As you dey take your time den energy help we plus wona project, so nɔɔ if time catch sey you dey do your own, den we too we show up help you. We dey progress sekof we get good relationships plus more of the people wey we work plus. That be why we dey; wona mission be sey we go support artists. More times we dey offer free consultation den support for institutions den individuals. That be how we dey fit do project even as money no dey.

ABA: The way we dey do tins be how more institutions den artists for Ghana too dey do am.

BA-J: So what be FCA-Ghana ein position for Ghana ein art ecosystem inside?

ABA: We position wonaselves sey any artist wey dey hia support fit come wona there. We no get physical cash but we dey fit give artists access take enter the community or the knowledge dem dey share. If you need some place take chill or meet more artists, that be we. For wona side you fit crosh other artists, exchange ideas plus dem, do research for wona library inside, or even just talk sef; we always base.

BA-J: So as you base for Dubois Centre for Cantonments, how you feel sey your location dey help the projects we you dey do?

AA: Dubois Centre be very important space for wona history inside, especially if you dey look at wona struggle for independence den wona post-independence/post-colonial lives. The Centre be the place where W.E.B Dubois stay as den he dey do ein Encyclopedia Africana project. Ebi 1961 wey Dr. Kwame Nkrumah, Ghana ein first president, wey invite am. The space where we base for be the compound where Dubois stay till e je mli. As e die, den dem bury am for the Christianborg Castle inside. But for the 1980s inside, people for the Ministry of Arts den Culture come barb sey dem for move Dubois ein remains go dey proper memorial place. So dem commot ein body from Christianborg Castle, wey dem take am come where den e dey stay. Dem build tomb for am for the compound inside, wey dem turn the house den e dey stay for into museum. That be where we dey rydee. The complex san get library. The library get general, public library den Dubois ein private collection as den e dey Ghana

BA-J: How you take come dey here?

AA: Ebi sekof den we dey talk to the FCA-Ghana founders: Professor Joe Nkrumah, Virginia Ryan, den Sekou Nkrumah. That time na Sekou Nkrumah be Acting Director give the Dubois Centre. This be 2003. Den other people wey get the same ideas den interest as we dey the compound inside; musicians, actors den craftspeople. Den the plan be sey FCA-Ghana go provide curatorial support take give Dubois Centre. You really talk am. The Centre dey inside Cantonments, which get ein own history for the city inside. Sekof how dem build Accra, Cantonments come turn one of the places where den the colonial officials dey stay. So you go still see more of dem colonial buildings wey den dem dey stay inside for around.

ABA: As power come dey wona hands inside post-independence time, den ebi Ghana demma civil den public servants wey move come stay Cantonments.

AA: Burma Camp dey gbɛnkɛ Cantonments waa. More embassies den diplomatic missions get demma residencies for Cantonments inside. Another thing wey we for point out be sey the colonial people plant plenty Neem den Mahogany trees for here. Dem take the Neem commot India come sekof dem feel sey ebi medicinal so dem fit use am sack mosquitoes take fight malaria. Den malaria be common for Accra that time.

BA-J: Neem dey provide good shade too, abi?

AA: You barb? Some Neem den Mahogany trees wey dey Cantonments chop more than one hundred years. So, for this urban place be where you go see trees wey grow waa.

ABA: The fact sey we no mention the trees wey dey Accra ankasa like Silk-Cotton den Baobabs no dey mean sey we no know sey dem too dey.

BA-J: Of course, of course…

AA: So plenty old trees dey inside Cantonments. For Dubois Centre sef some still dey. Labone dey Cantonments ein south-west, Labone dey the southeastern part, Osu base for the South. We san get Kwame Nkrumah circle; that one too dey west…

ABA: Kotoka International Airport, Airport Residential Area, Legon, dem all be close to Cantonments. Even Madina den Adenta too be close.

AA: Where Cantonments dey, dey make am easy for the people wey dey provide domestic den auxiliary services for den-times colonial households to come job from wherever dem dey stay.

ABA: 37 lorry station too dey make am easy sey you fit reach Cantonments. If you enter the lorry station you fit move go anywhere for Accra.

BA-J: You talk sey dem bury W.E.B Dubois for the Dubois House for Cantonments. You fit tell we more about how dem do the tomb? I dey try think of the architects wey fit work on am…

AA: What I know for fact be sey ebi two architects wey work on the tomb ein design. I know sey Ralph Sutherland be one of dem. But before I even answer the question, I want fini dey talk about Dubois Centre ein location. You for barb sey as time dey go on, the connections too dey change. As Cantonments continue dey grow, more diplomatic missions too move come this side. Luxury apartments too start dey appear wey car den human traffic too start change. Sekof that, some kind public transport no dey fit move through Cantonments again. Even for the places wey dem fit move through, dem no dey come plenty again. So the movement come make difficult some way. What this dey mean be sey you no fit access more of Cantonments unless you get your own car. So the people wey dey come here rydee be people wey dey some class inside. Wey, sekof the diplomatic missions also get demma consular sections for Cantonments inside, right now ebi visa applicants sɔɔ wey dey pass through this area.

ABA: This dey show how the space ein role change-change over the years.

BA-J: You manage talk about the colonial situation, post-independence situation, den how the space come make gentrified to the point sey movement be restricted. Still people dey find ways come trhough Cantonments. How FCA-Ghana dey try use programs take bring mixed crowd to Cantonments? Especially the people we no get anything do for Cantonments?

AA: You for barb sey the FCA-Ghana space for Dubois Centre also be wona meeting place. We get wona administrative office for here, plus wona library den tins. From time to time sef we dey fit transform am turn exhibition space. We dey do more of wona tins for there; for inside den outside all. But ebi sekof wona programs dey try engage all kinds of people, that be why anytime we get event more people dey show up. The people wey dey come dey commot every kind place. We dey attract people we get different-different interests den concerns. Another thing wey we dey do be sey more of wona projects dey actually happen for around the city, no be Cantonments pɛ. So wona members den audience dey love come wona side.

ABA: The Centre too change. E move from space for cultural tins wey dem turn am to social space. So weddings, parties, church meetings den pop-up flea markets all dey happen for here. This one too dey allow make different kind people dey come the Centre.

AA: The space get more functions, so more tins fit happen here at once.

BA-J: So how FCA-Ghana dey fit inside this situation? What I dey mean be sey, how your organization dey allow make people dey come your side? How you dey design programs make e dey mark-mark these changes take show people?

AA: I dey kai some time wey dem cut-cut some Mahogany den Neem trees for the Togo Embassy roundabout there. Den those trees dey give shade waa. Dem cut down the trees sekof Ghana at Fifty celebrations. Dem say dem dey use some Greening Ghana project take beautify the city. The trees wey dem cut vex we waa, so we (FCA-Ghana) organize “Saving Accra’s Roots” protest for where dem cut the trees for. Ebi through the protest wey more people take knor what dey go on for there.

ABA: FCA-Ghana den wona people replant new trees for there.

BA-J: Ebi the same trees wey dey there rydee? The trees wey dey plus the cement sculptures dem do sekof the Greening Ghana Project?

ABA: We no fit talk for fact sey those trees be the ones wey we naa we plant.

BA-J: But we fit talk sey FCA-Ghana demma hands dey inside projects wey dey concern urban space, architecture, art den public den cultural space organization.

ABA: Yes, we fit talk am so. Some of wona interventions make wona artist change-change demma direction. I go fit mention Mohammed Awudu (Moh). He dey do mural den graffiti art. He make wild sey e go use ein art try change ein community people demma mind for Nima. Moh be one of the artists wey work plus FCA-Ghana for “Graffiti & Street Art Project” for 2012. The reason wey we do the project be sey we wan create museum for Brazil house ein first floor take tell Tabom people demma history for the Tabom Community. So we graffiti Brazil house ein walls, den the surrounding area. The Tabom people be former African slaves wey lef Brazil come stay Otublohum for Jamestown. We do this project plus the Brazilian Embassy for Ghana. 5The other artists wey dey inside this be Ian Quhachi, Kwabena Danso, Kwabena Adjei, Steven Zion (dem dey commot Ghana). Binho Ribeiro den Alexandre Keto dey commot Brazil.

AA: Any time we dey organize public den community engagements plus artists, we dey create make-shift studios give the artists for the public meeting grounds top. The whole community fit help dey paint murals, or sey dem go help make tins den sculptures. One of the reasons we dey do this be sekof we want make everybody see sey art fit be something normal. More times people dey talk: “I no fit draw” or “I no fit paint.” This be time make people try demma hands sey dem dey create something. Rydee e make common sey people go come “paint and sip” event. Artists wey like dem go dey demma studio dey paint or sculpt, we dey pull dem commot make dem include the community for demma process inside.

ABA: For Akanmaje (some place for Jamestown), the youth for the community inside work plus Joseph Kola take build some metal sculpture for wona of demma public meeting places. Den the mural painting project dey happen for there. That sculpture still dey the community inners today.

BA-J: The projects really dey challenge artists make dem commot demma studio dey meet the people wey dey fit inspire demma work. E dey make dem enter demma urban context proper. You fit take some one or two examples talk we how FCA-Ghana dey organize collabo for Ghana inside den internationally?

ABA: For 2022, FCA-Ghana collaborate plus The Line in London for demma Longitudinal Dialogues: Cultural Conversations on the Meridian. The project take The Line ein location for the Greenwich Meridian top like sey that be where global cultural exchange dey start for. The project ein first phase connect London den Accra, wey e present creative responses give sustainability, plastic pollution den climate change. Dem deliver workshops for six different-different primary schools for different cities inside. Like 600 school kiddies do some of the program. The school kiddies use discarded plastic den recyclable materials take create masks. Dem use Serge Attukwei Clottey ein works take guide how dem dey do demma masks. That time den The Line commission Serge Attukwei Clottey make e create sculpture. For some projects under you go see women wey dey carry demma kiddies den kiddies wey just come house after school, or you go see young men den women who demma mind dey. Dem all go try dey paint plus the artists. But for this project the thing wey dem dey do be masks.

AA: We also get long-standing partnership plus Writers Project Ghana for Pa Gya, demma annual literary festival. Pa Gya dey happen over three days. Writers, poets, academics, editors, den more literary practitioners for Ghana den abroad dey come Accra share demma work. More times people dey launch books, book fairs dey happen make authors den publishers sell demma work, den spoken word performances too. As the years dey pass, the festival dey grow make dem add art talks, art den literary exhibitions, den film screenings. FCA-Ghana come turn one of the festival sites, wey we san dey facilitate part of the festival. Bernard, as you talk earlier, 2022 ifa Gallery for Stuttgart invite FCA-Ghana make we curate the “If we’re happy in our dreams, does that count?” exhibition. Six Ghanaian artists take Arundhati Roy ein book “The God of Small Tins” inspire demma art. Dem use art explore urban space den the multi-layered past wey dey connect Accra den Stuttgart. Dem san explore how city fit be place, myth den fiction agent; wey dem reframe questions of belonging.

BA-J: Fatric, as den you be part of the show, you fit talk about your work?

FB: Den my idea be sey I want do installation of kiddies demma scribbles den prints for calico top. Den I also wan do sound composition wey dem use local den improvised musical instruments do, wey I go video am. So sey people go fit experience all these tins like ebi one work. I work plus kiddies from Jamestown, Accra, den kiddies for Kinder-und Familienzentrum Rosenstein. I also collaborate plus Jukus Jugendkunstschule den Kreativwerkstatt for Stuttgart.

BA-J: You fit talk about the tins wey you do plus FCA-Ghana over the years? This no be your first project plus dem.

FB: Me den FCA-Ghana, wona relationship be very fruitful over the years. I dey consider dem family. Ebi after I fini art school for 2007 wey I join dem. Den I just come Accra fresh, wey I dey do my Service for NAFTI (National Film and Television Institute), which also dey Cantonments. That be the time wey the foundation too dey try start for the Ghana art scene inside. Den the foundation dey try experiment plus young artists demma ideas. I make lucky waa sey I fit meet interesting people like the late Prof. Joe Nkrumah den Virginia Ryan, the late Atta Kwami (den I already know am from Art School for KNUST), den the late Bisi Silva. Ebi for FCA-Ghana wey I meet Nii Noi Nortey; I do more experimental collabos plus am, even the piece wey we do for Stuttgart. I also meet Serge Attukwei Clottey for there. I san meet you Ato, den you, Adwoa. The way dem position the foundation strategically, I learn more tins wey I collaborate plus more people den institutions. I use that opportunity take work on my interpersonal relations den engagement skills. The members too be very supportive plus the way dem dey fit give feedback on any artist ein work. FCA-Ghana dey always support we artists plus resources wey fit help we like literature make we take reference, technical help den advice. All this be tins wey help define the kind artist I be today.

BA-J: FCA-Ghana also be place where young people wey go love work inside arts dey intern for. You fit talk more about this?

ABA: For the last two decades inside, we dey help institutions den individuals wey dey search research opportunities or hands-on experience take complement demma academic activities. We also dey help introduce dem into the art world. We pass these opportunities inside take collaborate plus institutions like iKANDO (2004 – 2010), the Department of Painting den Scultupre for Kwame Nkrumah University of Science and Technology (2000 – current) den New York University Accra City Campus (2004 –current). 6Some of wona interns den volunteers over the years dey include: Adjo Kisser, Gideon Asma, Kimathi Calistus Agbanu, Isaac Tettey Abbey, Franklin Yohuno, Julia Neal, Ruti Talmor, Adam Vowles den many, many more.

BA-J: Your collabos be multidirectional waa. Yet somehow you dey manage maintain urban context relation.

AA: Yes, for wona collaborations plus institutions den individuals all, the city always be the primary context for the artists demma work.

BA-J: Yes, wey the focus no just be on adults demma experiences pɛ. Children den young people too dey your mind top for FCA-Ghana activities. Anything you go love talk about this? What be your achievements for that area inside? Wey bodies you dey engage plus? I know sey you create interventions wey you den some architects design projects for public parks den market inside give kiddies. I dey think of the tins wey you people do for Mallam Atta Market for Accra, Mmofra Place for Dzorwulu, den Teshie-Nungua Community Park.

ABA: The Mmofra Foundation project be part of “Playtime in Africa” project wey Efua Sutherland think of. Den Efua Sutherland be serious playwright wey she dey advocate for children’s rights. Part of the Playtime project be sey dem go develop park for Accra so sey kiddies fit play den learn, or sey dem go learn as dem dey play. So, after government no give the kind support wey like dem for give make dem develop the big park wey dey close to the National Theatre, the Mmofra Foundation use demma own property for Dzorwulu take develop Mmofra Place. Dem do this project plus Efua Sutherland ein family den some community members demma support. The space no dey look like what you go feel sey normal playground dey look like. Rather than sey we go install dem equipments den gadgets like how dem dey do am for the West, we try think of how kiddies ankasa dey love create demma own tins take play. That be the thinking we take design the place.

AA: We follow how kiddies dey play take design the place, no be how we growees go love make kiddies play.

BA-J: So you combine plus artists den architects take do the place?

AA: Yes, we job plus architects like Namata Serumaga-Musisi, Ralph Sutherland, Mae-Ling Lokko, den more people. Some come sekof other projects we get. Fatric sef…

BA-J: Yes, Fatric, you too you work plus kiddies paa. You san work for school inside sey you dey teach kiddies art. You fit talk about this part of your job?

FB: Kiddies demma word be full of imagination den possibilities. If I get my own way like all the kiddies go get access to resources wey fit help dem creatively express demma body any how dem like. I dey spend more of my time plus kiddies. Kiddies wey chop 4 to 10 years dey bost my brain. For demma world inside, everything be possible. For the project wey I do for Stuttgart, den I make interested in working plus scribbles. I dey see am like sey that be how the kiddie dey take start enter language den communication. Den I wan pass sound composition take enter that same world so sey I fit see how you fit use scribbles barb sound. If I think about am, I see sey I no play plenty as I be kiddie so if I dey do my art, I dey love ask myself “What if?” I dey love experiment like sey I be curious kiddie; I dey collect more tins den try figure out how e go check like.

BA-J: Make we come back to FCA-Ghana ein matter. You people get future plans? You get some re-positioning plan in the years wey dey come?

ABA: We go toa so dey work the way we dey work naa; artists fit come wona there if dem get issues wey we fit solve. But we also dey try position wonaselves proper so sey we fit provide some financial support wey artists dey need take try bigger projects. We dey also search for permanent space wey go help make wona work over the last twenty years solid. We dey talk plus wona collaborators, wey if anybody get interest sey dem go fit help we, we make ready sey we go work plus dem. We get vim sey if the time come sey we for search money, we go get support from the community. I know sey e go happen sekof in 2015, as we lose wona library den part of wona building sekof flood, more people come help we. Smallest time pass wey we come back full time.

ABA: As den we dey come move back into wona office, Covid-19 too pai. Ghana enter lockdown. After this we no get choice, we start dey move wona meetings go virtual. E work give we waa. We go continue dey move like this so sey we fit expand wona network. Virtual dey allow different kind of possibilities. For now, if anybody be interested in wona work den artists, dem fit consider demma body members.

AA: At the same time, we go continue dey make wona gatherings happen.

Translated by Fui Can-Tamakloe

Interdependence (2022) is a collaboration between e-flux Architecture and OtherNetwork.