Acknowledgments
Wwhose
hile many people have been instrumental in making this boo
a reality, I must thank, first and foremost, the artists in Seneg
generosity of spirit, engaging artistic works, and creativ
abilities helped shape this project from its beginnings. El Hadji Moussa Bou
bacar Sy, Viyé Diba, Issa Samb, Moustapha Dimé, Amadou Kane Sy, Cheik
Niass, Papa Ibra Tall, Guibril André Diop, Germaine Anta Gaye, Djibr
N’Diaye, and Babacar Traoré invited me into their studios and their home
on many occasions. Many others whose works may not be directly feature
herein were central players in the development of this study and provide
critical assistance and advice in navigating the Dakarois artistic commu
nity. I’d like to thank in particular, Abdoulaye N’Doye, Mohammadou Zul
M’Baye, Serigne N’Diaye, Serigne M’Baye Camara, and Ibou Diouf.
While in-depth preparation and research for this publication began wit
doctoral studies in London, I want to thank Simon Ottenberg and Ren
Bravmann at the University of Washington and Christopher B. Steiner an
John Rosenfield at Harvard University for supporting my interests in con
temporary Africa as an undergraduate and master’s student, at a time whe
it was not altogether clear that the field would acknowledge the importanc
of this work.
I would like to thank the Association of Commonwealth Universities fo
the support of a Commonwealth Fellowship that not only allowed me to a
tend the School of Oriental and African Studies and benefit from its wonde
ful libraryand staff resources but also to conduct a large portion of the field
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