Introducing the beauty of Malian photography. 

In the area of Southern Mali, 4km from the Sankari River lies the Fulani village of Soloba. As the administrative centre of its fellowship in 2009 it recorded an approximate population of 11,722 people. There's not a lot of information about Solobi yet the small area is responsible for the export of one of the most deservingly respected photographers to come out of the African continent; Malick Sidibé.

Born in 1936, 24 years before Malian Independence from France in 1960, Sidibé dedicated his work to capturing the aura and essence of Malian everyday life- specifically the enjoyment of the youth of his time. His work plays as such a vital aspect of African photography and photography as a whole because he is one of few to hold a legacy of personal photography capturing the essence of life in both pre and post colonial times, from the point of view of those 'native' to their land. We often see photography from these times however from the point of view of those visiting the land rather than those who were living and breathing it. 

Sidibé's father was a farmer and respected hunter who pushed his son to attend school but passed away when Sidibé was 16. However, a photographer by the name of Gérard Guillat-Guignard would unknowingly change Sidibé's career path when in 1955 he came to the school Sidibé attended (École des artisans Soudanais (today the Institut national des arts)) with the aim of looking for an artist to use to decorate his studio. Impressed by Sidibé he hired him as an apprentice. 

The year prior saw first-generation Malian photographer Baru Koné taking Sidibé's first portrait introducing the world to the face of Malick Sidibé. Through observing the ways of Gerard-Guillat Guinard, Sidibé was able to learn how to print and develop negatives taking the role as the studios 'party photographer' purchasinng his first camera, a Brownie Flash.

By the 60s Sidibé was taking private commissions and had built a name for himself being hired to also capture national/arts events capturing the top of the top when it came to the Malian musicians of the time.

Opening his own studio in 1962 he continued to photograph underground parties as well as the roaring Malian nightlife continuing with his signature style of black and white photography. Notable figures such as Nahawa Doumbia, Boubacar Traoré, Oumou Sangaré, Salif Keïta and Ali Farka Touré all played as muses in the photography of Malick Sidibé.

Being locally famous for decades his work was not brought to the Western art world until 1994 when he had an encounter with André Magnin a French curator. At the time one of Sidibé's most recognised work was 'Nuit de Noel, 1963' depicting a couple dancing on the night of Christmas eve. As the wave of Malian photography being recognised in the international art world was growing so was that of Malian music specifically the works of figures such as Salif Keita. 

The period Sidibé was working in does play as a vital aspect of his work and why it is so important today. The period of Mali's post-colonial consciousness or awakening is wonderfully captured through Sidibé's legacy in photography. A large aspect of why people admire Sidibé's work is due to his ability to capture the excitement people felt during this period of awakening. 

The ways and style of Sidibé is something that has been inspirational to many artists who have come after.  Janet Jacksons 1997 song 'Got 'til it's Gone' for example uses a style similar to that of Sidibé playing tribute to the period he worked. In 2007 Sidibé became the first African to be awarded the Golden Lion for Lifetime Achievement at the Venice Biennal.