Throughout the streets of Senegal, numerous representations of a
holy man’s photograph reflect the artful response of a devout
Muslim population.
Through July 27, the UCLA Fowler Museum of Cultural History
presents “A Saint in the City: Sufi Arts of Urban
Senegal,” the first major U.S. exhibition devoted to
Senegalese arts and the predominance of religious leader Sheikh
Amadou Bamba. Glass paintings, street murals, textiles, calligraphy
and other works ranging from the mundane to the sacred fill the
galleries, mimicking the pervasiveness of the saint’s image
in urban Senegal today.
Bamba was the founder of a Sufi (mystic Muslim) movement called
the Mouride Way, which advocated pacifism and a Protestant-like
work ethic. Today his followers number in the millions and
peacefully co-exist with three other Sufi movements in Senegal,
each with their own religious leaders.
But it was the image of Bamba that fascinated co-curator Mary
Nooter Roberts. She recognized his face and figure throughout
Senegal in widespread artistic homage with one striking element in
common: they all reflected a single photograph that was taken by
intimidated French colonials in the early 20th century.
“This one photograph took on a life of its own,”
said Nooter Roberts, who is also Fowler’s deputy director.
“And it’s the only known image of the saint, so what
you have are reproductions upon reproductions. With every artist,
though, there are slight variations.”
The artwork featured throughout the exhibition, while always
referring back to the white-robed, shadowy figure in the photo,
relies upon the interpretative skills of each individual artist to
bring the saint to life.
Paintings on glass by Mor Gueye, for example, document key
moments in Bamba’s mystical life such as the miraculous
prayer on the surface of the ocean and the taming of the spirit of
a lion. In another gallery, colorful hand-painted posters by
Elimane Falls integrate ornate calligraphy, text and the face of
the saint to offer guidance to troubled Senegalese youth.
Also included in the multimedia show are recreations of a
devotee’s house and a typical street scene in the Senegalese
capital of Dakar, songs by world musicians (including Youssou
N’Dour), Mouride garments, devotional video footage, and
contemporary paintings and sculpture by internationally recognized
artists.
Nooter Roberts and her husband Allen F. Roberts, a UCLA world
arts and cultures professor and director of James S. Coleman
African Studies Center, spent nine years traveling back and forth
to Senegal, researching Bamba’s work and marveling at the
commitment and dedication of his followers.
“It became apparent that there was an incredible story
about how people live in his path. They take on all his obstacles
as their own and use him as a reference point for everything in
their lives,” Nooter Roberts said.
The curator warned gallery guards to expect devotional behavior
from some of the L.A.-based Mourides who assisted in the
development of the exhibition. She predicted that such disciples
might touch or even kiss some of the objects in reverence to the
saint.
In Senegal, Bamba’s followers were not surprised by the
Roberts’ fascination with the arts and teaching of their
beloved saint. On the contrary, they seemed to expect it.
“Bamba predicted that his message would spread,”
Nooter Roberts said. “So they regard us as vehicles. They
said to us, “˜We knew you would come.'”
The UCLA Fowler Museum is open Wednesday through Sunday from
noon to 5 p.m. and Thursday until 8 p.m. Admission is free.