Berj Busua Artist Residency – Busua, Ghana

Location: Busua, Western Region, Ghana (birthplace of Hannah Kudjoe)
Established: February 2025 (announced) | July 2025 (soft opening)
Founded By: Berj Art Gallery / Joyce Quarshie Foundation
Current Leadership: William Prempeh, Robert Prempeh, Emmanuel Okeke
Initiative: Hannah Kudjoe Initiative
Website: http://www.berjartgallery.com
Instagram: @berjartgallery
Email: info@berjartgallery.com (for residency inquiries)
Berj Gallery Accra: 37 Labone Crescent, opposite Wangara Hotel, Accra

Overview

Berj Busua Artist Residency represents a groundbreaking new chapter in West African contemporary art infrastructure—a transformative creative hub on Ghana’s western coast that honors revolutionary activism while fostering the next generation of artist-activists. Launched in February 2025 and opening its doors in July 2025, this ambitious initiative by the legendary Berj Art Gallery (operating in Accra since 1996) establishes Ghana’s first artist residency explicitly dedicated to women creatives and socio-political artists, situated in Busua, the birthplace of Hannah Esi Badu Kudjoe—one of Ghana’s most significant yet under-recognized independence activists.

The residency functions as an integrated living, working, and exhibition space, combining artist studios, exhibition gallery, research library, and community engagement center within a sustainably-built complex overlooking the Atlantic Ocean. Unlike many residencies that separate creation from presentation, Berj Busua operates on a holistic model: artists create work in Busua’s inspiring coastal environment, exhibit at Berj Busua’s on-site gallery, and gain further international exposure through exhibitions at Berj Gallery’s established Accra space and global network built over 25 years.

What distinguishes Berj Busua is its explicit political and environmental consciousness. The residency emerged directly in response to the devastating galamsey (illegal gold mining) crisis ravaging neighboring Butre and threatening Busua’s future—positioning art-making as active resistance to extractive exploitation and offering cultural production as sustainable alternative to destructive development. As stated in the residency’s founding vision: “This residency seeks to reclaim and redirect investment into cultural production, ecological consciousness, and artistic collaboration—a cause that Hannah Kudjoe herself would have stood for.”

By prioritizing interdisciplinary practices—visual arts, performance, multimedia, fashion, film, dance, and artistic research—Berj Busua creates fluid collaborative space where artists working across disciplines exchange ideas, cross-pollinate approaches, and collectively address local and global socio-political issues. The residency explicitly welcomes transdisciplinary exploration, breaking down both geographical and artistic boundaries to cultivate experimental environment where new methodologies emerge through dialogue and shared inspiration.

Berj Busua is more than artist residency—it is evolving movement, beacon for sustainable cultural development, and living tribute to Hannah Kudjoe’s legacy of creative resistance, community mobilization, and unwavering commitment to justice.

The Legacy Foundation: Hannah Esi Badu Kudjoe (1918-1986)

Understanding Berj Busua requires understanding the woman whose revolutionary spirit animates every aspect of the residency. Hannah Esi Badu Kudjoe—known as “Convention Hannah”—was born in December 1918 in Busua, Western Region, the youngest of ten children to Mr. and Mrs. John Peter Dadson. Her birthplace, this very fishing village on Ghana’s Atlantic coast, now hosts the residency bearing her name.

Hannah Kudjoe’s Revolutionary Path

Early Life & Education:
In an era when few girls received education, Hannah was among the privileged exceptions. She attended Busua Methodist School (elementary) and completed her education at Sekondi Methodist School. After school, she became popular dressmaker in Tarkwa, where she married J.C. Kudjoe, manager of Abontiako gold mines. When the marriage ended, she moved in with her brother, E.K. Dadson, a prominent United Gold Coast Convention (UGCC) activist.

Political Awakening (June 1947):
Hannah’s transformation from dressmaker to revolutionary occurred when Kwame Nkrumah—recently returned from over a decade studying in the United States and Britain to serve as UGCC General Secretary—stayed at the Dadson house during a trip to Tarkwa. Over dinner, when Nkrumah asked why she hadn’t attended UGCC meetings, Hannah responded honestly: “I thought politics was only men’s business.”

What followed changed Ghana’s history. Nkrumah spent twenty minutes explaining the independence struggle and the importance of everybody, especially women, in the movement. Hannah was convinced. This single conversation transformed a young dressmaker into one of Africa’s most formidable female nationalists.

Mobilizing the Masses:
After attending her first UGCC meetings, Hannah became key supporter, raising grassroots support and building networks throughout Ghana. When the so-called “Big Six” independence leaders (Kwame Nkrumah, J.B. Danquah, Ako Adjei, Edward Akufo-Addo, Ebenezer Ako-Adjei, and William Ofori Atta) were arrested by British colonial authorities in 1948 following riots, it was Hannah Kudjoe who single-handedly mobilized demonstrations and campaigned tirelessly for their release—organizing protests, uniting people, and applying relentless pressure until their freedom.

When Nkrumah split from UGCC to form the Convention People’s Party (CPP) in 1949, Hannah followed. She became the only woman present at the CPP’s founding meeting—historic participation marking beginning of her central role in Ghana’s independence struggle. She rose to become CPP National Propaganda Secretary and party organizer, touring the country advocating for independence, organizing rallies, and propagating the Nkrumah movement with extraordinary effectiveness.

Hannah was instrumental in the Positive Action campaign of mass civil disobedience and political protests that eventually led to end of colonial rule, Nkrumah’s 1951 election victory, and formation of independent Ghana in 1957. Her ability to bring people together, mobilize women into political participation, and maintain momentum during difficult periods made her indispensable to the movement.

Post-Independence Work:
After Ghana gained independence on March 6, 1957, Hannah founded the All-Africa Women’s League (later Ghana Women’s League), emphasizing Pan-African views and women’s empowerment. Throughout the 1950s and 1960s, while maintaining official CPP roles, she undertook extensive social welfare work in Northern Ghana—teaching young women and adults basic life skills in hygiene, homemaking, childcare, and economic self-sufficiency.

She championed anti-nudity campaigns, distributed free clothing donated from other countries, taught women to boil water for bathing children, helped distribute food during famines, and encouraged women to farm for food security. Remarkably, she undertook most of this work independently of government structures, leading to official disapproval and minimization of her contributions—foreshadowing her eventual erasure from official histories.

After Nkrumah’s overthrow by military coup on February 24, 1966, Hannah withdrew from political scene like all CPP members, returning to private life while continuing philanthropic work in Northern Ghana through the 1970s and 1980s.

Final Appearance & Death:
Hannah Kudjoe’s final public appearance occurred on International Women’s Day, March 8, 1986, when she addressed a symposium at the Accra Community Centre. She died the next day, March 9, 1986, at age 68. Her obituary, published May 8, 1986, concluded: “She was a priceless gem who in no small measure contributed to the political emancipation of Ghana from the clutches of imperialism.”

The Erasure & Rediscovery

Despite her monumental contributions, Hannah Kudjoe’s name was conspicuously absent when Ghana celebrated its 50th independence anniversary in 2007. While the male “Big Six” received statues, street names, and historical reenactments, no woman was commemorated—least of all Hannah, who had mobilized their release from prison and served as only woman at CPP’s founding.

This systematic erasure—what scholar Jean Allman termed “the disappearing of Hannah Kudjoe” in groundbreaking research—reflects broader pattern of women’s contributions being written out of nationalist histories. Even Nkrumah’s own autobiography, which details his closest male comrades, never mentions Hannah Kudjoe by name, despite her constant presence during the CPP’s foundational years.

In recent years, activists and scholars have worked to restore Hannah Kudjoe’s rightful place in Ghana’s history. Lawyer and #FixTheCountry convener Oliver Barker-Vormawor has advocated naming Kotoka International Airport after her: “No woman was more important to Ghana’s independence struggle than Hannah Esi Badu Kudjoe. She did twice if not three times the work that some people who found themselves as the ‘Big Six’ did. She deserves her own statue; or currency. We should even name the airport after her!”

Berj Busua exists to ensure Hannah Kudjoe is never forgotten again—and to continue her legacy of creative resistance, women’s empowerment, and community mobilization through art.

The Founder: Joyce Quarshie (1956-2024) – Grand-Niece of Hannah Kudjoe

Berj Busua’s creation represents the culmination of Joyce Quarshie’s 40-year mission to preserve and champion West African art—a mission deeply rooted in her family’s legacy of cultural nationalism and political activism.

Family Legacy

Born Tuesday, March 27, 1956, Joyce Quarshie (née Abena Joyce Quarshie) grew up immersed in Ghanaian art, history, and politics. Her family connections to Ghana’s independence struggle and cultural preservation were profound:

Father: Ambassador John Kwame Agbevanu Quashie served as Special Advisor to President Kwame Nkrumah, playing key role in creating the Organization of African Unity (OAU). He held ambassadorial posts in Ivory Coast, Congo, and Egypt, while chairing the Agricultural Development Corporation.

Mother: Sabina Patricks was connected to Ghana’s most prominent political figures.

Grand-Aunt: Hannah Esi Badu Kudjoe (Convention Hannah)—the revolutionary independence activist after whom Berj Busua is named.

Grand-Uncle: E.K. Dadson—prominent UGCC activist and Hannah Kudjoe’s brother, who hosted Kwame Nkrumah when he first politicized Hannah.

This environment imbued Joyce with deep sense of nationalism and cultural pride that would shape her lifelong dedication to preserving Ghanaian art. When Joyce’s mother Sabina Patricks passed away in 1979—when Joyce was just 23—she became especially close to her grand-aunt Hannah Kudjoe, who became like a mother to her. Hannah’s dressmaking skills, political activism, and commitment to community empowerment profoundly influenced young Joyce.

Education & Early Career

Joyce received her early education at Accra Girls’ School (starting 1968), before moving to Versailles, France for high school, then completing her studies in Connecticut, USA. This international education exposed her to wide array of artistic expressions, laying foundation for her future as prominent art collector and gallerist.

Upon returning to Ghana, Joyce initially joined her mother in the fish trade, later expanding her interests into luxury goods and eventually, her true passion: art.

The Collecting Journey (1982-Present)

In 1982, Joyce’s life direction crystallized when her close friend Jennifer Cofie-Edu introduced her to three of Ghana’s most distinguished artists: A.O. Bartimeus, Fojig Acolatse, and Reggie Quao. This introduction sparked Joyce’s passionate collecting, and she began assembling what would become one of Ghana’s most comprehensive private art collections.

From 1982 onward, Joyce collected with singular focus and discerning eye—acquiring works from both established masters and emerging talents, building collection that chronicled Ghana’s modern and contemporary art development from the 1960s onward.

1984-1994: Nigeria Decade
Joyce moved to Nigeria in 1984, spending a decade successfully promoting Ghanaian artists in the Nigerian market. This period expanded her network throughout West Africa and demonstrated her commitment to championing Ghanaian art beyond national borders.

Founding Berj Art Gallery (1996)

In March 6, 1996—coincidentally Ghana’s Independence Day—Joyce founded Berj Art Gallery in Accra’s Labone neighborhood. The gallery quickly became cornerstone of Ghana’s art scene, established through early exhibitions at the Ambassador Hotel and collaborations with Ghana’s artistic luminaries.

The Name “Berj”:
While not explicitly documented, “Berj” likely derives from Joyce’s commitment to preserving Ghanaian heritage—a name embodying both artistic excellence and cultural preservation.

The Joyce Quarshie Permanent Collection:
Over four decades (1982-2024), Joyce built an esteemed collection of over 1,000 pieces featuring:

• Pre-colonial Ghanaian art
• Modern Ghanaian art (1960s-1990s)
• Contemporary Ghanaian and West African art
• Paintings (oil, acrylic, watercolor)
• Sculptures (wood, metal, bronze)
• Works by artists whose achievements shaped national heritage and gained international critical acclaim

Major Artists in the Collection:

• Professor Emeritus El Anatsui (internationally celebrated installation artist, Venice Biennale Golden Lion winner)
• Professor Ablade Glover (master landscape painter, founder Ghanatta College of Art and Design)
• Professor Ato Delaquis (distinguished painter)
• Nii Amon Kotei (creator of Ghana’s Coat of Arms—who gifted Joyce a 1968 Ablade Glover piece as her “most prized possession”)
• Dr. Oku Ampofo (pioneering sculptor and physician)
• Owusu Ankomah (internationally recognized painter)
• A.O. Bartimeus (distinguished artist)
• Betty Acquah (painter who later managed Berj Gallery)
• Victor Butler
• Ato Delaquis
• Numerous other established and emerging artists

Major Commissions & Exhibitions

Jubilee House Art Collection:
Joyce was commissioned to curate the art collection for Jubilee House—the residence and office of the President of Ghana—a testament to her standing as one of Africa’s foremost art authorities and her trusted eye for works worthy of representing Ghana at the highest level.

2017: Exhibition with Kofi Annan:
Joyce hosted major exhibition with Kofi Annan, former UN Secretary-General, in honor of the Kofi Annan Foundation—demonstrating Berj Gallery’s international stature and commitment to pairing art with humanitarian causes.

2023: Creation Africa Ghana Launch:
Joyce welcomed the President of Ghana as special guest for major exhibition launching Création Africa Ghana, an innovative French Embassy initiative. This proved to be one of Joyce’s final major public events.

Establishing the Hannah Kudjoe Foundation

Joyce’s commitment to honoring her grand-aunt Hannah Kudjoe manifested in establishing the Hannah Kudjoe Foundation (also known as Joyce Quarshie Foundation)—dedicated to continuing Hannah’s legacy of empowering women, supporting community development, and fostering cultural preservation.

The foundation’s work emphasizes:

• Women’s empowerment and leadership development
• Cultural heritage preservation
• Community service and social welfare (echoing Hannah’s Northern Ghana initiatives)
• Supporting creative practitioners, particularly women artists

Final Days & Legacy

Joyce Quarshie passed away in October 2024 at Berj Gallery, aged 68. Her death occurred just months before the February 2025 announcement and July 2025 opening of Berj Busua—making the residency’s launch a profound posthumous tribute to her lifelong mission.

As noted in her obituary: “A visionary Gallerist and Collector, Joyce dedicated 40 years to building the esteemed Joyce Quarshie Permanent Collection… Her life’s work was a spiritual mission to preserve and elevate Africa’s rich artistic narratives.”

A Book of Condolence was opened at Berj Gallery, where family, artists, and well-wishers gathered to honor her memory.

Surviving Children & Continuation:
Joyce’s three children—William Prempeh, Robert Prempeh, and Emmanuel Okeke—already deeply involved in gallery operations, have committed to continuing her legacy through:

• Maintaining Berj Gallery in Accra
• Preserving the Joyce Quarshie Permanent Collection
• Growing the Hannah Kudjoe Foundation
• Launching and operating Berj Busua Artist Residency

William Prempeh, now managing Berj Gallery, explained to media: “She was a very strong-spirited woman who had a lot of passion in the arts. She was ahead of her time, not just from being a woman in Ghana, in West Africa, and achieving what she did, but a person in general of African descent achieving what she did… The vision that she had, being ahead of her time, is what I admire.”

Joyce Quarshie’s 40-year dedication ensured that generations of Ghanaian artists found platforms for their work, collectors accessed exceptional African art, and Ghana’s cultural heritage was preserved and celebrated. Berj Busua stands as her final, most ambitious project—a living, evolving tribute to both her own legacy and that of her grand-aunt Hannah Kudjoe.

Why Busua? Geography, Culture & The Galamsey Crisis

Busua: The Setting

Busua is a beach resort town and fishing village in the Ahanta West District, Western Region of Ghana, approximately 30 kilometers west of regional capital Sekondi-Takoradi along the Atlantic Ocean’s Gulf of Guinea coast. Home to over 5,000 inhabitants who speak the Akan language dialect Ahanta, Busua has historically served as seaside retreat for wealthy locals and, since the 1970s, international visitors.

Geography & Climate:

• Pristine golden sand beach stretching along dramatic coastline
• Warm tropical climate year-round
• Gentle waves perfect for beginner surfers (crowned “surfing capital of Ghana”)
• Lush tropical forests and scenic hiking trails in surrounding areas
• Proximity to Cape Three Points Lighthouse, Fort Metal Cross (Dixcove), Fort Apollonia
• Access to Ankasa Conservation Area for nature lovers

Cultural Significance:
Busua holds special place in Ghanaian history as birthplace of Hannah Kudjoe—making it sacred ground for independence struggle commemoration. The town celebrates traditional festivals including the Kundum Festival showcasing Ahanta culture through dance, music, and rituals.

Tourism Infrastructure:
Modern Busua offers full electricity (achieved early 2000s after relying on weekend generators until 1990s), running water, restaurants, hotels, bungalows, luxury real estate developments, and vibrant artistic community. Busua Beach Resort won Akwaaba Leisure Awards 2007 for “Best Leisure Hotel in West Africa.”

Arts & Culture Scene:

• Asabaako Festival (“One Dance”)—annual music and cultural festival since 2011, held every March over Ghana Independence Day weekend, featuring Afrobeats, AfroHouse, live music, surfing, beach sports, yoga, and legendary jungle parties (won “Best Event with Environmental Sustainability” Ghana Event Awards 2018)
• Jaw Opoco’s record shop—treasure trove housing one of Africa’s most extensive vinyl collections (West African music, Fela Kuti, rare recordings)
• Growing community of artists, musicians, surfers, and cultural practitioners
• Beachfront cafes, restaurants, and creative spaces

The Butre Galamsey Crisis: Why Now, Why Here

Berj Busua’s establishment in 2025 directly responds to urgent environmental and social crisis threatening the Western Region. Neighboring Butre (just kilometers from Busua) has been devastated by galamsey—illegal small-scale gold mining activities that have wreaked environmental havoc across Ghana, particularly in the Western Region.

What is Galamsey?
“Galamsey” derives from Ghanaian phrase “gather them and sell”—referring to illegal artisanal gold mining. While individual galamsey sites cover less area than industrial mines, their cumulative effect dramatically outweighs large-scale operations. In southwestern Ghana, small-scale mines’ footprint is nearly seven times greater than industrial mines.

Environmental Devastation:

• Deforestation: As of 2018, galamsey led to approximately 29,000 hectares (72,000 acres) of deforestation, with 1,000 hectares in protected areas
• Water pollution: Major rivers including Pra, Ankobra, Oti, Offin, and Birim contaminated with mercury, cyanide, and heavy metals. Ghana Water Company Limited reported water turbidity levels of 14,000 NTU—far above 2,000 NTU required for treatment. Experts warn Ghana could be importing water by 2030 if galamsey continues
• Soil degradation: Land rendered infertile, cocoa plantations destroyed
• Forest degradation: 34 of 288 forest reserves affected; 4,726 hectares destroyed (larger than Athens or Brussels)
• Deep excavation pits: Difficult or impossible to rehabilitate

Health Crisis:
Water pollution from galamsey linked to chronic diseases including kidney failure, birth defects, cancer, and neurological disorders in mining communities. Mercury poisoning from crude processing methods affects miners and surrounding populations.

Socio-Economic Impact:

• Destruction of farmlands threatens food security
• Cocoa production (Ghana supplies 20% of world’s cocoa) under severe threat
• Loss of livelihoods for farmers replaced by temporary, dangerous mining work
• Youth school abandonment to work galamsey sites
• Community displacement and social disruption

Political & Corruption Dimensions:
Despite multiple government operations (Operation Halt, Operation Vanguard, Operation Flush Out, Galamstop), galamsey continues escalating. President Nana Akufo-Addo declared in 2017 he would “put his presidency on the line” to fight galamsey, yet 500 seized excavators have gone missing, key state officials and politicians named as culprits remain unprosecuted, and corruption undermines enforcement.

As of September 2024, 60% of Ghana’s water bodies suffered pollution due to galamsey, triggering Democracy Hub protests demanding presidential order stopping all illegal mining in forest reserves and along key rivers.

Butre Specifically:
Butre, Busua’s immediate neighbor, exemplifies galamsey’s devastating impact—ecosystems destroyed, livelihoods disrupted, community fabric torn. As Busua faces its own development crossroads, the galamsey threat looms: will the town follow extractive path leading to environmental ruin, or embrace sustainable, community-driven alternatives?

Berj Busua’s Response:
The residency’s founding statement explicitly positions art-making as resistance: “The alarming impact of galamsey in Butre—a neighboring community—has devastated ecosystems, disrupted livelihoods, and revealed the dangers of short-sighted, extractive investments. As Busua faces potential paths of development, there is an urgent need for sustainable and community-driven alternatives that resist destructive exploitation.”

By establishing cultural production, ecological consciousness, and artistic collaboration as economic drivers, Berj Busua offers concrete alternative to extraction—demonstrating that creative economy can provide sustainable livelihoods, attract tourism, employ local community, and preserve environment. This is precisely what Hannah Kudjoe—who fought extractive colonialism and championed community empowerment—would have advocated.

Residency Philosophy & Mission

Berj Busua operates from clear ideological foundation rooted in Hannah Kudjoe’s revolutionary legacy, environmental justice, feminist principles, and belief that art-making constitutes political action.

Core Objectives

1. Empowerment of Women Creatives and Socio-Political Artists
Prioritizing underrepresented voices—particularly women artists and those addressing socio-political themes—the residency provides platforms for critical engagement with power structures, environmental crises, gender inequality, and community mobilization.

This objective directly honors Hannah Kudjoe, who broke barriers as only woman at CPP’s founding meeting and spent her life empowering women through education, economic skills development, and political participation.

2. Cultivation of Vibrant Creative Community
Connecting artists across disciplines (visual arts, performance, multimedia, fashion, film, dance, artistic research) and West African regions to foster interdisciplinary exchange, collaborative projects, and cross-pollination of methodologies.

The residency explicitly transcends artistic boundaries: “Our goal is to not only break geographical boundaries but also transcend artistic disciplines, creating a fluid, collaborative space where creative exchange and cross-pollination thrive.”

3. Promotion of West African Art on Global Platforms
Facilitating exhibitions locally (Berj Busua gallery, Berj Gallery Accra) and internationally (leveraging Berj’s 25-year network) to amplify resident artists’ reach, connecting them to collectors, curators, institutions, and global art market.

4. Cultural and Economic Development in Busua
Stimulating local economy through artistic tourism, employment opportunities (construction, maintenance, hospitality, guides), educational initiatives, and demonstrating sustainable alternatives to extractive industries.

As stated in founding vision: “By embedding these goals into our residency model, we aim to create lasting impacts beyond the duration of individual residencies, ensuring that Berj Busua becomes a sustainable, evolving cultural force.”

Holistic Art-Making Model

Berj Busua approaches art-making comprehensively—from conception to presentation to global circulation:

Stage 1 – CREATION (Busua):
Artists develop work in Busua’s inspiring coastal environment with dedicated studio space, materials support, curatorial mentorship, and community engagement opportunities.

Stage 2 – PRESENTATION (Busua & Accra):
Work is first exhibited at Berj Busua’s on-site gallery, then (for selected works/projects) exhibited at prestigious Berj Gallery in Accra—Ghana’s established art hub with 25-year collector base and institutional relationships.

Stage 3 – CIRCULATION (Global Platforms):
Berj Gallery’s international network facilitates participation in art fairs, institutional exhibitions, publications, and connections to galleries/collectors worldwide.

This integrated approach ensures residency isn’t isolated experience but genuine career catalyst—providing infrastructure many African artists lack for transitioning from studio to market.

Transdisciplinary Vision

While Berj Gallery Accra focuses on visual arts, Berj Busua actively aims to support transdisciplinary exploration, welcoming artists working in:

• Visual Arts: Painting, sculpture, installation, printmaking, photography
• Performance: Theater, dance, performance art, body-based practices
• Multimedia: Video art, sound art, digital media, new media
• Fashion: Textile design, wearable art, fashion as social commentary
• Film: Documentary, experimental film, video installation
• Artistic Research: Socially-engaged practice, community-based projects, research-creation

“By encouraging artists from different fields to work alongside one another, we cultivate an open, experimental environment where new ideas emerge through dialogue, collaboration, and shared inspiration.”

This transdisciplinary commitment positions Berj Busua uniquely among West African residencies—most focus exclusively on visual arts, whereas Berj Busua embraces performance artists, filmmakers, fashion designers, and researchers as equally valid creative practitioners.

Facilities & Sustainable Infrastructure

Berj Busua’s physical plant embodies its values—sustainable construction methods, renewable energy, water conservation, and integration with surrounding environment demonstrate that art spaces can model ecological responsibility.

Architectural Approach

Eco-Friendly Construction:
Built using locally sourced materials, particularly rammed earth—traditional building technique using natural raw materials (earth, chalk, lime, gravel) compacted into load-bearing walls. Rammed earth offers:

• Excellent thermal mass (naturally regulating interior temperature in tropical climate)
• Low carbon footprint compared to concrete/brick
• Beautiful aesthetic with visible earthen layers
• Durability and longevity
• Local employment of skilled traditional builders

Upcycled Furniture:
Rather than purchasing new furnishings, Berj Busua incorporates upcycled furniture—extending lifecycle of existing materials, reducing waste, supporting local craftspeople who transform salvaged materials into functional art.

Educational Component:
Construction process itself serves educational function—teaching local builders sustainable practices that can be applied to future community projects, spreading knowledge about eco-friendly building techniques throughout region.

Energy Systems

Solar-Powered Lighting:
Solar panel installation provides renewable energy for lighting throughout complex, minimizing reliance on Ghana’s electricity grid (which still depends significantly on fossil fuels). Solar power offers:

• Energy independence and reliability (crucial in areas with occasional power fluctuations)
• Zero emissions during operation
• Long-term cost savings after initial investment
• Model for community adoption of renewable energy

Water Management

Rainwater Harvesting:
Rainwater collection system captures precipitation from roofs, channeling to storage tanks for:

• Gardening and landscape irrigation
• Cleaning and maintenance
• Non-potable uses throughout complex

Filtration Systems:
Water filtration ensures harvested rainwater meets quality standards for intended uses, reducing dependency on municipal water supply and modeling water conservation for community.

Waste Reduction

Recycling & Composting Systems:
Established in partnership with Busua Traditional Council, comprehensive waste management includes:

• Recycling program sorting plastics, metals, glass, paper
• Composting organic waste producing nutrient-rich soil amendments for gardens
• Community education encouraging eco-conscious practices among residents and visitors

Eco-Conscious Art Practices:
Residency encourages artists to:

• Use sustainable, non-toxic materials when possible
• Minimize waste in studio practice
• Consider lifecycle of artworks and materials
• Incorporate recycled/upcycled materials into creative work
• Document and share sustainable art-making techniques

Integrated Spaces

1. Artist Studios:
Dedicated workspace for resident artists equipped with:

• Natural lighting (crucial for visual artists)
• Ventilation appropriate to tropical climate
• Flexible space configuration for diverse practices
• Secure storage for works in progress and materials
• Proximity to other residents fostering spontaneous exchange

2. Exhibition Gallery:
Professional presentation space featuring:

• Adjustable lighting for optimal artwork display
• White walls providing neutral backdrop
• Climate consideration for artwork preservation
• Capacity for diverse installation types (wall-mounted, sculptural, multimedia)
• Public accessibility for community and visitors

3. Research Library:
Curated collection providing:

• Art books, exhibition catalogues, theory texts
• Ghana/West African art history resources
• Socio-political analysis, feminist theory, environmental justice literature
• Access to Joyce Quarshie Permanent Collection documentation for research
• Quiet study space for residents

4. Community Engagement Center:
Flexible space enabling:

• Workshops with local community (children, youth, adults)
• Artist talks and public programs
• Collaborative projects between residents and Busua community
• Meetings with local organizations (Traditional Council, Odo Valley, etc.)
• Cultural events and gatherings

5. Living Quarters:
Residential accommodations (details not fully disclosed but implied) providing:

• Private or semi-private spaces for rest and reflection
• Integration with studio/gallery complex for immersive residency experience
• Comfort appropriate to tropical coastal environment

Community Partnerships

Busua Traditional Council:
Collaboration with traditional leadership ensures:

• Residency respects local customs and protocols
• Community benefits from residency presence
• Waste management and environmental initiatives align with community priorities
• Cultural exchange flows bidirectionally (artists learning from community, community engaging with contemporary art)

Odo Valley:
Partnership with local environmental organization Odo Valley supports:

• Eco-friendly practices implementation
• Environmental education for residents and community
• Potential collaborative eco-art projects
• Integration with broader sustainability initiatives in Busua

Residency Program Structure

[NOTE: As of December 2025, Berj Busua is in early operational phase (soft opening July 2025). Full residency program details including application process, duration options, costs, and selection criteria are still being developed. Information below reflects announced objectives and inferred structure based on Berj Gallery’s established practices and residency founding statements.]

Focus Areas & Eligibility

Primary Focus:

1. Women Creatives: Women artists working across all disciplines
2. Socio-Political Artists: Practitioners (all genders) addressing social justice, environmental issues, political activism, community empowerment, decolonization, and related themes

Disciplinary Openness:
Visual artists, performance artists, multimedia practitioners, fashion designers, filmmakers, dancers, artistic researchers—all welcome. Residency particularly values artists working between disciplines and those whose practice defies traditional categorization.

Geographic Scope:
While rooted in West African context with emphasis on Ghana and region, residency welcomes international artists whose work engages with African contexts, diaspora experiences, or global socio-political issues resonating with residency’s mission.

Career Stage:
Both emerging and established artists considered. Residency values:

• Emerging artists needing professional development, exhibition opportunities, networks
• Mid-career artists seeking focused production time, new contexts for work, collaborative opportunities
• Established artists bringing mentorship capacity, international perspectives, cross-generational exchange

Duration & Timing

Anticipated Options (to be confirmed):

• Short-term residencies: 1-3 months
• Long-term residencies: 3-6 months
• Flexible timing based on artist’s project needs and gallery/residency programming

Seasonal Considerations:

• March residencies coincide with Asabaako Festival—annual music and cultural festival bringing thousands to Busua for multi-day celebration of Afro-music, surfing, beach culture, environmental sustainability. Residents during this period engage with festival energy, potential collaborations, and expanded audience.
• Other timing offers quieter creative retreat atmosphere

Program Components

1. Studio Space & Materials

• Dedicated studio within Berj Busua complex
• Basic materials provided or reimbursed (details TBD)
• Technical equipment access (specific equipment TBD)
• Support for specialized materials/equipment needs on case-by-case basis

2. Housing & Living Support

• Residential accommodation at or near Berj Busua
• Specific arrangements (private rooms, shared facilities, etc.) TBD
• Living in coastal fishing village environment—quieter, slower-paced than Accra

3. Exhibition Opportunities

• Guaranteed exhibition component at Berj Busua gallery
• Potential exhibition at Berj Gallery Accra (selected works/projects)
• Participation in group exhibitions, particularly annual exhibitions during Asabaako Festival honoring Hannah Kudjoe
• Professional installation, documentation, promotional support

4. Curatorial & Artistic Mentorship

• Engagement with Berj Gallery leadership (William Prempeh and team)
• Access to Joyce Quarshie Permanent Collection for research and inspiration (1000+ pieces modern/contemporary Ghanaian art from 1960s onward)
• Lectures and workshops with Ghana’s leading artists including Professor Ato Delaquis, Emeritus Professor El Anatsui, Owusu Ankomah, Billy Baffoe Bonnie, Betty Acquah—leveraging Berj Gallery’s enduring relationships
• Curatorial feedback on work development
• Career guidance and professional development

5. Community Engagement

• Opportunities (potentially required) to engage Busua community through:
  • Workshops with local children, youth, or adults
  • Artist talks open to community
  • Collaborative projects
  • Cultural exchange activities
• Integration with local cultural events and festivals

6. Research & Library Access

• Use of on-site research library
• Documentation access to Joyce Quarshie Permanent Collection
• Support for artistic research projects

7. Networking & Professional Development

• Connections to Berj Gallery’s 25-year network of collectors, curators, institutions
• Introductions to Accra art scene (Gallery 1957, Nubuke Foundation, dot.ateliers, etc.)
• Potential participation in Accra gallery events
• Support for portfolio development, artist statements, exhibition proposals

Dual-Location Advantage: Busua + Accra

Unique to Berj Busua is integration between two locations:

Busua (Creation & Retreat):

• Coastal environment conducive to focused creative work
• Smaller-scale community allowing deep engagement
• Slower pace, natural beauty, surf culture
• Distance from Accra’s urban intensity

Accra (Presentation & Network):

• Established gallery with 25-year collector base
• Ghana’s cosmopolitan capital with diplomatic community, institutions, international visitors
• Proximity to Kotoka International Airport for global connections
• Integration into thriving contemporary art scene

As founding statement notes: “The Residency programme will offer the artist in residence the unique and organised opportunity to stay and work in Accra, the vibrant modern cosmopolitan African city and Busua the quintessential traditional African fishing village serving as a sanctuary and an artistic retreat, in an immersive cultural experience that will feed the Artist’s creativity.”

The extent to which residents move between both locations likely varies based on residency length, project needs, and programming—but this dual-location model differentiates Berj Busua from single-site residencies.

Inaugural Program: “Fragments of Knowing” (July-September 2025)

Berj Busua’s soft opening occurred in July 2025 with the exhibition “Fragments of Knowing” (running through September 8, 2025), curated by Kukua Kweku-Badu (@thekukua). This inaugural exhibition set the tone for residency’s ambitious vision, bringing together phenomenal group of artists exploring memory, intuition, and ways we understand ourselves and each other.

Exhibiting Artists

“Fragments of Knowing” Featured:

1. Owusu Ankomah – Internationally recognized painter, longtime Berj Gallery artist
2. Patience Kofuma Annan – Contemporary artist
3. Ray Agbo – Visual artist
4. Kojo Biney – Created ecological installation that began reconfiguring surrounding space even before gallery opened, inviting early visitors and locals to consider lifecycle of materials and human role in shaping environment
5. James Cudjoe – Visual artist
6. Essel Ekuban – Contemporary practitioner
7. Mia Ghogho – Artist whose earthy tones, mixture of smooth strokes with texture, and soft yet striking patterns created calming atmosphere
8. Kobina Nyarko – Visual artist
9. Helena Ama Sackey – Contemporary artist
10. Elijah Sofo – Visual artist

Additionally, Elisha Arthur from Busua—local artist embodying socio-political ideologies—will showcase works as part of ongoing programming, representing community voice within residency.

Opening Night

The soft opening created palpable energy as described in Berj’s documentation: “When the gallery finally opened that evening, the energy was unmistakable. Guests poured in from all directions: local children, artists from across Ghana, international travelers, and longtime friends of Berj. Conversations sparked effortlessly. Some of the muses behind the artworks found themselves in the spotlight, becoming unexpected stars of the night.”

This opening demonstrated residency’s capacity to function as:

• Community gathering space (local children actively present, not excluded)
• Professional exhibition venue (Ghana artists, international travelers)
• Cultural bridge (conversations across diverse backgrounds)
• Celebration and reflection (joy combined with serious artistic inquiry)

The description continues: “More than just a launch, it was a gathering of community and creative spirit—the kind that reminds us why we do what we do. ‘Fragments of Knowing’ invited people not only to view art but to connect, question, and feel.”

Support & Partnerships

The inaugural exhibition received support from Goethe-Institut Nigeria (@goetheinstitut_nigeria), indicating Berj Busua’s early success attracting institutional partnerships and international cultural organizations—crucial for long-term sustainability.

Berj expressed gratitude “to the Busua community for embracing this new space with so much warmth and openness”—suggesting strong community reception and foundation for ongoing positive relationships.

Application Process & Selection

[NOTE: As new residency in early operational phase, formal application process is still being developed. Information below provides guidance for interested artists based on available information.]

Expressing Interest

Contact:
Interested artists should contact Berj Gallery directly:

• Email: info@berjartgallery.com (subject line: “Berj Busua Residency Inquiry”)
• Instagram: @berjartgallery (DM inquiries)
• Website: http://www.berjartgallery.com (check for updates on residency page)

Prepare:

• Artist statement (emphasizing how your practice aligns with residency’s focus on women creatives and/or socio-political themes)
• Portfolio (10-20 images of recent work, or video documentation for time-based/performance work)
• CV highlighting exhibitions, residencies, awards, education
• Project proposal (if applying for specific project rather than general residency)
• Brief biography
• Any questions about residency structure, timing, support provided

Selection Criteria (Inferred)

Based on residency mission and Berj Gallery’s established values, selection likely prioritizes:

1. Alignment with Mission:

• Women creatives (given primary focus)
• Artists addressing socio-political themes (environmental justice, community empowerment, resistance, decolonization, gender equality, etc.)
• Practitioners whose work resonates with Hannah Kudjoe’s legacy of activism and social transformation

2. Artistic Merit:

• Demonstrated quality and coherence of artistic practice
• Clear vision and conceptual framework
• Technical skill appropriate to chosen medium/approach
• Innovative or experimental approaches welcomed

3. Community Engagement Capacity:

• Willingness to engage meaningfully with Busua community
• Experience or interest in participatory practices, workshops, public programs
• Respect for local culture and openness to learning

4. Transdisciplinary Potential:

• Artists working across disciplines or willing to collaborate with practitioners from different fields
• Interest in experimentation and cross-pollination of ideas

5. Professional Development Benefit:

• Clear sense of how residency would advance artist’s practice/career
• Specific goals for residency period
• Openness to mentorship and feedback

6. Sustainability Consciousness:

• Awareness of environmental issues
• Willingness to work within eco-conscious framework
• Interest in sustainable art practices

Timing & Deadlines

As residency establishes itself, application deadlines and residency periods will likely be announced via:

• Berj Gallery website (http://www.berjartgallery.com)
• Instagram (@berjartgallery)
• Email announcements
• Art residency platforms (Res Artis, TransArtists, etc.)

Interested artists should follow Berj Gallery’s social media and sign up for email updates to receive announcements as formal application cycles are established.

Costs, Funding & Financial Support

[NOTE: Financial details not yet publicly disclosed as of December 2025. Information below provides context based on typical residency models and Berj’s stated commitment to supporting artists.]

Anticipated Support

Based on residency’s social justice mission and commitment to supporting women creatives (often financially marginalized), it’s likely that Berj Busua will provide some combination of:

Potential Support Components:

• Studio space (likely included)
• Basic materials (possibly stipend or reimbursement system)
• Housing (likely included or subsidized)
• Exhibition costs (likely covered—installation, promotion, documentation)
• Some level of living support (possibly stipend, particularly for longer residencies)

Potential Artist Costs:

• International/domestic travel to Busua
• Meals (unless provided)
• Personal expenses
• Specialized materials beyond basics
• Health insurance

Funding Strategies for Artists

1. External Grants:
Research grants specifically supporting:

• Women artists
• African artists or diaspora artists engaging with Africa
• Socially-engaged practice
• Environmental art
• International residencies

2. Institutional Support:
Artists affiliated with universities, museums, or cultural organizations may secure institutional funding for residency participation.

3. Crowdfunding:
Platforms like GoFundMe, Kickstarter, or Africa-focused crowdfunding sites can help artists raise travel/materials funds, particularly when project has clear community benefit.

4. Sliding Scale/Work-Study:
Residency may develop sliding scale fees based on ability to pay, or work-study arrangements (artists contributing labor to residency in exchange for reduced costs).

Direct Inquiry Essential:
Artists should directly contact Berj Busua to discuss financial arrangements, available support, and funding needs—transparency about financial situation often leads to creative solutions.

The Broader Busua & Western Region Context

Getting to Busua

From Accra:

• By Road: Approximately 4-5 hour drive west along coastal route
• By Bus: Buses/tro-tros from Kaneshie or Cape Coast Station to Takoradi (regional capital), then local transport to Busua (30km west of Takoradi)
• Private Transport: Car rental or private taxi (more expensive but direct)

From Takoradi:

• Local taxi or tro-tro (approximately 30km, 30-45 minute drive)
• Rideshare services if available

International Arrival:

• Kotoka International Airport (ACC), Accra – main entry point
• Arrange onward travel to Busua (can coordinate with residency)

Accommodation Beyond Residency

For Visitors, Family Members, or Extended Stays:

• Busua Beach Resort – Luxury resort, 62 rooms, won “Best Leisure Hotel in West Africa” 2007
• Ahanta Lodge, Africa Rainbow, Coconut Dream – Various guesthouses and lodges
• Kangaroo Pouch, Laughing Goat, Scorpion Lodge – Budget-friendly options
• Sankofa, Swingers Bar – Smaller accommodations
• Various beachfront bungalows and vacation rentals

Dining & Food

Beachfront Restaurants:

• Fresh seafood daily (Busua fishermen provide excellent catch)
• Local Ghanaian cuisine
• International/continental options
• Beehive Restaurant – Ghanaian and international dishes
• Mingle Bar & Lounge – Cozy atmosphere, tasty meals
• Busua Inn Restaurant – Beachfront dining with ocean views
• Various small cafes and food stalls

King Lobster:
Busua famous for “King Lobster” delicacy, often scarce elsewhere but ensured good supply through local fishermen.

Activities & Attractions

Beach & Water Sports:

• Surfing: Gentle waves perfect for beginners; surf lessons and board rentals available
• Swimming: Warm Atlantic waters safe for swimming
• Kayaking, boat trips, fishing excursions
• Beach volleyball, soccer, sunbathing

Cultural & Historical:

• Fort Metal Cross (Dixcove) – 25-minute walk (8-minute drive), historic fort offering insights into Ghana’s colonial history
• Fort Apollonia – Another historic site nearby
• Cape Three Points Lighthouse – Panoramic coastal views
• Traditional fishing village exploration – Witness daily life, interact with community
• Asabaako Festival (March) – Multi-day music, cultural, and environmental festival

Nature & Hiking:

• Ankasa Conservation Area – Guided hikes, birdwatching tours, diverse flora and fauna
• Tropical forest trails – Surrounding areas offer scenic hiking
• Beach walks – Miles of coastline to explore

Music & Culture:

• Jaw Opoco’s vinyl collection – Africa’s most extensive vinyl collection, West African music treasure trove
• Local markets – Colorful crafts, fresh produce
• Traditional festivals (Kundum Festival celebrating Ahanta culture)

Climate & When to Visit

Tropical Savanna Climate:

• Temperature: Warm year-round, typically 24-30°C (75-86°F)
• Rainy Seasons: April-June (major), September-November (minor)
• Dry Season: November-March with harmattan winds (dusty, drier)
• Humidity: High during rainy seasons

Best Times:

• November-March: Dry season, less rain, ideal beach weather
• March: Asabaako Festival adds cultural richness
• Rainy seasons: Fewer tourists, lush green landscape (but expect afternoon showers)

Health & Safety

Health Precautions:

• Yellow fever vaccination required for Ghana entry
• Malaria prophylaxis recommended (consult travel medicine doctor)
• Bring insect repellent
• Drink bottled or purified water
• Basic medical facilities in Busua; more comprehensive care in Takoradi or Accra

Safety:

• Busua generally safe destination
• Standard precautions: Don’t walk alone at night on isolated beaches, secure valuables
• Friendly local community; violent crime rare
• Ocean safety: Respect currents, swim in designated areas

Currency & Money:

• Ghanaian Cedi (GHS) official currency
• Exchange rate: Approximately 12-15 GHS = 1 USD (fluctuates)
• ATMs available in Takoradi (withdraw sufficient cash before Busua)
• Some establishments accept credit cards; carry cash for smaller vendors
• Mobile money (MTN Mobile Money, Vodafone Cash) widely used

Language

• English: Official language, widely spoken
• Ahanta: Local Akan dialect
• Twi, Ga, Ewe: Other Ghanaian languages you may encounter

Basic Akan/Twi phrases helpful for community engagement:

• “Maakye” (ma-ATCH-eh) – Good morning
• “Medaase” (meh-DAH-see) – Thank you
• “Ɛte sɛn?” (eh-tay-sen) – How are you?

Why Berj Busua Matters: Impact & Significance

1. First Dedicated Women + Socio-Political Artist Residency in Ghana

While Ghana hosts several artist residencies (Gallery 1957, dot.ateliers, Worldfaze, Noldor), Berj Busua is the first to explicitly prioritize women creatives and socio-political artists. This specificity matters because:

Women Artists Face Systemic Barriers:

• Gallery representation skews male
• Market prices lower for women artists
• Critical attention disproportionate
• Funding, commissions, museum acquisitions favor men

By centering women creatives, Berj Busua actively corrects gender imbalance while honoring Hannah Kudjoe’s legacy of women’s empowerment.

Socio-Political Art Needs Infrastructure:

• Artists addressing environmental justice, community activism, political resistance often work outside commercial gallery systems
• Mainstream art institutions sometimes shy from explicitly political work
• Socially-engaged practitioners need different support (community connections, time for collaboration, research resources) than studio-based artists

Berj Busua provides infrastructure specifically designed for politically conscious practice.

2. Art as Environmental Activism & Resistance to Extraction

Berj Busua’s explicit positioning as response to galamsey crisis models how art institutions can actively resist environmental destruction rather than remaining neutral.

By offering cultural production as alternative to extractive industries, the residency:

• Demonstrates sustainable economic models (artistic tourism, cultural programming, employment)
• Raises consciousness about environmental devastation through exhibitions, workshops, community engagement
• Trains artists as environmental advocates
• Documents ecological crisis through artistic lens
• Mobilizes community around preservation rather than extraction

This is Hannah Kudjoe’s legacy applied to 21st century challenges—mobilizing communities, resisting exploitation, advocating for justice.

3. Sustainable Infrastructure Modeling

Berj Busua’s rammed earth construction, solar power, rainwater harvesting, and composting systems demonstrate that:

• Art spaces can operate ecologically responsibly
• Traditional building methods remain viable in contemporary context
• Community can adopt sustainable practices through modeling
• Cultural institutions should lead by example on climate action

In region threatened by environmental catastrophe, this modeling is crucial advocacy.

4. Transdisciplinary Space in Visual Arts-Dominated Landscape

Most West African residencies focus exclusively on visual arts. Berj Busua’s explicit welcome to performance, fashion, film, dance, and artistic research creates rare space for:

• Performers to develop work outside theater institutions
• Fashion designers to explore fashion-as-art (not just commercial fashion)
• Filmmakers to create in coastal environment with community collaboration
• Researchers to conduct artistic inquiry with institutional support

Cross-disciplinary exchange generates innovation impossible in single-discipline contexts.

5. Dual-Location Advantage: Creation + Market Access

Berj Busua’s integration between coastal retreat (Busua) and commercial gallery (Accra) addresses persistent challenge for African artists:

The Problem:
Artists need both:

• Focused creation time away from urban distractions
• Market access, collector relationships, professional networks (concentrated in cities)

Berj’s Solution:
Create in Busua (inspiration, focus, community engagement) → Present in Accra (collectors, institutions, diplomatic community) → Circulate globally (Berj’s international network).

This end-to-end support is rare—most residencies offer either creation space OR market access, not both.

6. Honoring Erased Women’s Histories

Hannah Kudjoe’s systematic erasure from Ghana’s independence narrative—despite being only woman at CPP’s founding and mobilizing Big Six’s release—reflects global pattern of women’s contributions being written out of history.

Berj Busua actively counters erasure by:

• Making Hannah’s story central to residency mission
• Educating visitors about her contributions
• Continuing her work (women’s empowerment, community development)
• Ensuring her name attached to significant cultural institution
• Hosting annual exhibitions coinciding with her death date (March 9) and International Women’s Day (March 8)

Each artist who passes through Berj Busua learns Hannah Kudjoe’s story—multiplying knowledge of her legacy across networks.

7. Community-Centered Development Model

Unlike top-down development (external investors extracting resources/profits), Berj Busua practices community-centered cultural development:

• Partnerships with Traditional Council and local organizations (Odo Valley)
• Employment of local builders, staff, guides
• Workshops and programming for community members (children, youth, adults)
• Respect for local customs and cultural protocols
• Reinvestment of economic benefits locally
• Amplification of local artists’ voices (Elisha Arthur from Busua)

This approach ensures residency serves Busua, not just uses it as picturesque backdrop.

8. Joyce Quarshie’s Living Legacy

Joyce Quarshie’s death in October 2024—just months before Berj Busua’s announcement—adds poignant dimension. The residency represents:

• 40 years of art world experience distilled into institutional form
• Continuation of her preservation mission by her children
• Intergenerational knowledge transfer (Joyce learned from Hannah Kudjoe, now transmits that legacy forward)
• Proof that individual collector’s passion can seed larger movements

Her children’s commitment to continuing her work ensures Berj Busua honors both Hannah and Joyce simultaneously.

Comparisons to Other West African Residencies

Understanding Berj Busua’s unique position requires context within Ghana’s growing residency landscape:

Gallery 1957 (Accra, 2018)

Similarities:

• Commercial gallery-integrated residency
• Guaranteed exhibition outcome
• International network access
• Comprehensive support (housing, stipend, materials)

Differences:

• Gallery 1957: Invitational, no specific gender/thematic focus, Accra urban environment
• Berj Busua: Women/socio-political focus, coastal retreat setting, environmental activism emphasis

Complementary Relationship:
Both strengthen Ghana’s infrastructure; artists might participate in both at different career stages.

dot.ateliers (Accra, 2022, Amoako Boafo)

Similarities:

• Founded by Gallery 1957 alumnus (Boafo was Berj Gallery contemporary)
• Focus on emerging artists
• Studio space, materials, travel covered
• David Adjaye architecture (design excellence)

Differences:

• dot.ateliers: Visual arts only, 6-8 artists annually, 6 weeks-3 months
• Berj Busua: Transdisciplinary, women/socio-political focus, environmental mission

Worldfaze (Accra/Ogbojo, 2023, Kwesi Botchway)

Similarities:

• Grassroots, artist-led initiative
• Supporting emerging Ghanaian talent
• Mentorship by successful practicing artist
• 3-month program

Differences:

• Worldfaze: Founded by single artist, focus on young/underserved Ghanaians
• Berj Busua: Institutional backing (25-year gallery), explicit women/activism focus, environmental integration

Noldor (Accra, 2020, Joseph Awuah-Darko)

Similarities:

• Holistic approach (psychological support alongside artistic development)
• 4-week intensive program
• Emerging African artist focus

Differences:

• Noldor: Short intensive format, psychological wellness emphasis
• Berj Busua: Longer residencies, environmental/political activism, coastal setting

Black Rock Senegal (2019, Kehinde Wiley)

Similarities:

• Founded by internationally successful artist
• Coastal/resort setting
• Integration of local culture
• Focus on Black and African artists

Differences:

• Black Rock: Luxury villa environment, founded by American-based artist
• Berj Busua: Founded by Ghanaian institution with 40-year local history, explicit environmental resistance, community partnerships

Berj Busua’s Unique Positioning:
Only West African residency combining:

1. Explicit women/socio-political artist prioritization
2. Transdisciplinary openness (performance, fashion, film, research)
3. Environmental activism as core mission
4. Dual-location advantage (coastal retreat + urban gallery)
5. 25-year established gallery backing (not new institution)
6. Rooted in specific historical figure’s revolutionary legacy (Hannah Kudjoe)
7. Direct response to contemporary crisis (galamsey)

Future Vision & Development

As Berj Busua evolves from inaugural phase toward established residency, several trajectories emerge:

Immediate Priorities (2025-2026)

1. Formalizing Application Process:

• Establish clear application cycles (annual, bi-annual, rolling)
• Define residency durations and timelines
• Publish financial support details
• Create transparent selection criteria and process
• Build application platform (online submissions)

2. Building International Visibility:

• Listing on major residency platforms (Res Artis, TransArtists, Alliance of Artists Communities)
• Developing partnerships with international cultural institutions
• Creating documentation (video, photography) of residency experience
• Publishing resident artist interviews and project documentation
• Leveraging Berj Gallery’s network for promotion

3. Community Integration:

• Expanding workshops and programming for Busua residents
• Developing youth arts education initiatives
• Creating collaborative projects between residents and community
• Hosting regular public programs (artist talks, film screenings, performances)
• Building relationships with schools and community organizations

4. Sustainability Refinement:

• Monitoring and optimizing eco-systems (solar, water, waste)
• Expanding composting and garden programs
• Documenting environmental impact and sharing learnings
• Pursuing eco-certifications or sustainability recognition
• Continuing education with community on sustainable practices

Medium-Term Goals (2027-2030)

1. Established Programming Cycles:

• 2-4 residency cohorts annually
• Mix of short (1-3 month) and long (3-6 month) residencies
• Thematic residencies addressing specific issues (e.g., “Water Justice,” “Women’s Histories,” “Climate Futures”)
• Special programs during Asabaako Festival (March)
• Summer programs for emerging artists

2. Partnerships & Networks:

• Formal partnerships with universities (faculty/student research residencies)
• Institutional partnerships with museums for touring exhibitions of resident work
• Collaboration with other West African residencies (shared programming, artist exchanges)
• International residency exchanges (Berj artists to partner residencies abroad, international artists to Berj)
• Funding partnerships with foundations supporting women artists, environmental art, African art

3. Expanded Facilities:

• Additional studios if demand exceeds capacity
• Expanded library with digital resources
• Technical equipment (video editing, sound recording, photography)
• Potential performance/screening space
• Visiting curator/scholar accommodations

4. Documentation & Publication:

• Annual publication featuring resident artists’ work
• Video documentary about Hannah Kudjoe and residency
• Online archive of all residencies
• Academic writing about residency model and outcomes
• Exhibition catalogues

Long-Term Vision (2030+)

1. Hannah Kudjoe Institute: Potential evolution into comprehensive institute including:

• Permanent museum/exhibition space celebrating Hannah Kudjoe’s life
• Research center for women’s independence activism
• Archive of Ghanaian women’s political history
• Educational programming (K-12, university, public)
• Conference and symposium hosting

2. Regional Hub: Berj Busua as anchor for broader Western Region arts ecosystem:

• Supporting other artists/spaces in Western Region
• Coordinating regional arts festival (beyond Asabaako)
• Professional development programs for regional artists
• Western Region arts touring circuit

3. Replication Model: Developing blueprint for community-based, environmentally-conscious, socially-engaged residencies replicable across Ghana and West Africa—sharing learnings freely to multiply impact.

4. Climate Action Leadership: Positioning as leading example of climate-conscious cultural institution:

• Zero-waste operations
• Carbon-neutral programming
• Climate justice advocacy through art
• Training other institutions in sustainable practices

Practical Information for Prospective Residents

Before Applying

Research the Mission:

• Understand Hannah Kudjoe’s history and residency’s political foundations
• Assess whether your practice aligns with women’s empowerment and/or socio-political focus
• Consider how your work might engage with environmental themes, community, activism

Consider Busua’s Context:

• Small fishing village, not urban arts hub
• Beach/coastal environment (humidity, tropical climate)
• Quieter pace than city residencies
• Integration with local community (different from studio isolation)
• Limited urban amenities (fewer restaurants, shops, nightlife than Accra)

Assess Your Practice Needs:

• Can you work productively in coastal, small-town setting?
• Do you need specialized equipment/facilities not available?
• Are you comfortable with community engagement?
• Can you handle tropical climate for extended period?

During Residency

Community Respect:

• Learn basic Akan/Twi greetings
• Respect local customs and traditional authority
• Ask permission before photographing people
• Engage genuinely with community members (not as subjects/inspiration only)
• Support local businesses and artists

Environmental Consciousness:

• Follow residency’s waste reduction practices
• Conserve water and energy
• Use sustainable materials when possible
• Participate in composting/recycling
• Model eco-conscious behavior for community

Health & Wellness:

• Stay hydrated (heat, humidity)
• Use sun protection
• Take malaria prophylaxis as prescribed
• Maintain healthy work-life balance (ocean, beach walks, rest)
• Seek support if struggling with isolation/adjustment

Documentation:

• Photograph/video your process (for portfolio, social media, future applications)
• Keep journal or blog about experience
• Document community interactions (with permission)
• Prepare materials for exhibition

After Residency

Maintain Relationships:

• Stay connected with Berj Gallery for exhibition opportunities
• Keep in touch with fellow residents for collaboration
• Engage with Busua community remotely if possible
• Share residency experience through talks, writing

Leverage Experience:

• Use Berj Busua residency on CV, grant applications
• Exhibition at Berj (Busua/Accra) strengthens portfolio
• Networks built during residency open doors
• Document outcomes (exhibitions, publications, projects resulting from residency)

Give Back:

• Promote residency to other artists
• Support future residents’ work (studio visits, exhibition attendance)
• Contribute to residency’s visibility (interviews, testimonials)
• Consider how to continue residency’s mission in your own practice

Contact & Additional Resources

Berj Busua Direct Contact

Email: info@berjartgallery.com
Instagram: @berjartgallery
Website: http://www.berjartgallery.com

Berj Gallery Accra:
37 Labone Crescent
Opposite Wangara Hotel
Labone, Accra, Ghana
Hours: Monday-Friday 9am-7pm, Saturday 10am-6pm, Sunday 11am-6pm
Phone: +233 302 764606

Related Organizations

Hannah Kudjoe Foundation / Joyce Quarshie Foundation:
Contact through Berj Gallery for information about foundation’s broader mission and programs.

Asabaako Festival:
http://www.asabaako.com
Instagram: @asabaakofestival
Annual music and cultural festival in Busua (March)

Busua Tourism:
Ghana Tourism Authority: visitghana.com
Western Region tourism information available through regional offices

Ghana Travel Resources

Ghana Immigration Service: http://www.gis.gov.gh (visa information)
Ghana Tourism Authority: http://www.visitghana.com
Kotoka International Airport (ACC): Accra’s main international gateway

Health & Safety:

• CDC Travel Health: wwwnc.cdc.gov/travel/destinations/traveler/none/ghana
• WHO Ghana: http://www.afro.who.int/countries/ghana
• Travelers’ health insurance recommended

Further Reading

On Hannah Kudjoe:

• Jean Allman, “The Disappearing of Hannah Kudjoe: Nationalism, Feminism, and the Tyrannies of History” (Journal of Women’s History, 2009)
• Various articles available through Ghana national archives and academic databases

On Joyce Quarshie & Berj Gallery:

• Business & Financial Times obituary (November 2024)
• Berj Gallery website press section
• Ghana art scene coverage in ArtAfrica, Contemporary And, Art Network Africa

On Galamsey Crisis:

• ISS Africa: “Ghana must stop galamsey before it sinks the country”
• NASA Earth Observatory: “Detecting Gold Mining in Ghana”
• Various reports from Ghana EPA, Forestry Commission

On Ghanaian Contemporary Art:

• Gallery 1957 exhibitions and publications
• Research on Ghana’s art movements and institutions
• Documentation of Accra art scene growth

Berj Busua Artist Residency represents bold convergence of history, activism, environmental consciousness, and artistic excellence—a space where Hannah Kudjoe’s revolutionary spirit meets contemporary challenges of gender inequality, climate crisis, and cultural preservation. By explicitly centering women creatives and socio-political artists, operating from sustainable principles, and offering integrated support from creation through global circulation, Berj Busua fills crucial gap in West African arts infrastructure.

The residency’s location in Busua—Hannah Kudjoe’s birthplace and current frontline in battle between extractive exploitation (galamsey) and sustainable development—imbues every residency with urgency and purpose. Artists arriving at Berj Busua don’t retreat from the world’s problems; they dive directly into addressing them through creative practice, community engagement, and collective imagination of just, sustainable futures.

For women artists navigating male-dominated art worlds, for socially-engaged practitioners seeking infrastructure supporting politically conscious work, for transdisciplinary explorers defying neat categorization, for environmental artists modeling climate-just practices, Berj Busua offers rare opportunity: create meaningful work in inspiring environment, connect with established gallery network, exhibit professionally, engage authentically with community, and honor revolutionary legacy while forging new paths.

As William Prempeh stated about his mother Joyce’s vision: “The gallery serves to be a space that celebrates the artist—the creativity of someone who was born in the nation, and is making work about narratives that concern the nation.” Berj Busua expands this celebration from gallery walls to beachside studios, from individual practice to collaborative community, from cultural preservation to active cultural production, from remembering past revolutionaries to nurturing present and future ones.

Berj Busua is more than artist residency. It is evolving movement, beacon for sustainable cultural development, living memorial to Hannah Kudjoe’s courage, and testament to Joyce Quarshie’s 40-year dedication. It is proof that art-making can be revolutionary act—and that revolution requires infrastructure, community, and unwavering commitment to justice.

The creative resistance continues. The vision grows. The legacy lives.