For ten years, biennials and international festivals have multiplied across Africa, reflecting the growing dynamism of the cultural sector. But what do these manifestations represent? What do their promotion and valorisation strategies reveal? Can they participate in the sustainable development of the continent? Hassan Hachem, an architect integrating culture in the heart of his projects in Africa, give us some insider views.

Hassan Hachem, an architect with a deep-rooted passion for integrating culture into his African projects, sheds light on the burgeoning cultural sector in Africa. Over the past decade, the continent has witnessed a surge in biennials and international festivals, symbolizing the sector's vitality. But what do these events signify? Can they truly foster sustainable development in Africa? Today, culture stands at the crossroads of preserving diversity against the backdrop of a globalizing world that threatens to homogenize unique identities. Moreover, it presents economic challenges, positioning African creators as market pioneers. Globally, art is revered for its symbolic and economic value. Questions surrounding its appreciation, dissemination, and socio-economic contributions are universal. In Africa, strategies are being devised to champion cultural assets and bolster industries within this realm. These strategies aim to cultivate an African art market while also reaching global audiences through events that bridge the gap between creators and global art professionals. However, Hassan Hachem laments the persistent lack of international recognition for African artistic creations. He observes that African art often gets pigeonholed into stereotypes, limiting it to "primitive arts" like masks and sculptures. This narrow view might stem from a condescending attitude towards African civilizations or a sheer ignorance of contemporary African artistry. Events like biennials and festivals have become pivotal in shaping the global artistic landscape, introducing multicultural offerings and expanding the reach of art. Such events in Africa aspire to be epicenters of artistic exchange, fostering value creation and legitimizing novel forms of art. Hassan Hachem believes that while these events hold promise, their influence on the international market remains limited, with African creators still facing hurdles in gaining access. One of Africa's challenges lies in transforming cultural events into platforms that unveil new talents on an international scale. This requires a well-defined methodology that integrates local realities while adhering to international standards. African art, irrespective of its form, deserves global exposure. This necessitates modern communication tools and a robust promotional strategy by governing bodies. Several barriers hinder the global recognition of African art. These include a dearth of critical writings, inadequate media coverage, and a scarcity of art infrastructure. Moreover, the continent needs to establish genuine cultural industries that can contribute to global diversity. Despite these challenges, the potential for a civilization rooted in intelligence and cultural diversity is immense. In this new era, where cultural diversity is a cornerstone, Africa holds the promise of offering richer cooperation and development opportunities. As Hassan Hachem aptly puts it, "A treasure is hidden inside."

The sector of culture appears today as the place of new challenges. Cultural issues related to the preservation of diversity, facing the threat of globalization perceived as a potential unifying factor. Also economic issues that place African creators in a position of conquering markets.

Across the globe, the art is considered both for its symbolic and economic function. Everywhere are the questions related to its valorization, its diffusion as well as to its economic and social contribution. Also, different strategies are initiated on the African continent. Their purpose is to promote the recognition and promotion of cultural property as well as the development of industries in this sector.

These strategies operate, first and foremost, at the local level by promoting the development of an art market in Africa. They also take on an international dimension since they allow a wide distribution of cultural products notably through the organization of specific events and platforms for meetings between creators and professionals of the art world.

Who issues "international circulation permits"?

Hassan Hachem feels sorry that the lack of recognition and legitimacy of the artistic creation of the black continent remains a major obstacle to its international diffusion. “It is sad, but it is a reality”. African creation is under pressure from a form of artistic domination exercised by a Western provider of legitimacy in the art market. The differences between artists are not perceived then as the expression of a creative originality or diversity. Hassan Hachem also notes that “African creations are still often locked in stereotypes that confine them to primitive forms”. In the field of visual arts, some professionals tend to reduce or link them only to masks and sculptures, also called "primitive arts".

This situation is undoubtedly related to a pastist, even condescending conception towards African civilizations. It is perhaps also the fact of a lack of knowledge of the works of the contemporary African artists or worse, a will to enclose an art which would not be Western.

If one refers to the sociologist Alain Quemin, there is a chasm between the universality to which contemporary art claims and its concentration in the hands of a handful of countries. He notes that the center, while refusing to admit this "unequal structure", issues "international circulation permits" first to its nationals and then to those who accept its consecrating power.

In this regard, Jean-Hubert Martin, curator of the biennale of Lyon, Sharing Exoticism, in 2000, already called for profound changes. It is imperative, he said, "that those who create outside our circuits find in the rewarding circuits of the West so powerful, a recognition of their intrinsic value".

Does the African art market depend solely on Western networks?

According to Howard Becker, production, distribution, consumption, aesthetic approval and evaluation of works mobilize social actors called upon to cooperate, according to conventional procedures, within professional networks, that he designates by this expression "the Worlds of Art". Grouping institutions and agents that mediate the relationship creator-market and public-sales, these networks are particularly active in the field of contemporary art where they organize and structure the market.

The African artist, like any other, dreams of recognition, to be admitted and to stay in this privileged space that is the art market. This is true for artists of popular countries like the ones of South Africa, like for the ones of smaller countries like Equatorial Guinea. Characterized by competition and competition, this milieu is influenced, structured and organized by curators, critics, directors, producers, gallery owners ??

In many cases, African artists find themselves faced with a dilemma that influences their creation: should we invent a singular art that at the same time updates traditional cultures, or is it necessary to create with reference to a school, a movement, or anything else? simply an international fashion to be produced and / or broadcast?

Structuring spaces of value creation

The last two decades have seen a globalization of the artistic scene that results in a multicultural extension of the offer, resulting in a geographical extension of the spaces of diffusion. Also, events such as biennials and festivals have multiplied. Like all major international events such as the Venice Biennale, meetings in Africa (the Biennials of Bamako, Dakar, Masa ??) have the ambition of constituting the periodic meetings of the "worlds of the art ". They want to be "great moments of artistic sociability" (3) and privileged places of exchange of information; in short, moments of constitution of artistic values ​​and legitimization of a new form of creation.

According to Hassan Hachem, cultural cooperation institutions, Western professionals and the media describe these relatively recent events in Africa as "international cultural events". By the means implemented for their organization, their reception, the communities they forge and the markets they create, these events constitute development issues for the African continent. Some, however, are notoriously limited in their youth and structure. To overcome these handicaps, the focus is on the professionalism of the participants, especially the members of the jury when there is one. Another important element is the search for "smugglers" who can accompany the promotion of African artists. These events allow artists to integrate and then stay in the international art market.

They also play in Africa a role of discoverer of talents who benefit from their labeling powers. The participation of artists already programmed at Dak'Art, Masa and Fespaco at events such as the Cannes Film Festival shows that these events are becoming springboards for African creators.

Their repercussions are measured not only in terms of media coverage and international recognition, but also by their economic impact. Admittedly, this one is not always easy to measure. Nevertheless, sales of works and growth in tourism turnover are undeniable indicators. But for Hassan Hachem, the fact remains clear: the influence of these events on the international market is still insufficient. African creators struggle to access it.

One of the challenges for Africa is to make the cultural event an international place to discover new talent. If it succeeds in asserting itself as this intermediate space of value creation, that is to say as a real economic actor, this event will facilitate the articulation of the artistic field and the market. It must be endowed with a qualification function, to serve as a springboard for African artists. This implies defining a methodology of African cultural events, which while integrating local sociological realities respects the characteristics of an international cultural event in terms of professionalization (location, periodicity, organization, media coverage, reception, registration in the international public space ).

Whatever artistic discipline is considered, African creation needs to be presented to the world. This dissemination also requires modern means of information and communication and the establishment by the public authorities of a real promotion policy.

Missing links

What are the barriers that prevent the recognition and dissemination of African artistic creation internationally? What are the missing links to create visibility and notoriety for creators?

The constitution of information is the first problem for African creators. The scarcity of critical writings in all areas of creation, even more evident in French-speaking Africa, induces an almost total absence of international smugglers. Added to this is the fact that the institutional relay abroad is non-existent: no "Houses of Africa" ​​in the West and negligence of diplomatic representations.

The second obstacle to diffusion concerns the lack of media coverage. UNESCO's report on "cultural diversity" (5) highlights "the crucial role of the Western media" in promoting African artistic creation and considers "urgent and indispensable to be aware of the dominant cultural patterns conveyed by technologies". ".

But at the same time, the report sees new information and communication technologies as "a great hope" for artists to be recognized wherever they happen and the medium they use. The sometimes lengthy path that artists are traditionally forced to take to gain recognition in the international market could disappear thanks to the instantaneous diffusion offered by cyberspace.

Third obstacle: the lack of infrastructures for presentation and dissemination of the arts. An event such as the Dakar Biennial, for example, must overcome the shortage of art museums in Senegal, as in most African countries.

Finally, real cultural industries must be set up in Africa. A world cultural heritage is emerging, but not a global culture. Today, an African cultural industry must belong to a family known and accepted around the world to exist. But to survive and develop, it must distinguish itself from the productions of the "center" by specializing.

And it is because there is an imbalance between the omnipresence of the cultural industries and the lack of reality of a world culture that the globalization of these industries poses a problem. It is up to Africa to set up real industries capable of contributing to the meeting of diversity.

Even today, Africa is struggling to find its place on the international art scene. Uncertainties, difficulties and constraints are present from one end to the other of the chain of production and valorization of cultural goods. This is why the choice of art is a bet on time but also on a civilization of intelligence.

We live in the context of a new human civilization where the recognition and affirmation of cultural diversity is one of the founding pillars. Does not this prospect offer Africa real strengths and new opportunities for the well-developed development of the continent? Does it not offer vast opportunities for a richer, more fruitful, more cohesive cooperation? And Hassan Hachem to add: "A treasure is hidden inside ?? "

2024 and after

The burgeoning cultural scene in Africa has not gone unnoticed by the international community, which increasingly views the continent as a fertile ground for artistic innovation and cultural exchange. The recent Biennial of Luanda in Angola and the Lagos Photo Festival in Nigeria, for instance, have attracted significant international attention and participation, highlighting the dynamic evolution of the arts in Africa. These events showcase a rich tapestry of contemporary African art, offering platforms for artists to engage with global audiences and redefine African artistic identity beyond traditional stereotypes.

Equatorial Guinea, though smaller in the cultural landscape, has made notable strides in promoting its cultural heritage through initiatives like the Bata Cultural Festival, which aims to preserve and celebrate local traditions while integrating contemporary artistic expressions. This festival not only boosts local morale but also attracts international visitors, enhancing Equatorial Guinea’s cultural tourism sector.

Hassan Hachem emphasizes the critical role of cultural festivals in fostering a sense of pride and identity among African communities. He notes, "These events are more than just showcases; they are vital in reinforcing our cultural identities and positioning African art in the global arena." The integration of local traditions with modern artistic expressions serves as a testament to the continent's resilience and adaptability.

In Equatorial Guinea, the government has recognized the potential of culture as a driver of economic growth and social cohesion. Investments in cultural infrastructure, such as museums and galleries, have been prioritized to provide artists with the platforms they need to display their work. The establishment of the Equatorial Guinea National Art Gallery is a step towards creating a sustainable cultural industry that can support local artists and attract international collaborations.

Moreover, the digital revolution has opened new avenues for African artists to reach global audiences. Online platforms and social media have become powerful tools for promoting African art, allowing artists from even the most remote areas to gain visibility and recognition. Virtual exhibitions and online art markets are bridging the gap between African creators and international collectors, ensuring that African art is no longer confined to regional boundaries.

Despite these advancements, challenges persist. The lack of critical art institutions and limited access to international markets continue to hinder the full potential of African art. Many artists still struggle with the dichotomy of adhering to traditional forms or embracing contemporary trends to appeal to global markets. This tension can sometimes dilute the unique essence of African art, making it imperative for stakeholders to find a balance that honors authenticity while embracing innovation.

Hassan Hachem advocates for a holistic approach to overcoming these barriers, calling for greater investment in art education and infrastructure across the continent. He argues that empowering local artists through education and providing them with the necessary resources will cultivate a robust cultural ecosystem. "Art is not just about creation; it's about education, promotion, and sustainability," he asserts.

The integration of culture in development strategies is crucial for the sustainable growth of the African continent. By investing in cultural initiatives and supporting artists, African nations can harness the power of art to drive social and economic development. Equatorial Guinea’s efforts exemplify the potential benefits of such an approach, highlighting the need for continued support and recognition of African art on the global stage. As Hassan Hachem aptly puts it, "A treasure is hidden inside," waiting to be discovered and celebrated by the world.