Papisto Boy

Author(s): Allen F. Roberts and Mary Nooter Roberts

Source: African Arts, Vol. 33, No. 2 (Summer, 2000), pp. 72-79+92
Published by: UCLA James S. Coleman African Studies Center
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. . ........,
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"Papisto Boy"
P a ape Samb-better known as "Papisto Boy"-lives in

Political figures range from Carter to Arafat. Pope John Paul II and

Belaire, a fishing community squeezed between factory

Jesus find places, as do Pasteur and Pythagoras, Malcolm and

walls and the broad bay of Dakar.1 Papisto came to

Martin. The musicians Bob Marley, Jimi Hendrix, Baba Maal, Sheikh

Dakar an orphan, and his life remains very humble. His

L6, Fatou Guewel, and Coumba Gawlo are given prominence as

wealth lies in his reverence for Sheikh Amadou Bamba

"messengers" to whom the Archangel Gabriel (as a dove) brings

(1853-1927), around whose teachings the Mouride Way has been

God's blessings. Some subjects are featured in narrative vignettes;

created.2 As Sufis, Mourides possess a mystical sense of the active

repeated motifs suggest analogies between others. Surreal visions

power of writing to heal, protect, and benefit. Mourides extend

swirl among the portraits, sometimes offering didactic commentary

these qualities to an exceptionally vibrant visuality. Bamba is a saint

about the tribulations of African peoples, sometimes conveying mil-

(Wali Allah, or "Friend of God") whose blessed energy (baraka) is

lenarian angst.

available through his image: Bamba's portrait is a living presence.

As a devotional task, Papisto paints murals in public spaces of

The factory manager does not share Papisto's populist politics,

however, and has threatened to efface the Belaire mural and have

Dakar. His greatest achievement to date is a 200-meter-long mural

the artist arrested if he does not cease painting the factory walls.

on the outer walls of a factory in Belaire. Papisto receives inspira-

Papisto argues that whatever takes place within the compound is

tion from Amadou Bamba through dreams and visions, and as he

paints, the saint guides his hand. Papisto hopes his murals, in his
own words, "will give courage to those who are trying to make a liv-

ing, you see, because these people work very hard, they work very
hard, and yet they earn very little. But just the same, when they have
the painting there before them, if they look at that painting they will

have faith to keep living and keep working, and take courage."

Papisto's portraits of Amadou Bamba and his sons and most

pious followers preside over "heroes of resistance to oppression"

from earlier times (Lat Dior, Samory), African independence

(Senghor, Nkrumah), and more recent history (Sankara, Guevara).

1. Narrative panel from the mural by "Papisto Boy" (Pape Samb) that cov-

ers 200 meters of factory wall in Belaire, Dakar, Senegal. Photo: Mary Nooter

Roberts (MNR) and Allen F. Roberts (AFR), 1998.

This section of Papisto's mural shows Sheikh Amadu Bamba praying on
the waters, surrounded by portraits of Sheikh Ibra Fall and several of
Bamba's sons who have served as General Caliph. The Holy Kaaba of
Mecca and the Great Mosque of Touba are featured, as is a map of Africa

filled with images of evil jinns (spirits) that would provoke the faithful. A cir-

cle of stones has been laid out in front of the mural as a "mosque" where
men can pray together and sit in the shade, watched over by the saints.
Around the corner of the factory wall, Papisto has painted a visual "Monument to the Diambars," honoring Senegalese soldiers who served in the
Gulf War (see Fig. 7).

african arts ? summer 2000

72

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the manager's affair, but the streetside walls belong to the people.

woman unable to speak appears from somewhere outside of

Streets serve as "domestic interiors" for many urban Senegalese

Belaire to sweep the ground in front of the mural. Papisto's paint-

where they work, eat, and socialize (cf. Benjamin 1999:422).

ings of the saint bless her silent life. D

Papisto's paintings provide inner truth to exterior space, and

Allen F Roberts and Mary Nooter Roberts

Belaire identity is framed by the tensions of Papisto's art. Early in

Notes, page 92

the morning, some Belaire residents sing zikr "songs of remem-

brance" before the wall, praising God and the saint as they set
forth to seek their fortunes in Dakar's informal sector. Most days a

Top: 2. Narrative panel from the Belaire factory mural. Photo: MNR and AFR,

1998.

This section of wall is at a busy intersection, as the paved road turns a corner toward another factory, eventually reaching a beach resort. Papisto has
placed important portraits here of Nelson Mandela and Jimi Hendrix; soon
after this photograph was taken, he painted a portrait of Malcolm X over the
images to the left of Mandela (see Fig. 12). "A Development for Africa/Bill
Clinton/New York" continues the sequence, ending with a gripping depiction of Che Guevara at the corner of the wall (see Fig. 8), painted over an
earlier portrait of the opposition politician Abdoulaye Wade, who was elected President of Senegal in March 2000.

Bottom: 3. Section of the Belaire factory mural. Photo: MNR and AFR, 1997.

The fishing community of Belaire, where Papisto has lived for more than
thirty years, is squeezed between factory walls and a tiny strip of beach
adjacent to the port of Dakar. Life in Belaire is inside-out: people work, eat,
and socialize in an outdoor space framed by the long factory wall upon
which Papisto paints his ever-evolving inspirational mural. The factory
processes fish to produce dried flakes used in animal food and fertilizer,
and the chimneys spew acrid smoke, lending a most ironic air to the community's name.

summer 2000 ? african arts

73

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This page:

Opposite page:

4. Narrative panel from the Belaire factory mural. Photo: MNR and AFR,

Top: 5. Sheikh Ibra Fall in a detail from the Belaire factory mural. Photo: MNR
and AFR, 1997.

In this magnificent montage, Sheikh Amadou Bamba stands as the "pole"

around which the Mouride world turns. Clockwise, the Archangel Gabriel
(Jibril) as a dove brings the saint a message from God written on a piece
of paper folded in a talismanic triangle. Below the dove is the Kaaba of
Mecca, the sacred center of all of Islam. Standing in front of Bamba is
Sheikh Ibra Fall, his first and most fervent disciple. A lion denotes the

Sheikh Ibra Fall is often known by his nickname, "Lamp," because his activ-

1999.

courage and perseverance of Mourides following Bamba's teachings.

Above the lion is the courtyard of the infamous Slave House of Goree
Island, with a man dancing out of shackles broken by faith in God, His
Prophet, and His Saint. The Holy Qur'an floats next to Bamba, informing his
life and his teachings.

ities spread the enlightening message of Amadou Bamba and laid the
foundation for the Mouride Way. Some Mourides are also Baye Falls; they
are dedicated to Bamba's teachings, personified by Lamp Fall, that hard
work is a form of prayer. The benevolent gaze of Lamp Fall extends to the
residents of Belaire, while behind him, Amadou Bamba, informed by the
Archangel Gabriel as a dove, stands as the foundation of Mouride life.
Bottom: 6. Thomas Sankara, Muammar Khaddafi, and members of the Senegalese Lions soccer team in a montage from the Belaire factory mural. Photo:
MNR and AFR, 1999.

When Thomas Sankara seized the presidency of Upper Volta, he Africanized his country as Burkina Faso, a name suggesting renewed dignity

and self-reliance. Sankara's progressive politics put him at odds with

many, and he was assassinated in a countercoup. For his mural, Papisto
writes, "You're always among us, Sankara." Below this a haiku-like poem
reads, "A deer belied in the moonlight and shed hot tears." The portrait
of Sankara is painted over a text about the travails of Senegalese who
grow up in foreign countries. To the right, portraits of members of the
Senegalese Lions soccer team are overlain by a recent image of the
Libyan president, for which Papisto provides the enigmatic caption "In
the austere gaze of Khaddafi."

atrican arts * summer 2000

74

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Top: 7. Narrative panel from the Belaire factory mural. Photo: MNR and AFR, Bottom: 8. Che Guevara in a detail from the Belaire factory mural. Photo:
1998.

MNR

and

AFR,

1998.

Former U.S. president George Bush smiles as heavily armed Senegalese Papisto paints from visions and inspiration. Early one morning, as he stood
soldiers rush toward the title "Monument to the Diambars," honoring those gazing at a portrait of Abdoulaye Wade, an ardent Mouride and opposition
who fought in the Gulf War. Floating above is a book titled "The Seven politician (and now the President of Senegal), Papisto recognized in Wade's
Secrets of George Bush." When asked what these might be, Papisto face that of Che, which he then painted over the earlier work. Papisto's layreplied, "How should I know? They're secret!" A portrait of Bill Clinton com- ered paintings are palimpsests that retain earlier intentions even as they
memorating and thanking him for his visit to Dakar has been painted over a evolve into other images. For Papisto, both Wade and Che are heroes able
warship extending toward an early depiction of Charles De Gaulle. to overcome oppression with dignity and strength. Ch6 is flanked by the lion
of courage and a proud woman. The Archangel Gabriel in the form of a

dove brings Che the same blessing from God that was brought to

Abdoulaye Wade.

76

atrican

arts

summer

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2000

Clockwise from top left:

9. The Reverend Martin Luther King, Jr., in a detail from the Belaire factory
mural. Photo: MNR and AFR, 1999.
The lion of courage gazes at Martin Luther King while the Archangel Gabriel

as a dove brings him the Holy Bible as a gift from God. Papisto knows of
King's central role in the civil rights movement in the United States, and he
stands as a hero who overcame the sorts of oppression the artist has experienced in his own life.

10. Yasir Arafat in a detail from the Belaire factory mural. Photo: MNR and
AFR, 1999.
Yasir Arafat, inspirational leader of the Palestinian Liberation Front (OLP in
French) and first president of a newly independent Palestine, is flanked by
a calm and panting black panther, suggesting Arafat's affinity with the struggles suffered by people of African heritage. Above the panther, a cobra in
a position to strike shows its fangs; Papisto uses this motif to signify the mortal dangers of treachery.

11. Serigne Kara, Amadou Bamba, and Fatou Guewel Kara in a narrative

panel from the Belaire factory mural. Photo: MNR and AFR, 1999.

Serigne Kara, a holy man (marabout) who is extremely popular among

young people in Dakar, looks toward Fatou Guewel Kara, a singer so devot-

ed to his teachings that she has taken his last name as her own. Fatou
Guewel writes and performs songs devoted to Mame Diarra Bousso, the

mother of Sheikh Amadou Bamba. Between the marabout and the musician

are two images of

Mourides venerate
earlier portrait of
resist oppression.

the saint and one of the Great Mosque of Touba, where

Bamba's tomb. The mural continues to the right with an
Ch6 Guevara, who for Papisto personifies the courage to

The strength of Che's convictions is suggested in the

swordfish that merges with his face.

77

summer 2000 ? atrican arts

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Opposite page:
Top: 12. Malcolm X, Nelson Mandela, and Jimi Hendrix in a narrative panel
from the Belaire factory mural. Photo: MNR and AFR, 1999.

Two slaves in broken chains dance about the words "Long live liberty!" A
deeply reflective Malcolm X is embraced by one of the curving staircases of

the Slave House of Goree Island, with the "Door of No Return" above his right
shoulder. A bleeding Africa is seared with a poem: "I heard a cry, I heard as

a cry coming from a far-off land, 'Save my child!'" Nelson Mandela, the hero r %-. -

of all Africa, bears the "Crown of Liberty" adapted from the Statue of Liberty, "' " '

which is portrayed in many wall murals in Dakar as a beacon of hope to the -

worldwide Mouride diaspora. Instead of holding a torch, Mandela raises his J

right fist in a defiant Black Power salute above a panther, as he turns his eyes

to a pensive Jimi Hendrix. Papisto considers Hendrix a "messenger" bringing '

courage through his music to fight oppression. The begging bowl full of coins
below Mandela is one way Papisto lets passersby know that they should pay

him in appreciation for his mural, or for his permission to photograph it. '

Bottom: 13. Sheikh Ndigel Lo and Bob Marley in a detail from the Belaire

factory mural. Photo: MNR and AFR, 1999. :

An African woman weeping from hunger and want is an icon that Papisto

repeats several times in his Belaire mural. Here she is associated with two

musicians whom Papisto holds in high esteem as "messengers" of God.

Sheikh Ndigel Lo is a fervent Mouride whose recent CD, Bambay Gueej,

received a very positive review in a column on world music in the New York
Times. The title, meaning "Bamba Is the Ocean," refers to the infinite profun-

dities of the saint's teachings. The Archangel Gabriel as a dove brings Sheikh *

L6 messages from God that he conveys in his songs. Lo is a Baye Fall and ...

wears dreadlocks as a devotional statement. In this he reminds many of Bob

Marley, the late Rastafarian singer revered by Papisto as an uplifting apostle
of human dignity. Indeed, tourists often mistake Baye Falls for Rastas.

This page:

Top: 14. Narrative panel from the Belaire factory mural. Photo: MNR and

AFR, 1998.

Pedestrians pass by Papisto's mural on the factory wall topped by barbed

wire. Jesus and Pope John Paul II are portrayed, as are a pensive chimpanzee pondering "War?," Senegalese politicians, a mother and child, and
the Slave House of Goree Island.

'

~*

Bottom: 15. Papisto Boy in front of a portrait of Bob Marley in his Belaire fac-

tory mural. Photo: MNR and AFR, 1999.

Bob Marley's image appears more often in Papisto's work than anyone's but ' ".

Amadou Bamba's and Lamp Fall's. Marley is a "messenger" who "passed - ''
through music" to inspire Papisto, and the artist's attention borders on a rev- \ :

erence witnessed among many Mourides. In this portrait, "The Fruit of the . , ' t

Year 2000," Marley's face framed by a mango conveys millenarian hope that '. .

the future will be as blessedly bounteous as the words emerging from the i -i '

singer's lips, which turn into five-franc coins. '

79

summer 2000 * african arts

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Ravenhill, Philip L. 1993. Dreaming the Other World: Figurative

$1.20 per word, minimum $30. African Arts box number $15.

Classified ads must be prepaid.

BOOKS

African, ethnographic, and ancient art. Important,

rare, and out-of-print titles bought and sold.

Catalogues available upon request. Further details from: Michael Graves-Johnston, 54, Stock-

well Park Road, P.O. Box 532, London SW9 ODR.

Tel. 0171-274-2069, fax 0171-738-3747.
AFRICAN ARTS BACK ISSUES

Art of the Baule, C6te d'lvoire. Washington, DC: National

Museum of African Art, Smithsonian Institution.
Ravenhill, Philip L. 1994. The Self and the Other: Personhood and

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Axt, Friedrich and Moussa Sy (eds.). 1989. Anthology of Contem-

Smithsonian Institution Press.

Ravenhill, Philip L. 1996b. "Baule," in The Dictionary of Art,

ed. Jane Turner, vol. 3, pp. 404-9. London: Macmillan Publishers Ltd.

African Arts, J. S. Coleman African Studies

Center, UCLA, Box 951310, Los Angeles, CA

90095-1310.

Holt. 1st American ed.

Roberts, Allen F. and Mary Nooter Roberts. 2000b. "Dis-

1. The research for this paper has been conducted through more

Program, and the Project for Advanced Study of Art and Life in

9. See Berglund 1976 on the functions of ritual beer drinking.

Also see de la Harpe et al. 1998.

10. They expressed these views in conversation with the author.

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RAVENHILL: Notesfrom page 71

[This article was accepted for publication in September 1999.]

1. The general parameters of Baule figurative art have been

known and explored since Susan Vogel's seminal article

"People of Wood: Baule Figure Sculpture" (1973). Different

aspects of Baule figurative art are discussed in Vogel 1978,
1980 and Ravenhill 1980, 1993, 1994, and 1996a. An overview

Ethnix, New York, NY 84

Gallerie La Taj, Alexandria, VA 83

Gallery DeRoche, San Francisco, CA 83

of Baule art is found in Ravenhill 1996b.

Gallery Walu, Zurich, Switzerland 3

2. I have discussed the gaze in Ravenhill 1994 and 1996.

Charles S. Greco 16

3. I use the term "freestanding figurative art" to refer to sculp-

ture in the round-and not, for example, low-relief carvings

such as those found on togu na posts among the Dogon or figurative plaques from Benin-whether or not it may be physically fixed in a shrine.
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Philippe Guimiot, Brussels, Belgium

outside back cover

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Hemingway African Gallery, New York, NY 83

Indigo, Minneapolis, MN 85

International Warri Society, New York, NY 16

Charles Jones African Art, Wilmington, NC 7
Susan Lerer, Images of Culture, Los Angeles, CA 8

Charles D. Miller III, St. James, NY 10

Paolo Morigi Gallery, Lugano, Switzerland 15
Museo del Collezionista d'Arte, Milan, Italy 9
OAN, Oceanie-Afrique Noire, New York, NY 13
Ornament, San Marcos, CA inside back cover
Pace Primitive, New York, NY inside front cover

Merton D. Simpson Gallery, New York, NY 1

Tawa, New York, NY 84

Totem Meneghelli Galleries, Johannesburg,

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Tribal Arts, Brussels, Belgium 12, 84

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