Senegal Behind Glass is the first comprehensive survey of Senegalese reverse-glass painting ever to appear, and it includes some of the earliest surviving examples as well as providing a rich selection of works by the best recent artists, among them Gora Mbengue, Babacar Lo, Mor Gueye, Ibrahima Sall and Alexis Ngom.

This new, thoroughly updated edition of Bradt's Senegal continues to offer far and away the greatest depth of coverage for this increasingly popular part of West Africa. With over 350 pages of detailed description and 40 maps, this remains the definitive source of information to a country that is often described as the whole of West Africa in microcosm. This new edition includes details of the rapidly changing transport situation, notably the opening of the new international airport and the first bridge to span the Gambia River. All regions of the country are covered, including detailed information on access to Senegal's national parks, with detailed maps, itineraries, and practical information on transport, accommodation and eating for each region. Senegal boasts a variety of landscapes and cultures that belie its compact size. Northern desert wilds give way to the rain-soaked Casamance, fringed by hundreds of kilometres of pristine beaches and the fantastically frenetic capital city, Dakar, surrounded by ocean and proudly perched at the westernmost point on the African continent. This smorgasbord of landscapes is all accessible within a day's travel, making Senegal the perfect choice for anyone looking to sink their teeth into West Africa, for the first time or the hundredth. Natural assets aside, Senegal is home to a world of man-made delectations: Dakar's nightclubs throb well into the morning hours and offer a rare chance to dance yourself silly with superstar musicians on their home turf. With one of Africa's most prolific arts scenes, Senegal attracts numerous visitors for its cultural attractions, and this book provides a thorough and accessible introduction to the music, art, film, and literature of this most creative of countries. Beyond the capital, Saint-Louis' charm is an enchanting throwback to the colonial glamour of the 19th century, and sleepy Île de Gorée is a haunting testament to colonial horror, as visitors peer through the door of no return, where thousands destined for the Americas glimpsed their homes for the final time. With all new first-hand research, Bradt's Senegal is the only guide ready to take you to all corners of this enchanting land.

DIVA study of art in post-independence Senegal./div

In Senghor’s Shadow is a unique study of modern art in postindependence Senegal. Elizabeth Harney examines the art that flourished during the administration of Léopold Sédar Senghor, Senegal’s first president, and in the decades since he stepped down in 1980. As a major philosopher and poet of Negritude, Senghor envisioned an active and revolutionary role for modern artists, and he created a well-funded system for nurturing their work. In questioning the canon of art produced under his aegis—known as the Ecole de Dakar—Harney reconsiders Senghor’s Negritude philosophy, his desire to express Senegal’s postcolonial national identity through art, and the system of art schools and exhibits he developed. She expands scholarship on global modernisms by highlighting the distinctive cultural history that shaped Senegalese modernism and the complex and often contradictory choices made by its early artists. Heavily illustrated with nearly one hundred images, including some in color, In Senghor’s Shadow surveys the work of a range of Senegalese artists, including painters, muralists, sculptors, and performance-based groups—from those who worked at the height of Senghor’s patronage system to those who graduated from art school in the early 1990s. Harney reveals how, in the 1970s, avant-gardists contested Negritude beliefs by breaking out of established artistic forms. During the 1980s and 1990s, artists such as Moustapha Dimé, Germaine Anta Gaye, and Kan-Si engaged with avant-garde methods and local artistic forms to challenge both Senghor’s legacy and the broader art world’s understandings of cultural syncretism. Ultimately, Harney’s work illuminates the production and reception of modern Senegalese art within the global arena.

Muridism is a Sufi order which originated in Senegal, West Africa, at the end of the 19th century and is now in rapid expansion with the Senegalese emigrants around the world. Among the Murids the belief is strong that the founder Shaykh Amadou Bamba and his mother Mame Diarra Bousso can help them gain a better life on earth and entry into Paradise. The book gives an account of some Murid women the author has met in Senegal and on Tenerife. Their various paths of life are described with a focus on trade, religion and gender relations. In what ways do women's conditions of life differ from those of their own country? What do the women strive for? And how does Muridism influence their daily life in Senegal and in the diaspora? Eva Evers Rosander has been Associate Senior Researcher at the Nordic Africa Institute, Uppsala, Sweden, until 2014. She is Associate Professor at the Department of Social Anthropology, Stockholm University, and has done extensive anthropological fieldwork in Spain, Senegal and Morocco.

The once famous trading center of Gorée, Sénégal today lies in the busy harbor of the modern city of Dakar. From its beginnings as a modest outpost, Gorée became one of the intersections which linked African trading routes to the European Atlantic trade. Then, as now, people of all nationalities poured into the island; Dutch, English, French, and Portuguese came to trade with the Mande, Moor, Tukor, and Wolf tribes. Trading parties brought gold, horses, firewood, mirrors, books, and more. They built houses of various forms, using American lumber, French roof tiles, freshly‑cut straw, and pulverized seashells, and furnished them in as cosmopolitan a fashion as the city itself. Mark Hinchman's Portrait of an Island: The Architecture and Material Culture of Gorée, Sénégal, 1758‑1837 considers the houses, portraits, and furnishings of the island's early modern inhabitants. Multiple features of eighteenth‑century Gorée‑‑its demographic diversity, the prominence of women leaders, the phenomenon of identities in flux, and the importance of commerce, fashion, and international trade‑‑argue for its place in the construction of an early global modernity. In an examination of the built and natural landscape, Portrait of an Island deciphers the material culture involved in the ever‑changing relationships amongst male, female, rich, poor, and slave.

This book investigates the lives and careers of Muslim African interpreters employed by the French colonial administration in Saint Louis, Senegal, from the 1850s to the early 1920s. It focuses on the lower and middle Senegal River valley in northern Senegal, where the French concentrated most of their activities in West Africa during the nineteenth century. The Muslim interpreters performed multiple roles as mediators, military and expeditionary guides, emissaries, diplomatic hosts, and treaty negotiators. As cultural and political powerbrokers that straddled the colonial divide, they were indispensable for French officials in their relations with African rulers and the local population. As such, a central concern of this book is the paradoxical and often contradictory roles the interpreters played in mediating between the French and Africans. This book argues that the Muslim interpreters exemplified a paradox: while serving the French administration they pursued their own interests and defended those of their local communities. In doing so, the interpreters strove to maintain some degree of autonomy. Moreover, this book contends that the interpreters occupied a vantage position as mediators to influence the construction of colonial discourse and knowledge, because they channeled the flow of information between the French and the African population. Thus, Muslim interpreters had the capacity to shape power relations between the colonizers and the colonized in Senegal.

NAMED A BEST BOOK OF THE YEAR BY THE CHRISTIAN SCIENCE MONITOR AND PASTE MAGAZINE An intimate account of life in a West African fishing village, tugged by currents ancient and modern, and dependent on an ocean that is being radically transformed. The sea is broken, fishermen say. The sea is empty. The genii have taken the fish elsewhere. For centuries, fishermen have launched their pirogues from the Senegalese port of Joal, where the fish used to be so plentiful a man could dip his hand into the grey-green ocean and pull one out as big as his thigh. But in an Atlantic decimated by overfishing and climate change, the fish are harder and harder to find. Here, Badkhen discovers, all boundaries are permeable--between land and sea, between myth and truth, even between storyteller and story. Fisherman's Blues immerses us in a community navigating a time of unprecedented environmental, economic, and cultural upheaval with resilience, ingenuity, and wonder.

In Senegal, portraiture serves as a vital index and creator of social connection. People sit for and display portraits, keep albums, and view illustrated magazines together. Through these portraiture practices, Senegalese have fashioned idealized images to mend fraught and fragmented lives in the context of decades of migration. The Future Is in Your Hands provides an expansive frame for photography to highlight the role of affect in portraiture practices. Moving from the colonial to the newly independent Senegal, Beth Buggenhagen combines museum, ethnographic, and archival research on photography's past with lens-based artists who address themes of separation, visibility, rupture, and repatriation through portraiture. Buggenhagen, in collaboration with Senegalese photographers, explores how photographs, as visual and material objects, migrate themselves and, like the bodies they represent, create a record not only of lived experiences but also of the cycle of migration for this labor-exporting country. By complicating the history of portraiture in Senegal, The Future Is in Your Hands reveals the enduring power of images and the efforts under way to keep this art form safely in Senegalese hands.

"Strategically located on the Atlantic Ocean at the westernmost point of the continent, Senegal is well-known as an epicenter of Africa's modernities, modernisms, and liberation movements. It was also one of the countries where the daguerreotype first arrived in sub-Saharan Africa before circulating inland and across the region. At that time, Senegal did not exist as a nation state; local kingdoms were still in power and the French presence was limited to trading posts along the coast. The pioneers of photography in the 1840s were not exclusively Europeans, but also African, African-American, and Asian entrepreneurs. In the decades that followed, amateurs and professionals working in rural areas continued to explore and expand photography's possibilities. Senegal's photographic histories thrived as part of a global visual economy during and despite the colonial experience. Its works emerged as an integral part of the history of this medium, which unlike any other was a global enterprise from the very beginning. Portrait and place offers the first history of photography in this important country, from its first iterations, photographers, and patrons of the 1840s to photographers such as Oumar Ka (b. 1930) and Mama Casset (1908-1992), who were were active in the 1960s during the transition from the colonial to the postcolonial era. Giulia Paoletti presents close studies of photographs, firmly anchoring these objects, their authors, and their consumers in a global context that extends across West Africa, the Black Atlantic, and the greater Islamic community-in other words, beyond the borders of colonial empire. Based on over ten years of field and archival research in Senegal, this book features almost exclusively new, previously unpublished visual material and explores both professional and amateur artists working in a wide variety of genres, from landscape to portraiture, and in media such as daguerreotypes and glass paintings. As the first book to focus exclusively on Senegal's photographic histories, Portrait and place expands the notions of what the medium has been and can be, from a Eurocentric model to one that is decidedly-insistingly-larger and more inclusive"--