L'aura d'Amadou Bamba. Photographie et fabulation dans le ... · Walter Benjamin's notion of thé...
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Document generated on 01/26/2019 3:47 p.m. Anthropologie et Sociétés L'aura d'Amadou Bamba. Photographie et fabulation dans le Sénégal urbain Allen F. Roberts and Mary Nooter Roberts Afrique revisitée Volume 22, Number 1, 1998 URI: id.erudit.org/iderudit/015520ar https://doi.org/10.7202/015520ar See table of contents Publisher(s) Département d’anthropologie de l’Université Laval ISSN 0702-8997 (print) 1703-7921 (digital) Explore this journal Cite this article Roberts, A. & Roberts, M. (1998). L'aura d'Amadou Bamba. Photographie et fabulation dans le Sénégal urbain. Anthropologie et Sociétés, 22(1), 15–40. https://doi.org/10.7202/015520ar Article abstract ABSTRACT The Aura ot Amadou Bamba : Photography and Fabulation in Urban Sénégal Since 1988, urban Senegal has seen a flowering of popular arts, with one subject standing out in number and prominence : Amadou Bamba (1853-1927), a Senegalese Sufi saint around whom the Mouride Way has been created. Ail images of Bamba are based upon a single photograph taken in about 1913, the particularities of which provide endless opportunities for recognition of hidden meanings and messages through Sufi epistemology. The authors' Senegalese ethnography and a discussion of theories of representation ranging from Susan Sontag's notion of the surrealism implicit to photography to Jacques Derrida's sense of catachresis as producing new rules and meanings, allow Walter Benjamin's notion of thé "aura" of art works to be challenged and extended to provide an understanding of the impact of images of Bamba. Recent proliferation of wall paintings depicting Bamba contributes to deconstruction of the "monolithic memory" of colonial and early-postcolonial régimes and thé fabulation of an altogether new mnemonic collage. Key words : Roberts, Nooter Roberts, représentation, photography, aura, Mouridism, Islam, Sénégal This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. [ https:// apropos.erudit.org/en/users/policy-on-use/] This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. www.erudit.org Tous droits réservés © Anthropologie et Sociétés, Université Laval, 1998
Transcript of L'aura d'Amadou Bamba. Photographie et fabulation dans le ... · Walter Benjamin's notion of thé...
Document generated on 01/26/2019 3:47 p.m.
Anthropologie et Sociétés
L'aura d'Amadou Bamba. Photographie et fabulation dansle Sénégal urbainAllen F. Roberts and Mary Nooter Roberts
Afrique revisitéeVolume 22, Number 1, 1998
URI: id.erudit.org/iderudit/015520arhttps://doi.org/10.7202/015520ar
See table of contents
Publisher(s)
Département d’anthropologie de l’Université Laval
ISSN 0702-8997 (print)1703-7921 (digital)
Explore this journal
Cite this article
Roberts, A. & Roberts, M. (1998). L'aura d'Amadou Bamba.Photographie et fabulation dans le Sénégal urbain. Anthropologie etSociétés, 22(1), 15–40. https://doi.org/10.7202/015520ar
Article abstract
ABSTRACT
The Aura ot Amadou Bamba : Photography and Fabulation in UrbanSénégal
Since 1988, urban Senegal has seen a flowering of popular arts, withone subject standing out in number and prominence : Amadou Bamba(1853-1927), a Senegalese Sufi saint around whom the Mouride Wayhas been created. Ail images of Bamba are based upon a singlephotograph taken in about 1913, the particularities of which provideendless opportunities for recognition of hidden meanings andmessages through Sufi epistemology. The authors' Senegaleseethnography and a discussion of theories of representation rangingfrom Susan Sontag's notion of the surrealism implicit to photographyto Jacques Derrida's sense of catachresis as producing new rules andmeanings, allow Walter Benjamin's notion of thé "aura" of art works tobe challenged and extended to provide an understanding of the impactof images of Bamba. Recent proliferation of wall paintings depictingBamba contributes to deconstruction of the "monolithic memory" ofcolonial and early-postcolonial régimes and thé fabulation of analtogether new mnemonic collage.
Key words : Roberts, Nooter Roberts, représentation, photography,aura, Mouridism, Islam, Sénégal
This document is protected by copyright law. Use of the services of Érudit (includingreproduction) is subject to its terms and conditions, which can be viewed online. [https://apropos.erudit.org/en/users/policy-on-use/]
This article is disseminated and preserved by Érudit.Érudit is a non-profit inter-university consortium of the Université de Montréal, UniversitéLaval, and the Université du Québec à Montréal. Its mission is to promote and disseminateresearch. www.erudit.org
Tous droits réservés © Anthropologie et Sociétés, UniversitéLaval, 1998
