My compare with Ghana

By Asyla ten Holt

August 25, 2023



Since I became aware of, confronted, and compared my relation to Western Africa and my Caribbean surroundings for the first time in 2011, my curiosity evolved. It didn’t stay with this characterization of Ghanaian people, their whereabouts, and the involvement of Arts and Culture. The researching of mass productivity, venting, acquainting the political grassroots from the 80s, and tribe’s land development within NGOs politely participating, candlelight sparked my curious need for my self-growth interest. This was followed by coming across and observing the name and understanding the term ‘Diaspora’ and its origin. Altogether, a strong impulse arose to feel like a vital citizen who could unite herself with connections who had experienced African histories where my descendants were involved. This meant gathering willful knowledge more positively, pursuing greater interest as a global citizen in the diverse aspects of brotherhood, artistic, poetry, and therapy practices to heal. This looks interesting since I’m a two-cultural female living on a colony island with lots of divisiveness.

And gradually, my enthusiastically writing an essay after that came forward to stay connected. I let them know my experiences and viewpoint from the municipal Tema, the capital Accra and mentioned Otiakrom, one of the tribes initiatively inviting me to Ghana to their developing village to include my involvement with their plan apart from researching Arts and Culture. When returning to the Dutch lower Caribbean, I did not consider Ghana a closed chapter. Other opportunities started evolving in the sense of bringing the Diaspora image globally and connecting more closely. By inspiring the American Renaissance growing system in 2012 within creative writing, the open doors into the rest of Diaspora countries and visioning Arts and Culture gave me a better understanding of what I was to Ghana and them to me and my Creative writing and Arts in sur-real sense. Since the involvement in West Africa, the participation within the Diaspora made more sense. With Callaloo organizing Africana studies in Rhode Island came following matchmaking to Ghana’s insight, which intuitively was seen as a self-developed understanding of uniting with Afro descent. Then, a year later, in 2013, I had a chance to participate in the Suriname Cultural event Carifesta, attended with the Curacao Arts & Sports educational delegation. In the following years, they brought me again to Suriname. Softly to say, Afro Batik studies, pottery, and Carifesta goals derived from Caricom can somewhat limit our perspectives socially and politically indoors. The continuance to belong diasporically needs a political account before wanting to work in other Caribbean countries because mine is colonial.

The critic was felt lots of time when not independently as an island. But differences are met when in a divided position, independence or reparation; whether it is too controversial is up to who visualizes it. Nonetheless, doubt can arise in any case to figure out what is best. If from past time colonialization and divide matters most. Choose to be politically involved or grow as an active artist, bringing issues the public can ponder. Therefore, this is a unique participation, bringing our two-sided transformative transatlantic relation into modernities’ viewpoint for personal growth.

The inspiration was granted even though one more person was offered an honoree appreciation for her involvement within the Diaspora because of her activities towards the community. This deed happened in 2015 at an event in Dallas. My correspondence, who then died after that, brought me through his grassroots organization from the 80s to the foreground by accepting a token for my involvement in attending my community with arts and culture and realizing events inside the Diaspora. The invitation went via ‘Exposee’ and the organizing mission organization ‘Heal the World.’ A massive and abundant glance at wealth seems not only to cause devastation when a counterpart has other agreements. The vision for future deeds of African descent is to maintain assets and acknowledgments and strive for achievements.

So, my newly discovered Diaspora I had never heard of before in my country) before 2011. By attending the Arts and Crafts show from 2005 to 2008 in Barbados and St. Kitts, I experienced the Afro-Caribbean for the first time (the significant Commonwealth occupation included). This without an utter of the witnessing name of Diaspora. However, the establishment of African descent was present in the rest of the Caribbean, more than this part of the lower Caribbean. The prominent Dutch involvement economically, juridically, and in foreign affairs, including tourism and control, speaks for itself. What seems the divide put into the ‘Si and the No’ is a political enduring system, promoting discouragement and functions when the conclusion wastes time. Otherwise, put the experiences of its diverse consequences in arts and writings.

In pursuing growth between the inter-relatives lies prosperity in promoting global abilities. Entities want meaning and significance when exploiting and exploring creativity and researching well-being. The Diaspora of African descent urges us to unite for better change and express a unique pride. That is why the conclusion is through my lens Caribbean, a non-existent continuance from on the passage undertaken, one of ancient African descent, starting at Elmina castle where the transAtlantic voyage started. And then still, I’m a variety one, because I’m a mix two-cultured one. This thought is derived from Ghana when they’ll always tell me: ‘You’re primarily Western.’ But still, we all remember the gathering of human beings cruelly handled before a voyage to the Americas and overseas, bringing them to colonists to enslave African brotherhood into plantations, resulting in harsh work, molested and revolted outbursts. We now need unification and healing. If from this day the other occupations still exist, domestic work, consequences of the exchange with rape, and humiliation still exist. We need change. And finally, if stronger ones were constructed into metal works where partly iron chains and punishment equipment were designed, these statues only put a heavy burden on our shoulders, if I may conclude so.

Nonetheless, we have an aim: to be united as one and be healed. Let’s express through our performance art, visual art, and writing if not recovered so far.

With the Diaspora born in Ghana, triggered by a banned political figure named Kwame Nkrumah, who laid the foundation for Pan-Africanism and global diaspora, sprang a return movement to form one Africa was a stunning idea. A way of healing? Many returned; likewise, names such as Rita Marley used this well. Positions and housing were offered from back in the 80’s. Seemingly, the offer puts an individual to decide their own righteous beliefs. Although artists also have diverse ideas, be it in the Caribbean, USA, Europe, Saudi Arabia, or the Eastern part, living and functioning as contemporary artists far away from their own country is finally their decision. Many live abroad; they are believed to be economically and promotingly busy re-establishing themselves. Their specific aim in financially significant countries is sometimes tricky, but it is essential to envision their future for a united Afro globally. After experiencing Ghana, my transformation meant expecting my Curacao pathway in the countryside called Bandabou, where my Foundation is. It is in relifting to soon invite all to a unique opportunity to work together with funding activities for helping in the marginal areas. We still have to give a helping hand in the creativity for growing interest in our talents.

The video presentation concludes with what simple questions can arise after the ability to experience Ghana. Many friends are still in correspondence. Traces of thoughts are to complete diaspora can offer, and Africans united. The conclusion is living Afro Caribbean within my art and soul as a mix culturally.

My travel to Ghana 2011/2012. giving an excerpt about the content, what followed on viewpoint diaspora.

-Asyla ten Holt

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About the author

Asyla ten Holt

I’m a versatile, creative senior who organizes and develops arts and culture fundraising projects via my Funark Foundation. My four decades of contemporary cultural skill turned into conceptual research on concerned issues and into a creative expression using mixed media. At a certain point, through visions, surreal and symbolic art became essential to my prose style, photography, and monographs. Another interest is to offer coaching art programs supported by community leaders from after-school.