I post these links because I think it is important to hear what Malians (and Continental Africans, on and of the Continent) are saying about their own work and their own artists. I think it is particularly important to hear from the those who are still on the ground and trying to get more visibility and build craft and critical capacity of the artists of their country(ies).
Chab Touré nous parle d’esthétique, de la naissance de l’Art (4’40”), de la relation Art – Religion – Pouvoir (7’28”), de la naissance de l’Art Moderne (9’14”), de l’oeuvre et de sa valeur symbolique (12’00”) et de l’Art Contemporain (14’20”).
Yeah…I know it has been a looonnng time since I have been here, but life has kept me quite busy lately. Trying to keep up with 2 little ones 2 years old or younger is not an easy task, but I am loving every minute of it.
I just wanted to jump on here and share a little bit of news. A poem that I wrote here in Mali, entitled Currency, has been published on PRIVATE.
It seems like a great publication, I have been following them for some time now and I hope to collaborate with them on some projects in the near future.
In the first few months of my time in Mali, I was blessed to meet ad fellowship with some people that have made my trip here all the more pleasurable Kandioura Coulibaly, was one of those people. Coulibaly passed away last night. Coulibaly was one of the founding members of Groupe Bogolan Kasobané, which is an artist collective who focus is to preserve the textile and craft traditions of Mali.
While visiting his home he showed me some of the amazing jewelry, textile pieces and some of the amazing contemporary bogolan work he (and his collective) are doing. Coulibaly also showed me some really amazing Malian antique sculptures, beads and other items that his collective have been stewards of for many years. Some of the marking and inscriptions on these items only Coulibaly, his collective and other initiates know the meaning of; they are vital to the preservation and promotion of Mali art and culture.
I left his home that day inspired not only by what I saw, but also because of what I learned and conversation we had. Although Bamako is a large city that sometimes it feels very much like a small village, I would randomly run him at different art events and the like. The last time I saw him was a few weeks ago at the RENCONTRES DE BAMAKO and everything seemed fine, but we did not get a chance to talk at length, beyond greeting each other. Now I wish I had made the time to speak to him a little longer.
As Mali attempts to weather the winds of some tough times ahead, the loss of an artist of this caliber is really a horrific blow, one that unfortunately the politicians will not feel. The worst part of this lack of recognition of Mali’s cultural treasures and social fabric are some of the most powerful tools that Mali has to combat the current realities here on the ground.
Abdoulaye Konaté b. 1953, Mali Dance of Kayes from La Danse series 2008 Textile, each: approx. 246.4 x 170.2 cm (97 x 67 in.). Collection of Saro León
My poem was in response to Malian textile artist, Abdoulaye Konate’s 2008 Dance of Kayes from La Danse series, as seen above. Read the poem here.
I choose Konate’s work not only because he is Malian, but because his exhibition at the Institut Francais of Mali , was the one of the only art of a Malian artist I had seen other than Malick Sidibe, Seydou Keita, Alioune Bâ and a few others – all photographers. Painter, Amadou Sanogo, was the other Malian artist’s work that I had seen, aside of the famous Malian photographers.
I also chose Konate’s piece because of the cool colors he chose to represent Kayes are not what I expected given that the Kayes region is one of the hottest places on the planet, so the contrast was quite striking.