Photography and National Memory: Senegal about 1960

Bajorek, Jennifer

doi:10.1080/03087290903361480

Cited by 32 publications

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“…With this article, I hope to contribute to efforts to rectify this imbalance (Bajorek 2010;Bouttiaux 2003;Geary 1998;Haney forthcoming;Prochaska 1991;Saint Léon et al 1999;Seye 1994). Given the imbalance, however, the works of Malians Keita and Sidibé, with their intact collections of negatives and their iconic status as representative of "West African Photography" in the Western art scene, remain the indispensable reference points for my study of less known photography (see Pinney 2003b).…”

Section: Introduction: Fashions Images Photographs and Archivesmentioning

confidence: 93%

Fashionable Photography in Mid-Twentieth-Century Senegal

Rabine

2010

Fashion Theory

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This article explores the reciprocal transformative effects of Senegalese fashion and photography from the post-World-War-lI movements for Independence to the transnational youth movements of the 1960s and 1970s. It draws upon photographs from a museum archive and several family collections in Senegal. Photographs as physical objects and their particular archival spaces decisively influence the way we read photographic content. They thus also influence the way we read the look and meaning of the fashions portrayed. But the converse also holds: new, politically imbued fashions can disrupt established genres of Senegalese

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Section: Introduction: Fashions Images Photographs and Archivesmentioning

confidence: 93%

Fashionable Photography in Mid-Twentieth-Century Senegal

Rabine

2010

Fashion Theory

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“…In addition, while many privately commissioned family portraits became part of a photographer's portfolio and were reprinted and circulated as generic postcards from the colonies in which the identity of the sitter was lost, not all images printed on postcard stock circulated as postcards. Postcard stock was less expensive and widely available for private family photographs (Bajorek , 162). In one image signed by the colonial‐era photographer J. Benyoumoff, we see the ever‐present painted background featuring European architectural features, domestic furnishings, and tropical foliage (Figure ).…”

Section: Playing Fast and Footloose With Propsmentioning

confidence: 99%

If You Were in My Sneakers: Migration Stories in the Studio Photography of Dakar‐Based Omar Victor Diop

Buggenhagen¹

2017

Visual Anthropology Review

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“…Scholars of Senegal and the Gambia have focused on photography in the studio (Buckley 2000), in fashion (Mustafa 2002; Rabine 2010), in the political imagination (Bajorek 2010), and among Muslims (Roberts and Roberts 1998). Photographs are documentary, commemorative, a form of reportage, persuasive, and everlasting (Mustafa 2002: 172).…”

Section: Photo Albums and Creating A Space Of Respectability In Khar mentioning

confidence: 99%

A Snapshot of Happiness: Photo Albums, Respectability and Economic Uncertainty in Dakar

Buggenhagen¹

2014

Africa

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Young women who live in the improvised urban spaces on the outskirts of Senegal's capital city, Dakar, extemporize their respectability in a time of fiscal uncertainty through personal photography. The neighbourhood of Khar Yalla is an improvised, interconnected and multilayered space settled by families removed from the city centre during clean-up campaigns from the 1960s to the 1970s, by families escaping conflict in Casamance and Guinea-Bissau, and by recent rural migrants. As much as Khar Yalla is an improvised neighbourhood, it is also a space of improvisation. When women pose for, display, and pass around portraits of themselves at key moments in their social life, whether in the medium of social networking sites or photo albums, they reveal as much as they conceal the elements of individual and social life. They index their social networks and constitute their urban space not as peripheral, but as central to the lives and imaginations of their siblings and spouses who live abroad. Photographs actively shape and construct urban spaces, which are often loud, unruly and fraught spaces with vast inequalities and incommensurabilities. How women deal with economic and social disparity, within their own families, communities, and globally, is the subject of this article.

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Photography and National Memory: Senegal about 1960

Cited by 32 publications

References 0 publications

Fashionable Photography in Mid-Twentieth-Century Senegal

Fashionable Photography in Mid-Twentieth-Century Senegal

If You Were in My Sneakers: Migration Stories in the Studio Photography of Dakar‐Based Omar Victor Diop

A Snapshot of Happiness: Photo Albums, Respectability and Economic Uncertainty in Dakar

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