The theme also tapped into Ghana’s inventive culture. Ghana is home to one of the world’s biggest e-waste dump sites. Unwanted electronic appliances, PCs, microwaves and phones are dumped in landfill sites in the country’s capital, Accra. Despite the health risks, Ghana’s e-waste landfill sites are ideal for gathering worn-out appliances, copper from old cables, and other electronic parts that can be used to create something new by Ghanaians used to creating something out of nothing.

This enterprising spirit seems to have featured at this year’s Chale Wote festival, over this past weekend: from human installations depicting how might an electronic human power source look like, to an artist’s impression of what a drone, made out of scrap, might look like.

The festival organizers say that this year’s theme was an opportunity to cast an eye onto how race, culture, technology and art “can create a different kind of world that is inclusive, diverse, electric, and on the move.”

“African art” as we know it, is changing. It no longer only defined by the djembe drum, wooden face masks, or a canvas painting of an African women carrying her child on her back with something else on her head—all of these mostly sold to the over-enthusiatic tourist who’s keen to get some “art from Africa.”

There’s a new kind of African aesthetic—pioneered by Africa’s young people—that is emerging. It is imaginative, edgy, and casts its reach beyond national borders, opening up a conversation with the rest of the world.

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