Back in time, to dive back into our self January 21, 2026
Through the installation “Teranga Sunu Cosaan”, Sokhna Diaw takes the challenge of provoking happy reminiscences. It’s an experience that takes us back to our fundamentals and our art of living, our interior art. It is the exaltation of the Teranga beyond the anthem that it constitutes, but of the values of decorum, courtesy and kindness that it carries. Through the “curaay”, the “waxande”, the stylish service, the modest dressing and the interior instruments, the exhibition gives substance to our authenticity.
More than an exhibition, it is a heritage dive. “Dal leen ak jàmm”. It is with this very Senegalese welcome formula, imbued with delicacy and kindness, that visitors are welcomed to the Yaatal space of the Théodore Monod Museum. The meaning is more pronounced in the spirit of our Teranga, meaning better to say “Come and settle in peace in our alcove, the cocoon which concentrates all of our culture, and which we agree to share with you during your presence”.
It is therefore fitting that, for the works, it is a “ndaa” (canary) which opens the series. This container, family or community, is embellished for the occasion by its pots (plastic or iron cups, potu ndaa in Wolof) of large and small sizes. Vetiver, a purifying plant that is dipped to give it better taste and safety, is also part of the decor.
Welcoming a guest, in almost all cultures and religious recommendations, is done with the serving of drinking water. With us, this service takes on authentic and purifying characteristics with this “ndaa”. Then follows a precision flail scale that probably cannot be experienced by anyone under 20 years old.
This iron instrument, with its two measuring plates, has long been a feature of local shopkeepers and large market stalls. The scale sits alongside other equally legendary instruments. These are the basic irons with the metal handle that you hold with a damp cloth. There were often several of them, lined up, taking turns on the fire (butane gas or stove).
These remains have practically left the cottages, but which continue to furnish certain laundries in the suburbs. The “Teranga Sunu Cosaan” exhibition gives substance to our authenticity.
In the family living room (set room in the middle of the exhibition room), we find the curaay, these essential items in the domestic and intimate arsenal of ladies. Among the diverse lot of scents and forms, there is obviously the indestructible gowé preserved in decorated calabashes.
This incense, made from turmeric or dried turmeric, serves as an ambient perfume, as a scent for boubous on special occasions, as well as to inhibit questionable odors and invisible malevolence. This incense is a “must have” in our homes.
Just above the “gowé” calabashes, fans of different patterns and shapes are hung on the plywood wall. The fan, in our cocoons, is not just for fanning. In the nonchalant hands of ladies, it is used to pronounce a grace.
Still in this living room, we have the wrought iron sofa, a modest but graceful throne which serves in particular as a place for housewives to rest. Padded with a thick mattress and woven loincloth, the mistress of the house slumped limply, one elbow supported to keep the bust high, the other holding a pipe or toothpick. Another time, other customs…
Above the piece of furniture, on the section of the wall transformed into a domestic picture rail, photos tell stories and intimate moments. In this case, the visitor sees black and white Mama Casset-style photos. Women with “mbëgg” (traditional braids), gold Louis (“libidoor”) hanging from their foreheads, flashy but not extravagant jewelry, transposing a dignity and restraint that moves even through frozen images.
Essential objects complete this rustic but elevated decor, authentic but unfortunately neglected: batu (wooden spatulas), ceramics with coaster motifs, koom (large wooden combs), teapots and cups of tea, and also waxandé (iron trunks) with boubous that reflect the era.
These “works” on display, utilitarian over the ages, today mourn their obsolescence and their bartering by a culture without soul and authenticity. A culture that is dying with its legendary elegance and teranga.
Mamadou Oumar KAMARA
