Bissau Inaugural Art Biennale

Guinea-Bissau's Bold Leap: A New Dawn for Arts and Culture in West Africa

In a remarkable display of artistic ambition, Guinea-Bissau, a West African nation with a complex history, launched its first-ever art and culture biennale in May 2024. The event, named MoAC Biss (Mostra de Arte e Cultura da Guiné-Bissau), unfolded throughout the month in Bissau, the nation's capital. This initiative represented a courageous step for a country where formal art galleries and schools are scarce, and government financial support for creative pursuits remained scarce historically. The biennale, themed "Mandjuandadi: Identidades em Liberdade" (Mandjuandadi: Identities in Freedom), aimed to celebrate the rich tapestry of Bissau-Guinean cultural identity and foster a dialogue between traditional practices and contemporary artistic expressions. It sought to carve out a new chapter in the nation's cultural narrative. Organisers envisioned the biennale as a vibrant platform for both local and international artists to connect with the public and contribute to a burgeoning cultural discourse within Guinea-Bissau.

The Spark of an Idea: Addressing an Artistic Void

The ambitious undertaking of launching an art festival within a country possessing minimal existing arts infrastructure might have appeared an insurmountable challenge. The nation holds few dedicated spaces for exhibiting art and lacks formal institutions for artistic training. Even finding a dedicated business offering picture and photo framing services presents difficulties.

However, a committed collective of five Bissau-Guinean artists, alongside coordinator Miguel de Barros, a sociologist, refused to let these limitations dictate their vision. They felt a pressing need to address what they perceived as a critical deficiency in their country's artistic ecosystem. Nu Barreto, who works in visual and plastic mediums and curated these disciplines for MoAC Biss, articulated the group's resolve. He explained their group could not remain passive observers regarding this gap and felt compelled to act. This collective resolved to create opportunities where few existed. Their initiative aimed to propel Guinea-Bissau's diverse communities and their cultural expressions onto a larger stage, reaching beyond national borders to the diaspora.

A Hub for Local Talent and Global Exchange

A central aim of the MoAC Biss biennale involved generating expanded opportunities for Guinea-Bissau's own artists. These creative individuals have historically possessed very few avenues to present their work to the public. Options were often confined to open-air artisanal markets or venues supported by international entities, like the internationally backed Centro Cultural Franco-Bissau-Guineense.

The biennale sought to dramatically broaden these horizons. The event, which ran from 1 May to 31 May 2024 in Bissau, showcased a remarkable array of talent. Around 150 creators representing 17 separate nations participated, transforming the city into a dynamic hub of creativity. This international presence was crucial, allowing for a rich cross-pollination of ideas and experiences. Organisers, like sociologist Miguel de Barros, stressed the importance of professional experiences gained both within and outside Guinea-Bissau contributing to a robust cultural ecosystem that supports artist mobility and opens doors for emerging talents. The biennale featured around 50 to 60 distinct events and activities, with free entry offered across all artistic disciplines, ensuring widespread public access.

More Than Canvas: A Celebration Across Disciplines

The vision for MoAC Biss stretched far beyond the traditional confines of visual arts. The organisers consciously designed the event to embrace a wide spectrum of creative expression. Nu Barreto acknowledged the diverse challenges confronting writers, painters, theatre practitioners, and dancers. This understanding fuelled the decision to establish a multidisciplinary biennale, initially driven by a core team of five curators, each overseeing a specific artistic domain.

Besides Barreto's curation of visual arts, filmmaker and actor Welket Bungué oversaw performances and film. Literary activities fell under the purview of Zaida Pereira, a university professor and linguist. The singer and journalist Karyna Gomes took charge of the music programme. Sociologist Antonio Spencer Embaló handled the program covering talks and public policy discussions. This comprehensive approach ensured a rich and varied programme, featuring film screenings, book launches, dance performances, theatrical productions, culinary showcases, artist residencies, photography sessions, and public debates, totalling around 60 activities with over 50 international guests.

Image Credit - NY Times

A Resilient Beginning: Triumph Over Adversity

The biennale’s opening night was a vibrant affair, reaching a high point with a much-awaited show featuring the Bissau-Guinean group Furkuntunda. Their performance marked a significant cultural moment, as the ensemble had been absent from the live stage for 18 years. Welket Bungué, overseeing performances and film, aptly described the concert as "cathartic."

Karyna Gomes, who coordinated musical events, was instrumental in reuniting the band. She even joined them on stage, her voice adding to the atmosphere inside a completely full venue where people occupied the aisles. The very fact that MoAC Biss opened its doors was a testament to the organisers' tenacity. Only three weeks before the launch, the biennale suffered a devastating blow, seeing over fifty percent of its promised financial backing disappear. This sudden shortfall resulted from political shifts within Portugal and Brazil, nations that had committed aid. Compounding these financial woes, a widespread power failure affecting Spain and Portugal held up one visiting theatre company's journey.

Irony, Instability, and the Universality of Challenges

The paradox presented by political disruption and electricity cuts – issues more commonly associated with Guinea-Bissau’s own history of coups compared to its partners in Europe – was not lost on the biennale's organisers. Antonio Spencer Embaló, who curated talks and public policy, highlighted this perspective. He suggested that such occurrences demonstrate that challenges are not unique to their nation. Embaló felt this viewpoint was crucial for residents there to absorb – the recognition that difficulties are a shared human experience. Guinea-Bissau has indeed navigated a complex political landscape since its independence from Portugal in 1974, marked by periods of fragility and several coup attempts. Despite recent economic growth, driven primarily by agriculture, the nation remains susceptible to political shifts and external economic factors, particularly those influencing its main export, cashew nuts. The biennale's perseverance amidst such national and international uncertainties underscored a profound message of resilience.

Art That Speaks: Reflections on Society and Self

Inside the biennale’s principal area for visual displays, two arresting pieces tending towards expressionism created by Jean-Marc Hunt from Guadeloupe immediately captivated visitors. These artworks belong to Hunt’s "Jardin Créole" (Creole Garden) series. This body of work celebrates gardens as vital spaces where cultural traditions are passed down, everyday requirements get fulfilled, and the pitfalls of overconsumption are consciously avoided. Hunt's art explores themes of identity construction through Creole and African cultural symbols, often addressing institutional inaction and the quest for existence and freedom from colonial legacies. The placement of these artworks within a location whose former function was a wood processing plant created a stark and thought-provoking contrast. This former industrial site, repurposed for artistic expression, symbolised a transformation – from raw material extraction to cultural cultivation, reflecting the biennale's broader aspirations for societal change and reflection.

Global Narratives, Local Resonances: "Big Kaombo"

Next to Hunt's display stood "Big Kaombo," made by Angola’s Evan Claver. This installation utilised vivid yellow plastic containers, a common sight in Angola for transporting everyday essentials, adorned with gleaming black oil paint; one facet portrayed youths lined up outside embassies, seeking visas – a commentary on the widespread desire among Angolan youth to emigrate in search of new opportunities. The opposite facet displayed the Statue of Liberty, an iconic yet complex symbol of hope and disillusionment. Claver, a self-taught artist born in Luanda, uses social and political satire in his work, often questioning media narratives and societal passivity. His "Big Kaombo," an ironic reference to New York's "Big Apple," aims to playfully critique serious issues, prompting young individuals to consider their decisions rather than seeing emigration as the sole answer to their aspirations. He observed that even America faces numerous problems. This was Claver's first time exhibiting in Guinea-Bissau.

Image Credit - NY Times

The Biennale as a Nexus for Cultural Dialogue

The presence of international artists like Evan Claver and Jean-Marc Hunt underscored the biennale's role as a crucial meeting point for creative minds. César Schofield Cardoso, a creative talent from Cape Verde, also took part in Guinea-Bissau initially, showcasing his work "Blue Womb." This multimedia installation combines cyanotypes, pictures, audio elements, and film, often confronting themes related to the sea. Cardoso emphasised the significant function of biennales in the contemporary art world as platforms for cultural exchange. He observed that Guinea-Bissau, despite its immense cultural richness and creativity, remains relatively unknown on the global stage. The MoAC Biss biennale, by bringing together diverse artistic voices, sought to address this, fostering connections and dialogues that transcend geographical and linguistic borders. The event aimed to illuminate the unique cultural expressions of Guinea-Bissau while engaging with broader global artistic currents, positioning the nation as an active participant in international cultural conversations.

A Mosaic of Cultures: Guinea-Bissau's Rich Heritage

Despite its relatively small population of roughly two million inhabitants, Guinea-Bissau represents a country holding remarkable ethnic diversity. The nation is residence for no fewer than 33 separate ethnic communities, including prominent groups such as the Balanta, Fula, Mandinka, Manjaco, and Papel. Each group possesses its own unique cultural expressions, encompassing distinct dances, distinctive singing styles, and specific rituals for mourning and celebration. This vibrant cultural tapestry is a defining characteristic of the nation.

The Kriol language, a Portuguese-based creole, serves as a unifying lingua franca, widely spoken alongside the official language, Portuguese, and various indigenous languages. This linguistic and ethnic diversity contributes to a dynamic cultural landscape, where traditional customs blend with influences from its colonial past and contemporary global interactions. The biennale's theme "Mandjuandadi," referring to traditional communal spaces for sharing stories through music and dance, particularly among women, directly honoured this heritage of collective creation and social cohesion.

Art's Potential: A Vehicle for National Development

Guinea-Bissau is categorised among nations globally experiencing lower development levels; average lifespans reach about 64 years. The nation faces significant challenges, including political fragility and economic vulnerabilities, with a large portion of the population reliant on agriculture, particularly cashew nut production. Against this backdrop, the curators of MoAC Biss firmly believe in the transformative power of art as a vital instrument for development. Antonio Spencer Embaló articulated clearly that while people work tirelessly to secure physical sustenance, creative expression and culture offer spiritual 'nourishment'.

This sustenance, he contended, proves essential for communal strength and dignity. There is growing recognition of the potential within creative industries in Guinea-Bissau to drive economic diversification and structural transformation. Efforts are underway to integrate these industries into national financial inclusion strategies and to develop a comprehensive cultural policy charter. This aligns with the biennale's aspiration to not only showcase art but also to stimulate critical thinking about the role of culture in shaping public policy and fostering a sustainable creative economy.

Cultivating a Lasting Legacy: Beyond the Event

The organisers of MoAC Biss are determined that the biennale's impact should extend far beyond its month-long duration. Their vision includes establishing a permanent, dynamic presence in Bissau's cultural landscape. A significant step towards this goal involves the improvement of the old wood processing plant site, a primary location for the biennale. Construction is already underway to create dedicated sections inside this area designated for creator studios and offer residency programmes. These facilities will provide crucial infrastructure for both local and international artists, fostering ongoing artistic creation and exchange. This long-term commitment to building physical spaces for art aims to address the critical lack of such facilities in the country. The intention is to create a sustainable ecosystem where artistic talent can be nurtured, and where cultural production becomes an enduring feature of the city's identity and a contributor to its socio-economic fabric.

Indigenous Design and Local Craftsmanship

The planned studio and residency areas at the former factory compound are also planned for use by native designers. This highlights the biennale's commitment to supporting diverse forms of creativity, including applied arts. Thyra Correia, who designs and paints in Guinea-Bissau, exhibited items of furniture and lighting designs at the inaugural event. Her pieces belong to her collection named "Tchon."

In Guinea-Bissau Creole, "Tchon" signifies land, but in the local Bissau-Guinean context, it also evokes the deeper meaning of home. Correia's work is notable for its employment of indigenous resources plus teamwork with regional craftspeople. She emphasised the ubiquity of skilled craft workers throughout Guinea-Bissau. Correia thinks crafting attractive, modern objects simply and genuinely is achievable, using locally sourced resources and traditional skills. Her work, and its inclusion in the biennale, carries a powerful message: that high-quality, modern design can indeed be produced within Guinea-Bissau, challenging preconceived notions and demonstrating the potential of local talent.

A Unique Path: MoAC Biss and the Dakar Model

The scheduling of MoAC Biss was a deliberate decision by its organisers. They strategically chose an off-year from the well-known Dakar Biennale happening in adjacent Senegal to ensure both events could thrive without direct competition. Ousseynou Wade, Dakar Biennale's long-serving head, visited the Bissau gathering and offered his perspective. He noted that the two biennales, while sharing a continent, operate within distinct realities and maintain different relationships with their respective governments. Wade pointed out governmental action first started the Dakar Biennale. In contrast, the MoAC Biss emerged from what he termed "independent will," driven by a collective of artists and cultural actors rather than direct state instigation. Significantly, the first Guinea-Bissau biennale obtained zero financial backing directly from Guinea-Bissau's government itself, relying instead on other sources, including initial pledges from international partners and specific support from entities like Portugal's DGARTES for its Portuguese programming elements.

Championing Independence and Continental Growth

Ousseynou Wade underscored the significance attached to the Guinea-Bissau festival's autonomous beginnings. He viewed this characteristic not merely as important for Guinea-Bissau alone, but as a crucial development for the wider creative landscape across the continent of Africa. Such initiatives, born from grassroots efforts and artistic vision, contribute to the diverse ways in which cultural sectors across Africa can grow and assert their voices. Wade elaborated that biennales like MoAC Biss and Dakar serve vital functions in breaking down barriers – not just linguistic and cultural ones, but also the conceptual borders that can sometimes inhibit intra-continental exchange and understanding. He envisioned these artistic gatherings as venues where the African continent, showing its rich variety, can convene regularly, fostering dialogue, collaboration, and a shared sense of cultural dynamism. The emergence of MoAC Biss, therefore, adds another critical node to this network, promising to enrich the continent's collective artistic conversation.

Future Trajectories for Bissau-Guinean Art

The successful inauguration of MoAC Biss signals a period of potential change regarding creative pursuits within Guinea-Bissau. The biennale has already demonstrated the powerful desire within the nation for greater artistic expression and international cultural engagement. By providing a much-needed platform, it has shone a light on local talent and facilitated connections with the global art world. The commitment to developing permanent infrastructure, such as artist studios and residency programmes, offers a tangible pathway for sustained growth.

Furthermore, the focus on public policy discussions as part of the biennale programme indicates an ambition to influence systemic change, advocating for greater recognition and support for the cultural sector. As Guinea-Bissau continues to navigate its economic and political journey, the seeds planted by MoAC Biss hold the promise of a flourishing artistic landscape, one that not only enriches the nation itself but also contributes a unique and vibrant voice to the wider chorus of global creativity. The challenge remains to secure sustainable funding and maintain momentum, but the vision and determination are clearly present.