Exploring the Rediscovered Photography Legacy of West Africa

The common belief about early photography in West Africa is that it was influenced by colonization. Europeans in the 19th century used new technology to capture images of the region, often portraying the people and places through a colonial perspective. The power dynamics favored the European photographers, as they shaped the narrative for their own audience.

However, what if this perception is only partially accurate? What if there is a more intricate and empowering story that West Africa has to tell, one that challenges the dominant narrative of colonization?

In a new book, Giulia Paoletti, an assistant professor at the University of Virginia, re-examines the history of photography in Senegal. Unearthing unpublished gems, she gives authorship to images once labelled anonymous and dispels many myths.

Paoletti challenges the narrative that photography is a Western invention that was later adopted by Africans. She argues that this gap was actually short and that history has been obscured in a way that has disenfranchised many Africans.

“We have these histories,” she said, “and what I’m trying very hard to do is recuperate some of them.”

"Women in the studio," by Mama Casset, c. 1950s.

"Women in the studio," by Mama Casset, c. 1950s.

CRDS

For over ten years, the researcher went on research trips to Senegal. During these trips, they interviewed hundreds of individuals, including the remaining family members of the country's renowned photographers. Through these interviews, they were able to discover forgotten stories and the background related to the photographers' work. Paoletti mentioned, "I received a lot of excitement and assistance, mostly because the Senegalese people are very proud of their history and heritage, which they are eager to share."

"I always knew I was seen as an outsider," she mentioned. This realization led to her lack of ambition to be a representative of Senegal.

Her main goal is to elevate the voices of Senegalese authors, artists, and collections, as well as to shift away from Eurocentric perspectives, beginning with her own.

The book starts off in 1842 with the oldest known photograph from West Africa. It was captured by a Frenchman named Jules Itier in the port town of St. Louis. The picture is quite simple, showing colonial buildings, a square, and a few faint figures in the background. Despite Itier considering it a mistake, the photo is a clear example of how rapidly commercial photography, which was only invented three years earlier, became popular worldwide.

This train used to have no destination, but now it has become a luxurious attraction.

It didn't take long for the people of Senegal to take control. Unlike other West African countries, Senegal did not have a history of portrait art before the invention of photography, according to Paoletti. However, by the 1850s, a group of Senegalese women known as the signare - who were Black or of mixed race, and often married to colonial officers - were having their portraits commissioned in St. Louis, the political center of French West Africa.

"The sitters in this case have a lot of agency," explained Paoletti. "It's interesting to note that two of the earliest portraits were of women. It was common for (signare) women to hold such status, and photography was a way for them to showcase it."

On the other hand, outside of colonial circles, a different narrative unfolds. Paoletti shared the account of Belgian explorer Adolphe Burdo encountering a man referred to as the "King of Dakar" in 1878.

A copy of a portrait presented to Belgian traveller Adolphe Burdo in 1878 by a man described by Burdo as "The King of Dakar."

During the meeting, the king gave Burdo a keepsake known as a "carte de visite," which included a photo portrait commissioned by the king himself. Burdo, a modern African, caused the Belgian to flee Dakar, deeming it "too civilized," in search of more "genuine savages," according to Paoletti's report on Burdo's writings. The same carte de visite was used as an illustration in Burdo's travelogue, where a European erased the African's modern identity.

Paoletti believes that there is a sense of shock and resistance still present today, particularly evident in the limited representation of early African photography in museums compared to older art forms. According to the author, there is a lack of early adaptation to modernity in these institutions.

She further explains that Africa, African subjects, and objects have historically been portrayed as existing outside of time, in a timeless realm. This perpetuates the idea of the 'Other', a construction that is always separate from our current reality.

Despite this, it is known that the first photography studio in Senegal was established by a Black man named Augustus Washington in 1860. By the early 20th century, photography had become popular in the country, according to Paoletti.

Exploring similarities globally

Photography in Senegal took on a special role starting from the 1930s with the introduction of the “xoymet,” which means a decorative collage in Wolof culture. During weddings, photographs of friends and family were gathered to adorn the bride’s room before the ceremony. This collage served as a conversation starter for visitors, reflecting the bride's social connections. After the wedding, the collage would be dismantled and the photographs returned to their owners.

According to Paoletti, photography is a common topic of discussion in Senegal, especially in relation to the xoymet tradition. Surprisingly, there is a lack of research on this unique aspect of Senegalese photography.

Academics are unsure why the practice of xoymet died out in the 1960s. Only a few photographs of xoymet still exist, with notable examples taken by Macky Kane, including one of his bride-to-be Fatou Thioune posing in front of her xoymet.

The format of photographs within photographs, like in the image "Sun Rays-Paula, Berlin" taken by American photographer Alfred Stieglitz in the late 19th century, is seen in important photographs.

A portrait of Mrs. Fatou Thioune, the wife of photographer Macky Kane, c.1939-1941, taken in St. Louis, Senegal.

Courtesy Estate of Macky Kane

"Sun Rays–Paula, Berlin," a photograph taken by Alfred Stieglitz in the 19th century and first exhibited in the early 20th century.

HUM Images/Universal Images Group Editorial/Getty Images

Paoletti emphasizes the importance of understanding the interconnectedness of photography in West Africa. He believes that these photographs should be viewed in relation to each other, showing how they are connected to the world and how the subjects in the photos want to be part of those worlds.

Macky Kane, Mama Casset, and Salla Casset are now recognized for their mid-20th century portraiture, with their work being collected by prestigious museums like The Met. This recognition was not immediate, according to Paoletti. However, a surge of African photography exhibitions in the 1990s, including key showcases in the US and Senegal, as well as the publication of the influential book "Anthology of African Photography" in 1998, played a significant role in bringing their photographs to a wider audience, even if some images were originally credited to "anonymous."

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During her visits to the holy city of Touba between 2012 and 2019, Paoletti had the opportunity to interview Oumar Ka, a well-respected photographer from the mid-1900s. Ka, who passed away in 2020, lived near his old studio and preserved his entire collection of negatives. Paoletti was amazed by the incredible portraits from the 1960s of rural individuals that Ka had captured.

Describing it as a "transformative moment," Paoletti was struck by the unique style of Ka's photography. The photographs, taken in wide shots with a deep depth of field, featured subjects in natural settings that appeared not only modern but also contemporary. This distinct style set Ka apart from other prominent West African photographers of that era.

A self-portrait of Oumar Ka, taken c. 1970s.

Oumar Ka Family Estate/Axis Gallery

However, despite the efforts to uncover historical photos, there are still many that have not been found. According to Paoletti, none of the daguerreotypes taken by Augustus Washington in Senegal have been located. Additionally, some of Mama Casset's works may never be seen again. A fire in the 1980s destroyed his studio, where most of his negatives were kept.

Paoletti is planning to showcase her project at the Dakar Biennale in the Senegalese capital later this year. She will also be holding book talks at the Institut Français du Sénégal and University of Dakar. Despite dedicating over ten years to this book, her mission is ongoing - she aims to gain a deeper understanding of Senegal's photographic history and its significance in the past.

The book titled "Portrait and Place: Photography in Senegal, 1840-1960" is published by Princeton University Press and was released on March 5th.

Editor's P/S:

The article sheds light on a captivating and often overlooked aspect of West African history, challenging the predominant narrative of photography as a solely Western invention. Through meticulous research and personal interviews, the author unveils the rich and vibrant history of photography in Senegal, revealing the agency and artistry of African photographers. The resilience and creativity of these individuals, despite the colonial context, are a testament to the power of self-expression and the interconnectedness of global artistic traditions.

The article also highlights the importance of decolonizing perspectives and acknowledging the contributions of African artists to the history of photography. By shifting away from Eurocentric narratives and elevating the voices of Senegalese photographers, the author seeks to reclaim a more accurate and inclusive understanding of this art form. This effort not only enriches our appreciation of the past but also inspires a more equitable and diverse representation of African history and culture in the present.