Archive of Malian Photography
This is the third blog in our series celebrating West Africa: Word, Symbol, Song, the current exhibition at the British Library. This time we are delighted to have a piece written by Dr Candace Keller who was the grant holder for EAP449.
Mali has remained the international nexus of African photography for over twenty years. Since 1994, its capital has been home to the Rencontres de Bamako photography biennial and has produced some of the continentâs most globally renowned professional photographers.
In collaboration with the British Library, the National Endowment for the Humanities, MATRIX: The Center for Digital Humanities and Social Sciences, and the Maison Africaine de la Photographie in Mali, Michigan State University has been digitising, cataloguing, rehousing and will make available about 100,000 negatives from the archives of the nationâs prominent photographers Mamdou CissĂ© (1930-2003), Adama KouyatĂ© (b. 1927), Abdourahmane Sakaly (1926-1988), Malick SidibĂ© (b. 1936), and Tijani Sitou (1932-1999).
Photography was introduced to present-day Mali during the 1880s by French military officers and, later, colonial administrators, missionaries, and expatriates. By the 1940s, an African market for photography had developed in the French Sudan, as Mali was then known, and its professional photographers maintained a monopoly over the medium until the 1980s.
EAP449/2 Abdourahmane Sakaly, Portrait of Two Men in the Studio, Bamako, January 1958
As a result, their archives contain rare visual documentation of social, cultural, and political life as well as processes of urban development in the country and in French West Africa more broadly. Spanning the eras of colonialism, political independence, socialism, and democracy, their archives record important transformations in Maliâs capital and smaller towns along the Niger River such as Mopti and SĂ©gu during the twentieth century.
EAP449/1 Mamadou CissĂ©, Hunterâs Festival, SĂ©gu, 1967
EAP449/1/1 Mamadou CissĂ©, Malian President Moussa TraorĂ© and Senegalese President LĂ©opold Sedar Senghor at the Senou airport, Bamako, c.1972
Employed by colonial and national governments, while operating private studio enterprises, each photographerâs collection houses unique perspectives on local histories and practices, including personal and family portraiture, military activities, visits of foreign dignitaries, and images of the 1968 and 1991 coup dâĂ©tats. They also feature the construction of national monuments, governmental structures, bridges, dams, roadways, as well as prominent religious leaders, political figures, cultural ceremonies, and fluctuating trends in personal adornment, popular culture, and photographic practices from the 1940s to the present.
EAP449/1/1 Mamadou CissĂ©, Portrait of a Woman, SĂ©gu, c.1960
Funded by the British Library's Endangered Archives Programme and the National Endowment for the Humanities Preservation and Access division, since 2011, this project has worked to address the following significant needs for international scholarship and the preservation of Maliâs cultural heritage because:
- Archives are not catalogued, appropriately preserved or accessible for research and education
- Materials are vulnerable to mistreatment, theft, and exploitation due to their global commercial value
- Harsh climactic conditions jeopardize their physical integrity
To preserve and promote Maliâs cultural heritage and the artistic legacies of these photographers, this project ensures that:
- Archival collections remain in Mali
- Negatives are better protected and preserved
- High-resolution scans are preserved
- Low-resolution copies are made freely accessible online
- A digital repository is managed by MATRIX at Michigan State University
- Access in Mali is provided by the Maison Africaine de la Photographie
These primary sources are significant contributions to global histories of photography as well as historical and cultural studies of western Africa. Valuable for a wide range of audiences, from interested lay persons to photographers, scholars, and students, they benefit teaching and research around the world across a variety of humanistic disciplines, such as history, anthropology, political science, art, aesthetics, and African studies.
As part of the Archive of Malian Photography project, 28,000 negatives by Abdourahmane Sakaly and Mamadou CissĂ© are now accessible on the British Libraryâs database under EAP449.
Abdourahmane Sakaly (1926-1988) Bamako
Sakaly was Senegalese (of Moroccan heritage) and came to Bamako in 1946. There, he began practicing photography and opened Studio Sakaly in 1956. From the late â50s to the â70s, his studio experienced great success. In addition to portraiture, Sakaly documented social events and private functions for the military, police officers, and other elites in the city.
Mamadou [Mohammed] CissĂ© (1930-2003) Mopti, SĂ©gu, Bamako
In 1949, CissĂ© learned photography in Mopti. He joined the French colonial army in 1952 which sent him to Senegal, Vietnam, Laos, and Algeria where he took portraits and identification photographs. After Malian independence in 1960, CissĂ© became a photographer for the Malian army and for the national news agency (A.N.I.M.), which sent him to SĂ©gu to open and direct a studio. When A.N.I.M. (today A.M.A.P.) closed its operations in SĂ©gu during the â80s, CissĂ© returned to Bamako to work at the agencyâs headquarters and remained there until 1986, when he retired two years after opening Studio CissĂ©.
For questions or more information about this project, please contact Candace M. Keller, Project Director and Associate Professor of African Art, Michigan State University: email@example.com
For more on the exploitation, theft, and pilfering challenges this project seeks to address, consult: C. Keller, âFramed and Hidden Histories: West African Photography from Local to Global Contexts,â African Arts 47, 4 (Winter 2014): 36-47.