Dak’Art has long been at the center of attention of academics as much as of the wider art world for its commitment to the promotion and development of the African artistic scene. The article we are presenting this week for our reading proposals explores its merits in details while also highlighting some critical aspects.
“The Biennial of Dakar and South-South Circulations” (2016) written by Professor of social and cultural anthropology Thomas Fillitz (University of Vienna), considers its role especially in the circulation of art works in south-south circuits by focusing on the biennial’s two main streams: the official International Exhibition (Dak’Art IN) and OFF, a non-curated event involving a multiplicity of actors in Dakar, which has been throughout the years a major factor in the success of Dak’Art even if formally independent from it.
The article is the result of direct observations and interviews by the author over a number of years, as well as statistical analysis of the provenience of artists and selections committee members for the biennials between 1996 and 2014.
The article convincingly argues for the incredible value Dak’Art (in both its streams) has had for the exposure of artists from the African continent internally and internationally through a number of personal trajectories by artists that first caught the international attention in Dakar and went on to have successful careers worldwide. It also highlights how OFF has been a major factor for the Senegalese artists in particular. Likewise, the International exhibition is defined as a cultural node for African artistic circulation, however, a number of aspects of this stream in particular are sources of criticism by Fillitz. The first critical aspect is historical, as especially in the early years of the biennial a large part (up to half) of the experts hired by the Ministry of Culture, which to this day is its official commissioner, were European or North Americans. After vocal criticism and a few failed attempts to modify this structure in 2010 finally the ministry decided for a complete overhaul of the committee selection leading to the current status which foresees a maximum limit of experts, who have to hold an African citizenship.
The other major criticism raised by the article to the biennial emerges from a more in-depth analysis of the artists exhibited and specifically their origins and cultural background. Looking at both IN and OFF’s editions until 2016, what emerges is a skewed regional participation from artists from francophone countries as well as from South Africa and Nigeria, leaving little room to those of East African origins. While this does not impact the overall importance of Dak’Art, it certainly raises relevant questions at a continental level towards access and opportunities for artists as well as art historically when we consider how the current dynamic and development of artistic/cultural tendencies are described.
REFERENCES/COPYRIGHT:
Full article freely available at: https://docs.lib.purdue.edu/artlas/vol5/iss2/6/
Cookie | Duration | Description |
---|---|---|
cookielawinfo-checkbox-advertisement | 1 year | Set by the GDPR Cookie Consent plugin, this cookie records the user consent for the cookies in the "Advertisement" category. |
cookielawinfo-checkbox-analytics | 11 months | This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Analytics". |
cookielawinfo-checkbox-functional | 11 months | The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". |
cookielawinfo-checkbox-necessary | 11 months | This cookie is set by GDPR Cookie Consent plugin. The cookies is used to store the user consent for the cookies in the category "Necessary". |
cookielawinfo-checkbox-others | 11 months | This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other. |
cookielawinfo-checkbox-performance | 11 months | This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Performance". |
CookieLawInfoConsent | 1 year | CookieYes sets this cookie to record the default button state of the corresponding category and the status of CCPA. It works only in coordination with the primary cookie. |
enforce_policy | 1 year | PayPal sets this cookie for secure transactions. |
KHcl0EuY7AKSMgfvHl7J5E7hPtK | 1 year 1 month 4 days | PayPal sets this cookie to run the purchase facilities offered on the website through PayPal. |
pmpro_visit | session | The cookie is set by PaidMembership Pro plugin. The cookie is used to manage user memberships. |
sc_f | 1 year 1 month 4 days | PayPal sets this cookie when a website is in association with PayPal's payment function. |
ts | 1 year 1 month 4 days | PayPal sets this cookie to enable secure transactions through PayPal. |
ts_c | 1 year 1 month 4 days | PayPal sets this cookie to make safe payments through PayPal. |
viewed_cookie_policy | 11 months | The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. It does not store any personal data. |
Cookie | Duration | Description |
---|---|---|
LANG | 9 hours | Linkedin set this cookie to set user's preferred language. |
tsrce | 3 days | PayPal sets this cookie to enable the PayPal payment service on the website. |
x-pp-s | session | PayPal sets this cookie to process payments on the site. |
Cookie | Duration | Description |
---|---|---|
l7_az | 30 minutes | This cookie is necessary for the PayPal login function on the website. |
Cookie | Duration | Description |
---|---|---|
_ga | 1 year 1 month 4 days | Google Analytics sets this cookie to calculate visitor, session and campaign data and track site usage for the site's analytics report. The cookie stores information anonymously and assigns a randomly generated number to recognise unique visitors. |
_ga_* | 1 year 1 month 4 days | Google Analytics sets this cookie to store and count page views. |
_gat_gtag_UA_* | 1 minute | Google Analytics sets this cookie to store a unique user ID. |
_gid | 1 day | Google Analytics sets this cookie to store information on how visitors use a website while also creating an analytics report of the website's performance. Some of the collected data includes the number of visitors, their source, and the pages they visit anonymously. |
CONSENT | 2 years | YouTube sets this cookie via embedded YouTube videos and registers anonymous statistical data. |
Cookie | Duration | Description |
---|---|---|
c | 20 years | Rubicon Project sets this cookie to control the synchronization of user identification and the exchange of user data between various ad services. |
VISITOR_INFO1_LIVE | 5 months 27 days | YouTube sets this cookie to measure bandwidth, determining whether the user gets the new or old player interface. |
YSC | session | Youtube sets this cookie to track the views of embedded videos on Youtube pages. |
yt-remote-connected-devices | never | YouTube sets this cookie to store the user's video preferences using embedded YouTube videos. |
yt-remote-device-id | never | YouTube sets this cookie to store the user's video preferences using embedded YouTube videos. |
yt.innertube::nextId | never | YouTube sets this cookie to register a unique ID to store data on what videos from YouTube the user has seen. |
yt.innertube::requests | never | YouTube sets this cookie to register a unique ID to store data on what videos from YouTube the user has seen. |