‘Beyond the Return’: Ghanaian birthright journeys present potential complicated issues for locals

Marking exactly 400 years since the first ship full of enslaved Africans arrived in Jamestown, Virginia, 2019 was heralded as the Year of Return by the Ghanian government. A metaphysical invitation to embark on a birthright journey, the campaign has been extended with ongoing “Beyond the Return” efforts, which continue to invite Black Americans and other members of the diaspora to visit Ghana and consider investing long term in the country as an analgesic to the racism of majority-white countries. As a part of the campaign, celebrity visitors have been invited over the past two years to tour the country and broadcast their stories of reconnection to their audiences. The list of 2019’s visitors included Naomi Campbell, Idris Elba, Cardi B and more, while artists like Chance the Rapper and Kendrick Lamar are some of the most recent visitors, with trips in 2022.

Official metrics mark the effort as a successful one. Figures from 2019 show a 45% increase in tourism, a record 126 citizenship applications and a PR boost, with positive mentions in various outlets that would have been worth $3.5 million had it been paid for.

Still, many remain critical of the efforts, which can elide local realities, contribute to international gentrification and reinforce harmful stereotypes. The painful dynamic that exists between visitors whose sun-soaked photo arrays and luxurious accommodations gloss over issues faced by locals, like rampant poverty and unequal access to education, is not ameliorated by the sentimental historical connection between Black Americans and those on the continent. Economic concerns extend beyond the idea of short-term stays and into questions of what will happen if and when Westerners with remote jobs and more spending power move en masse, raising the cost of living for locals who need affordable prices on rent and groceries.

The complicated questions of economics are further reflected in a debate over aesthetics. Media attention has long failed to portray Africa in a positive light, and many feel that celebrity visits are an extension, not a reversal, of this trend. By framing an African country as the backdrop for a Black American artist’s journey of self-discovery, the same exotifying tropes that have marked Africa’s media presence are recreated, as African subjects are not centered but only peripherally engaged as part of the American subject’s personal development. As both groups attempt to engage with each other, the intention of participants, the input of critics, and the foundation of respect based on history will be necessary to create a mutually beneficial partnership instead of an extractive one.