The Bamako Biennale is celebrating 30 years of existence, a milestone in its existence as Africa’s premiere photography biennale. Against a backdrop of political upheaval, insecurity, and the withdrawal of French support, the Biennale persisted.
France’s expulsion from Mali left the Biennale grappling with funding gaps. While Mali’s government and a few supporters stepped in, the strain on resources was evident. For decades, France’s involvement not only provided monetary aid but also lent organizational stability and global visibility.
This year, curators and artists embraced leaner budgets with remarkable resilience to create an event with the theme ‘Kuma’ which is the Bambara word for voice. Their commitment underscored the intrinsic value of the Biennale as a platform for African artists to engage in vital global conversations.
“One of the major challenges of this year is funding. For many years the Biennale was supported by the French government. Now Mali is no longer with the French. So, this edition was supported only by Mali and a few friends. We are worried that there are not enough people on the continent willing to support this kind of project. We have many rich people like Nigeria’s Aliko Dangote on the continent who can support the Bamako Biennale but they don’t understand the value of art.
Executing a Biennale of this magnitude is very hard with a limited budget. So, we had to be creative. I am grateful to all the curators, artists, because they were very understanding and helped ensured that the biennale came out well.
For them, the participation was paramount, It’s not the money, it’s not that, but it’s the idea. And I think Africa should support a great African initiative like the Bamako Biennale.” Igo Diarra, Artistic Director, Bamako Biennale said.
However, the question remains: How can the Bamako Biennale thrive without relying on foreign patronage?
To reimagine its funding strategy, the Bamako Biennale could look to alternative models used by successful biennales globally.
For example, philanthropy drives the Whitney Biennial in the United States, where a network of wealthy donors contributes to its endowment. Africa’s burgeoning class of ultra-high-net-worth individuals could be a similar source of support. Convincing Africa’s affluent elite of the cultural and economic value of the Biennale might take time, but it is a crucial step.
Also introducing ticketed segments—such as workshops, talks, or guided tours—could provide additional revenue streams. This model has been effectively implemented at the São Paulo Biennial in Brazil.
The Biennale could also tap into innovative approaches such as crowdfunding campaigns or the sale of exclusive digital art through NFTs. This strategy could attract younger audiences and global art collectors, providing both visibility and financial support.
There are other models to explore, hopefully by 2026, Bamako Biennale will have found the right funding formula to remain a cornerstone of African photography.
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