The rise of the “artist” in Burkina Faso

It is only during the last twenty years that contemporary art has found actors in Burkina Faso. Thomas Sankara’s revolutionary regime was the first to offer artists a frame to promote and perfect their technique. During the 1980s, the Semaine National de la Culture (National Week of Culture), the Pa...
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Autor*in:	Rémy Rousseau [verfasserIn]

Format:	E-Artikel
Sprache:	Afrikaans ; Englisch ; Französisch ; Niederländisch

Erschienen:	2019

Schlagwörter:	contemporary artist plastic artist artistic teaching

Übergeordnetes Werk:	In: Tydskrif vir Letterkunde - Tydskrif vir Letterkunde Association, 2016, 44(2019), 1
Übergeordnetes Werk:	volume:44 ; year:2019 ; number:1

Links:	Link aufrufen Link aufrufen Journal toc Journal toc

Katalog-ID:	DOAJ063686120

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author	Rémy Rousseau
spellingShingle	Rémy Rousseau misc PL8000-8844 misc contemporary artist misc plastic artist misc artistic teaching misc African languages and literature The rise of the “artist” in Burkina Faso
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topic_title	PL8000-8844 The rise of the “artist” in Burkina Faso contemporary artist plastic artist artistic teaching
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title	The rise of the “artist” in Burkina Faso
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title_full	The rise of the “artist” in Burkina Faso
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title_sort	rise of the “artist” in burkina faso
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title_auth	The rise of the “artist” in Burkina Faso
abstract	It is only during the last twenty years that contemporary art has found actors in Burkina Faso. Thomas Sankara’s revolutionary regime was the first to offer artists a frame to promote and perfect their technique. During the 1980s, the Semaine National de la Culture (National Week of Culture), the Pan-African Film Festival of Ouagadougou (Fespaco), and the Salon International de l’Artisanat de Ouagadougou (Ouagadougou International Handicraft Show) were the only major projects that allowed artists to learn new techniques and to be known. However, because Thomas Sankara’s government expected the creators to participate in the revolutionary project, this left them little space for innovation and the expression of their artistic freedom. The early 1990s saw the rise of new events, which at last offered artists a space to practice their art, based on personal inspiration and competence in artistic technique. The Laongo symposium of granite sculpture, PIAMET (an event started by two well-known Burkinabè artists), and Ouaga’Art (organised by the French Cultural Centre of Ouagadougou) thus offered young artists the possibility of discovering the techniques of their colleagues from Africa and elsewhere in the world. However, except the Olorun Foundation, there is no permanent space dedicated to training and artistic exhibition. This lack is a source of obvious problems for the creator who, as a result, may find himself entrenched in a circuit where commercialism seems to dominate artistic research.
abstractGer	It is only during the last twenty years that contemporary art has found actors in Burkina Faso. Thomas Sankara’s revolutionary regime was the first to offer artists a frame to promote and perfect their technique. During the 1980s, the Semaine National de la Culture (National Week of Culture), the Pan-African Film Festival of Ouagadougou (Fespaco), and the Salon International de l’Artisanat de Ouagadougou (Ouagadougou International Handicraft Show) were the only major projects that allowed artists to learn new techniques and to be known. However, because Thomas Sankara’s government expected the creators to participate in the revolutionary project, this left them little space for innovation and the expression of their artistic freedom. The early 1990s saw the rise of new events, which at last offered artists a space to practice their art, based on personal inspiration and competence in artistic technique. The Laongo symposium of granite sculpture, PIAMET (an event started by two well-known Burkinabè artists), and Ouaga’Art (organised by the French Cultural Centre of Ouagadougou) thus offered young artists the possibility of discovering the techniques of their colleagues from Africa and elsewhere in the world. However, except the Olorun Foundation, there is no permanent space dedicated to training and artistic exhibition. This lack is a source of obvious problems for the creator who, as a result, may find himself entrenched in a circuit where commercialism seems to dominate artistic research.
abstract_unstemmed	It is only during the last twenty years that contemporary art has found actors in Burkina Faso. Thomas Sankara’s revolutionary regime was the first to offer artists a frame to promote and perfect their technique. During the 1980s, the Semaine National de la Culture (National Week of Culture), the Pan-African Film Festival of Ouagadougou (Fespaco), and the Salon International de l’Artisanat de Ouagadougou (Ouagadougou International Handicraft Show) were the only major projects that allowed artists to learn new techniques and to be known. However, because Thomas Sankara’s government expected the creators to participate in the revolutionary project, this left them little space for innovation and the expression of their artistic freedom. The early 1990s saw the rise of new events, which at last offered artists a space to practice their art, based on personal inspiration and competence in artistic technique. The Laongo symposium of granite sculpture, PIAMET (an event started by two well-known Burkinabè artists), and Ouaga’Art (organised by the French Cultural Centre of Ouagadougou) thus offered young artists the possibility of discovering the techniques of their colleagues from Africa and elsewhere in the world. However, except the Olorun Foundation, there is no permanent space dedicated to training and artistic exhibition. This lack is a source of obvious problems for the creator who, as a result, may find himself entrenched in a circuit where commercialism seems to dominate artistic research.
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title_short	The rise of the “artist” in Burkina Faso
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