DAKAR, Senegal — The Dakar Biennale of Contemporary African Arts, an artistic and cultural highlight for Senegal, has kicked off, bringing together numerous artists and art enthusiasts for a month-long celebration. This prestigious event, established in 1989 by the Senegalese government, occurs every two years in the West African capital and has grown to become a crucial platform for showcasing contemporary African art.

During the Biennale, an array of pop-up exhibitions takes over various venues, ranging from upscale hotels to small local galleries. The streets of Dakar are bustling, enduring significant traffic delays along the Corniche, admired for its beautiful seaside views. Nights during the Biennale resonate with a flurry of exciting activities such as music performances, fashion events, artist discussions, and film screenings, all complemented by the festive sounds of celebration.

Interestingly, this year marked the first time local artisans from the Soumbedioune crafts market became aware of the Biennale’s prominence. Ndiouga Dia, a 48-year-old leatherworker, noted that while they had previously glimpsed the “OFF” signs marking events parallel to the official program, the artisan community was largely uninformed. “It was mostly the artists who understood what was happening,” he explained.

Craftsmanship holds a vital place within Senegalese culture, particularly given the country’s limited industrial capacity. Historically, many craftspeople contributed significantly to the local economy by producing goods like religious figures, ceremonial masks, and traditional clothing—these roles, however, are dwindling as rising living costs lead consumers toward cheaper alternatives, often imported from abroad.

With a mix of excitement and concern for their craft, Dia welcomed an opportunity for local artisans to collaborate with designers Kemi Bassène and Khadim Ndiaye on a joint exhibition. The creative endeavor invited five artisans to explore the theme of “hippo,” a symbol easily recognized across the African continent and serving as a cultural connector for those living near bodies of water.

The exhibition took place in the bustling central square of Soumbedioune, surrounded by artisan boutiques and eateries known for serving thieboudienne, a beloved Senegalese dish. Local art enthusiasts flocked to see items such as hippo-themed jewelry, a striking wooden sculpture, and uniquely crafted bags, showcasing the artisans’ talents.

Papise Kanté, a sculptor participating in the event, expressed gratitude for the chance to showcase his work in a new light. “This exhibition has allowed me to explore a more creative side of my artistry,” he remarked, reflecting on his childhood experiences in sculpting and the desire for continuous improvement. He acknowledged that the Biennale has significantly broadened his recognition in the art community.

Khadim Ndiaye, one of the designers and curators of the event, emphasized the importance of this inclusion, noting that it marked a historic moment for artisans involved in traditional craftsmanship. He stressed the necessity of blending the realms of art and utility to challenge existing colonial dynamics in the art world.

This year’s Biennale takes place amid significant political shifts in Senegal. The governing party, PASTEF, recently achieved a significant victory in legislative elections, empowering President Bassirou Diomaye Faye to pursue a series of reforms aimed at enhancing living standards throughout the nation.

The Biennale’s theme, “The Wake,” represents a call to action for the liberation of the African continent from lingering colonial ties. Bassène articulated a vision in which the current political climate could energize advancements in social sciences and the arts.

Looking ahead, Dia revealed that the Soumbedioune artisans intend to forge a new partnership with a local school to produce student backpacks. His ambition is to extend this initiative throughout Senegal, enabling parents to avoid importing low-cost Chinese goods. “We possess incredible skills,” he affirmed. “Our capacity for production is vast.”