It was midday when Omar Diaw, who goes by the artist name “Chimere”—the French term for chimera—began spray-painting a blank wall along a busy avenue in Guinea’s capital, Conakry. Despite the uncertainty of how the public or police might respond, Diaw and his fellow artists confidently unloaded dozens of spray paint cans without attracting any attention.
Having originated from Senegal, where graffiti has flourished for years, Diaw noticed upon moving to Guinea in 2018 that street art was virtually nonexistent there. Many people viewed graffiti as mere vandalism. To shift this perception, Diaw decided to use graffiti for public awareness initiatives, kickstarting his efforts with campaigns focused on COVID-19 preventive measures. “We had to seduce the population,” Diaw remarked.
Conakry, facing rapid urban growth, has seen Diaw’s art become a fixture amidst its concrete landscape. His vibrant murals, featuring renowned Guinean musicians and pivotal African independence leaders, capture the essence of the city, often overshadowing the passing trucks and encapsulating important historical narratives. His collective, Guinea Ghetto Graff, has left its mark throughout the city with a range of thought-provoking creations.
Graffiti as a form of expression began to take shape in the U.S. during the 1960s and 70s before making its way to West Africa through Senegal in 1988. Amadou Lamine Ngom, another pioneering graffiti artist known as “Docta,” was one of the first to bring the art form to Dakar. Ngom also initiated awareness campaigns, which sought to clean up the streets of Dakar, marking a shift from nighttime graffitis to community-oriented artwork.
This transition highlights the evolving role of graffiti in West Africa, where artists like Diaw and Ngom are using their talents to address social issues while celebrating African heritage. The fusion of art and activism serves not just to beautify urban environments, but to elevate discussions around critical themes like health, history, and identity, contributing positively to the community.
Overall, the dedication of artists like Diaw illustrates a hopeful future for street art in Guinea, fostering a cultural dialogue that resonates within its society and beyond. Their work embodies a new relationship with urban spaces, turning once-blank walls into canvases of expression, education, and cultural identity.
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