In Bottleneck, anthropologist Caroline Melly uses the problem of traffic bottlenecks to launch a wide-ranging study of mobility in contemporary urban Senegal—a concept that she argues is central to both citizens' and the state's visions of a successful future.
 
Melly opens with an account of the generation of urban men who came of age on the heels of the era of structural adjustment, a diverse cohort with great dreams of building, moving, and belonging, but frustratingly few opportunities to do so. From there, she moves to a close study of taxi drivers and state workers, and shows how bottlenecks—physical and institutional—affect both. The third section of the book covers a seemingly stalled state effort to solve housing problems by building large numbers of concrete houses, while the fourth takes up the thousands of migrants who attempt, sometimes with tragic results, to cross the Mediterranean on rickety boats in search of new opportunities. The resulting book offers a remarkable portrait of contemporary Senegal and a means of theorizing mobility and its impossibilities far beyond the African continent.

Over the last twenty-five years, garbage infrastructure in Dakar, Senegal, has taken center stage in the struggles over government, the value of labor, and the dignity of the working poor. Through strikes and public dumping, Dakar's streets have been periodically inundated with household garbage as the city's trash collectors and ordinary residents protest urban austerity. Often drawing on discourses of Islamic piety, garbage activists have provided a powerful language to critique a neoliberal mode of governing-through-disposability and assert rights to fair labor. In Garbage Citizenship Rosalind Fredericks traces Dakar's volatile trash politics to recalibrate how we understand urban infrastructure by emphasizing its material, social, and affective elements. She shows how labor is a key component of infrastructural systems and how Dakar's residents use infrastructures as a vital tool for forging collective identities and mobilizing political action. Fleshing out the materiality of trash and degraded labor, Fredericks illuminates the myriad ways waste can be a potent tool of urban control and rebellion.

In Senghor’s Shadow is a unique study of modern art in postindependence Senegal. Elizabeth Harney examines the art that flourished during the administration of Léopold Sédar Senghor, Senegal’s first president, and in the decades since he stepped down in 1980. As a major philosopher and poet of Negritude, Senghor envisioned an active and revolutionary role for modern artists, and he created a well-funded system for nurturing their work. In questioning the canon of art produced under his aegis—known as the Ecole de Dakar—Harney reconsiders Senghor’s Negritude philosophy, his desire to express Senegal’s postcolonial national identity through art, and the system of art schools and exhibits he developed. She expands scholarship on global modernisms by highlighting the distinctive cultural history that shaped Senegalese modernism and the complex and often contradictory choices made by its early artists.

Heavily illustrated with nearly one hundred images, including some in color, In Senghor’s Shadow surveys the work of a range of Senegalese artists, including painters, muralists, sculptors, and performance-based groups—from those who worked at the height of Senghor’s patronage system to those who graduated from art school in the early 1990s. Harney reveals how, in the 1970s, avant-gardists contested Negritude beliefs by breaking out of established artistic forms. During the 1980s and 1990s, artists such as Moustapha Dimé, Germaine Anta Gaye, and Kan-Si engaged with avant-garde methods and local artistic forms to challenge both Senghor’s legacy and the broader art world’s understandings of cultural syncretism. Ultimately, Harney’s work illuminates the production and reception of modern Senegalese art within the global arena.

Projections of Dakar studies the audiovisual creations and practices of twenty-first-century Senegalese filmmakers living, working, and distributing their films in urban Senegal. Although some observers have described contemporary Senegalese cinema as a dying industry, this book shows that it retains great potential. Senegalese cinematic practitioners are forging unique, dynamic responses to social challenges and producing content in innovative forms. Like contemporary Senegalese cinema, African urban centers are often perceived as sites of despair and social decay. In each chapter of this book, Devin Bryson and Molly Krueger Enz focus on a particular urban issue and analyze how Senegalese filmmakers document and reimagine it from diverse perspectives and contexts. The authors draw from interviews and ethnographic observations to center filmmakers’ practices and conceptualizations of contemporary cinema in Dakar. Bryson and Enz trace developments in production, distribution, viewership, and audience response since 2012 to study how these films and their production both reveal and contribute to how people live in the city, relate to one another, build their lives, advocate for change, find joy and meaning, and build community. They also document and articulate more equitable and inclusive forms of these activities. Ultimately, the book illustrates how Senegalese filmmakers reimagine Africa as a place that will lead to a better future for its inhabitants.