What a Senegalese Hat Can Teach Us About Global Cultural Flows – by Anna-Marie Kroupová

My recent trip to Senegal for the Situated Conservations conference was an eye-opening journey, filled with profound experiences that have stayed with me long after returning to Vienna. The program was packed with visits to numerous museums, cultural institutions, and engaging discussions with scholars, activists, and heritage practitioners. It was a rich, diverse experience, and for me personally, it was incredibly thought-provoking.

This blog’s author Anna-Marie Kroupová on Gorée island visiting one of the exhibitions at La Maison des Esclaves

The Unexpected Story of the Lafa Hat

One of the moments that continues to resonate with me was the story of the Lafa hat. This hat, with its distinctive pattern and pom-pom, is widely regarded as quintessentially Senegalese, and it’s impossible to miss on the streets of Senegal. So, you can imagine my surprise when I learned that its origins actually lie in the former socialist Czechoslovakia, the predecessor state of my home country. The hat remains popular in Czechoslovakia’s successor states, especially in winter months.

This unexpected discovery was a beautiful example of how a single object can tell a complex story of circulation, shifts in meaning, and cultural interconnection. It made me reflect on how cultural ties can manifest, even across vast geographical distances, and how the flow of ideas, symbols, and practices transcends borders.

Hidden Faces of Dakar by Audrey d'Erneville.

Lafá hat the author bought in Senegal.

A Conference That Brought Heritage to Life

The conference itself, which was held in honor of Fatima Fall Niang, also left a lasting impression. The format was refreshingly different from the typical Western and European conferences I’m accustomed to. While academic discourse was central, there was a seamless integration of intangible cultural heritage into the program.

We were treated to performances of dance, song, and other artistic expressions, which not only provided a welcome break from the academic discussions but also served as a constant reminder of the very subject matter of our research. It was a vivid, living representation of the cultural landscape we were studying.

Traditional Senegalese singers at the closing ceremony of the conference, singing for Fatima Fall Niang.

Fatima Fall Niang receives an artwork in her honor at the closing ceremony of the conference.

A poster at Gaston Berger University announcing the closure of the library and museum during the conference, encouraging participation.

The closing ceremony for Fatima Fall Niang was accompanied by traditional musical instruments.

Urgent Debates on Museums, Institutions, and Representation

What stood out most in the academic discussions was the urgency and relevance of the issues being addressed. In Senegal, new universities and museums are being established, creating a dynamic shift in institutional structures. The lively and passionate debates revolved around who gets a seat at the table in these processes, whose knowledge and perspectives are considered, and how to ensure fair representation without falling into the trap of knowledge exploitation.

The role of traditional communities in shaping these new institutions and structures was at the forefront, and the conversations were both challenging and inspiring.

Reflections on Cultural Exchange and Heritage Preservation

Overall, my time in Senegal was a profound experience that left me with new insights into the intersection of culture, history, and heritage. It reminded me of the complexities of cultural exchange and the need for thoughtful, inclusive discussions when it comes to shaping the future of heritage preservation.

Maeva and Anna discuss and observe an artwork by Maya Inès Touamat the exhibition in Galerie Le Manège (Dakar).

At Musée Théodore-Monod d'Art Africain, meeting with the feminist collective AWU Dakar.

Le Musée des Civilisations Noires in Dakar – Photo in front of photos showing female African political leaders.

Visit to the Atelier Galerie Tësss, where traditional fabrics and weaving techniques come to life.

Gallery Selebe Yoon – Exhibition by French-Beninese artist Melinda Fourn.

Fabrics at Galerie Tësss.

Photothek at the CRDS Institute with a guided tour through their photographic archives.

Maeva closely observes an artwork by artist Maya Inès Touam at the exhibition in Galerie Le Manège (Dakar).

Exploring the Musée des Civilisations Noires in Dakar.

Le Musée des Civilisations Noires in Dakar, viewed from the outside.

We hope you enjoyed this blog—stay tuned for the final post in our series about the conference in Senegal next week!