The day started with an assessment session gathering the project partners, the artists in residency, the hosts in Africa and the associated partners, e.g the closed community of the project. This first talk shed light on how artists found that integrating digital tools allowed them to articulate their narratives in ways that resonated with broader audiences, revealing themes of cultural heritage and collective identity that they had not fully realised in isolation. Conversely, the exploration of their stories provided hosts and technologists with insights into the emotional and cultural nuances that could enhance the functionality and relevance of their innovations.  

This reciprocal relationship fostered a unique environment where the merging of ancestral knowledge with cutting-edge technology not only enriched artistic expression but also redefined the applications of technology in a culturally sensitive manner.  

The transdisciplinary nature of the residency was a recurring theme, with participants noting its profound influence on their work. Artists spoke of how collaboration with technologists opened new avenues for creativity, leading to innovative projects that blended art and technology in ways they had not previously imagined. This cross-pollination of ideas not only enriched their individual practices but also sparked collective inspiration, fostering a sense of shared purpose among the group. 

Hosts, too, contributed valuable perspectives. They reflected on the most significant positive outcomes of the project, emphasising the strengthened networks and collaborative spirit cultivated through the consortium. However, they also acknowledged areas for improvement, particularly in enhancing communication and engagement strategies to ensure all voices were heard throughout the residency. 

After a networking Lunch, a debate on “Storytelling and the use of technology“ was facilitated by Vanessa Hannesschläger, Ars Electronica, with  Alibeta and Aissata Deme (Kenu Lab, Senegal) and Aurelio Mofuga (artist, Tanzania) and Francis Wairura (Ona Stories, Tanzania).  

The speakers emphasised the importance of bridging gaps between different audience groups, recognising that universal narratives can be elusive. In a continent rich with diverse cultures and languages, the challenge lies in crafting stories that honour this multiplicity while remaining accessible. This dialogue prompted the audience to reflect on their own frames of reference and cultural contexts, fostering a deeper understanding of how stories can be tailored to connect with varied groups without losing their essence. 

The conversation then shifted to the medium through which stories are conveyed. The panellists argued that every medium – be it digital, textual, or performative – shapes the narrative in unique ways. This insight was particularly relevant for African artists exploring new technological avenues.  

Another significant aspect of the discussion was the interplay between research and creation. The panellists noted that the choice of technology often informs the storytelling process long before the final artwork is conceived. For African artists, this means that engaging with specific technologies can lead to unexpected avenues of exploration, expanding their understanding of the stories they wish to tell.  

Finally, the theme of collaboration emerged as a vital component of contemporary storytelling. The complexity of modern technology necessitates a pooling of expertise, which can lead to richer artistic outcomes. The artists discussed how collaborative environments, like the residency model, enabled them to discover dimensions of their stories that individual efforts might have overlooked. This notion resonated deeply with the African audience, reflecting the continent’s rich tradition of communal storytelling and collective creativity.  

The day went through with the opening of the exhibition and a performance, by the Blaise Senghor Regional Cultural Centre (Fatou Sene), and the Senegalese Ministry of Youth, Sports and Culture (Cabinet Director Elhadji Tanor GNING).

Exhibition  

Sands of Time (Walls We Walk Through), by the Ala Praxis Collective (Peace Toba Olatunji, Timilehin Oludare, Noah Okwudini, Josh Egesi, Philip Fagbeyiro, and Jadesola Olaniyan) – Tanzania   

The Daladala-Verse, by Aurelio Mofuga – Tanzania

RECALL: Spirit of the Old, by Jibril Baba – Nigeria 

Les Passeurs de l’Invisible (performance from the Collective of Kenu Lab) 

The public of Dakar was invited to see the story of a broken pact between Leuk Daour and the Lébou community of Ouakam: an urban developer attempts to build a seawater desalination plant on the sacred dwelling of Leuk Daour, the protective spirit of Ouakam. In doing so, she violates a millennia-old pact established between this spirit and the Lébou community. This act unleashes malevolent spirits, creating chaos in the territory: the ground trembles, homes collapse, torrential rains pour over the landscape, access to the sea becomes impossible, the hot wind turns toxic, rocks become volcanic, and there are numerous losses of human, animal, and plant lives… 

The guides of the invisible, initiated into the mysteries of the Lébou, send two twin sisters on an initiatory journey to meet fabulous beings. They are tasked with gathering the elements, renewing the pact with Leuk Daour, and performing the Ndeup to ensure the survival of their community. 

Writing: Cedric Mabudu 

Actors: El Haji Sega Ba, Aicha Deme Sanka, Cissé Yatera, Naby Moise Sama Tchiaf’n Bangoura 

Scenography/costume: Jah Gal Doulsy 

Sound creation: Ibaaku 

Direction: Alibeta 

Production: Makha Bao Fall 

*The Lébou form a community in Senegal. Traditionally fishermen but also farmers, they are concentrated in the Cape Verde peninsula (Dakar). They speak Wolof and are predominantly Muslim, but still retain practices derived from animist teachings. 

**Ndeup: Lébou therapy trance ceremony.