DAKAR, Senegal (AP) — For the artistic and cultural community of Senegal, the monthlong Dakar Biennale of Contemporary African Arts is a moment of celebration and creativity. This biennial gathering, established in 1989 by the Senegalese government, draws hundreds of artists, curators, and art enthusiasts from around the globe to the country’s capital, solidifying its reputation as one of Africa’s premier art showcases.
The event transforms Dakar into a vibrant hub of artistic expression, with pop-up exhibitions taking place in numerous venues ranging from luxurious five-star hotels to intimate local galleries. During this time, traffic along the city’s picturesque seaside boulevard, known as the Corniche, becomes even more congested, with jams stretching for miles. Each evening, the city pulsates with energy as music concerts, fashion shows, artist talks, and film screenings unfold against a backdrop of palm trees and the celebratory sounds of champagne corks popping.
Interestingly, this year marked a significant turning point for local artisans at the Soumbedioune crafts market, located just off the Corniche and adjacent to the working-class Medina neighborhood. “For years, we saw the OFF signs, but we didn’t know what was happening,” reflected Ndiouga Dia, a 48-year-old leatherworker and community leader among the Soumbedioune artisans. He noted that only artists seemed to be aware of the parallel events associated with the Biennale.
Craftsmanship holds a deep cultural significance in Senegal, where industrial production capabilities are limited. Traditionally, the local economy has heavily relied on handmade goods. For centuries, artisans have been instrumental in Senegal’s social fabric, creating religious sculptures, ceremonial masks, traditional boubous (colorful wide-sleeved robes), pottery, and woven baskets. However, contemporary challenges threaten their roles, as rising living costs have pushed many Senegalese consumers towards cheaper, often imported products. Others, seeking to elevate their social status, invest in Western fashion and furniture.
When two designers approached Dia with a proposal for a collaborative exhibition—focused on the theme of “hippo”—he eagerly accepted. Designers Kemi Bassène and Khadim Ndiaye sought the participation of five artisans: a sculptor, a painter, a jeweler, a leatherworker, and an upholsterer. They chose the hippo as a unifying symbol, easily recognizable across Africa and embodying connections among those living near water bodies.
The exhibition took place in the central square of Soumbedioune, surrounded by artisanal boutiques and local eateries selling thieboudienne, Senegal’s renowned dish. This initiative has resonated positively with the local community, featuring creative pieces such as hippo earrings, a hippo necklace, a large wooden sculpture of a slumbering hippo, and a hippo-shaped bag. Sculptor Papise Kanté, 45, expressed that the project allowed him to explore a more imaginative side of his art, rather than simply crafting items for sale. “Every artist wants to improve,” he shared, proudly asserting that the Biennale has elevated the visibility of his work, saying, “If you participate in the Biennale, you are proud.”
Bassène, the curator who grew up near Soumbedioune and now resides in Paris, emphasized the significance of merging arts with crafts. He stated, “This is the first time in history that artisans, especially those preserving traditional craftsmanship, are invited to the Biennale.” He underscored the need to include artisans in these discussions to promote a shift away from colonial influences in the arts. This year’s Biennale resonates particularly with Senegal’s ongoing political transformation, as newly elected leaders pursue a path of greater self-reliance and pan-Africanism.
In last month’s legislative elections, the governing party, PASTEF, achieved a significant victory, granting President Bassirou Diomaye Faye a strong mandate to implement reforms aimed at improving the lives of everyday Senegalese. This includes a focus on economic independence, revitalization of the fishing industry, and optimal utilization of natural resources. Reflecting this spirit, the Biennale’s theme, “The Wake,” evokes a vision of Africa’s emancipation from lingering colonial dependencies.
Dia elaborated on the ambitions of the Soumbedioune artisans, revealing plans to collaborate with a local school to produce backpacks for students. “My dream is to expand production throughout the country, so Senegalese families won’t have to rely on Chinese imports,” he affirmed, asserting, “We possess the skills and knowledge to create more.” Together, the artisans look toward a future where Senegal’s rich craft heritage flourishes alongside contemporary art.
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