Elle s’expose à quelques mètres du Musée de la femme Henriette Bathily. «Une Afrique sacrée», du collectif Exponentielles, ne se limite pas qu’à être une réplique du continent noir avec un matériau de la mer. Elle se lit comme une métaphore écologique. Elle se veut le premier pas vers un musée dédié au coquillage.
Au fond, entre vagues et vents, l’œuvre représentant la carte du continent africain demeure l’attraction de la Place du souvenir africain. Seulement, elle a une jumelle près du Musée de la femme Henriette Bathily. Pas en métal celle-là, mais tout en coquillages. C’est Une Afrique sacrée. Elle revêt une allure autre, avec un matériau qui n’est pas sans évoquer une certaine symbolique dans l’esprit de ses créatrices. Elle émane d’un rêve : celui de Madeleine Devès Senghor. Pour la matérialiser, elle a travaillé avec Syra Bâ, Rouguiyatou Thiam, Maty Ndiaye Sy. Elles sont bien reconnaissables avec les coquillages qui leur décorent le cou. Et avec elles pour discuter d’Une Afrique sacrée, une certaine Penda Sow. Cette dernière est ramasseuse de coquillages. Elle vit de cette activité si elle n’aide pas sa mère dans la vente de petit-déjeuner aux Almadies. Son travail n’est pas sans peine : les coquillages ne sont pas que des cadeaux de la mer.
Elles peuvent causer une entaille sur un doigt. Les vents et la fraîcheur n’aident pas Mme Sow qui va souvent à la chasse aux perles vers sept heures du matin. Mais, elle ne se plaint pas. A travers elle alors, les artistes qui ont réalisé Une Afrique sacrée rendent hommage aux femmes qui vivent de l’exploitation des trésors de la mer. «Dans l’Afrique sacrée, il y a la mère. Mais aujourd’hui, avec le coquillage, il y a la mer qu’on doit protéger parce qu’elle est pillée. Elle est aussi agressée sur le plan naturel avec la montée des eaux et le réchauffement climatique, qui entraînent la salinité des eaux douces.»
Une Afrique sacrée n’est pas alors qu’un rêve matérialisé avec un matériau marin. C’est aussi un support qui permet à ses créatrices de parler écologie. D’équilibre, aussi, qui ne saurait être trouvé sans que les femmes soient mêlées à la réflexion, croit Maty Ndiaye Sy. Parce qu’elles survivent en pêchant, entre autres, au niveau des mangroves, il leur arrive de couper des tentacules et d’ainsi menacer l’écosystème qui les nourrit. Indirectement, ces femmes rompent un certain équilibre et se précarisent. Mais, fort heureusement, «elles ont trouvé des astuces, parce qu’aujourd’hui elles acceptent d’appliquer le repos écologique. Elles décident d’accepter des pratiques qui viennent d’ailleurs pour préserver le palétuvier surexploité».
Le coquillage, ce patrimoine
L’œuvre en coquillages est aussi un reflet du discours tenu par Exponentielles. La partie de l’œuvre représentant le continent noir et réalisée en coquillages repose sur un support métallique. La sculpture de ce dernier fait ressortir la forme de racines. Chose qui n’est pas sans rappeler la mangrove comme pilier. Pilier d’une activité économique dont le fruit constitue l’un des éléments de la cuisine, cette femme habilement peinte dans la carte. Le doigt de la dame incrustée indique le Sénégal. Le pays de la Teranga est d’ailleurs représenté avec une singulière coquille, qui scintille parmi toutes les autres. Ce n’est apparemment pas que de l’esthétique. Elle renvoie à un autre rêve que nourrit Madeleine Devès Senghor : celui d’un musée du coquillage. Un rêve réalisable et loin d’être fou ainsi qu’en témoigne l’intervention, après les panels, de l’artiste Germaine Anta Gaye. Citant Einstein, elle rappelle que «l’imagination est plus importante que la connaissance».
Concernant ce musée voulu par Exponentielles, «l’idée est de dire que le coquillage n’est pas un parent pauvre. C’est un patrimoine symbolique et réel. Un patrimoine dans la divination avec les cauris. Un patrimoine aussi dans l’habitat». Référence sera ici faite à Fadhiouth, avec son cimetière, ses ruelles, ses maisons. Aussi avec le coquillage fait-on du béton et de la chaux, ainsi que rappelé par Maty Ndiaye Sy. Cette anticipation vers ce dans quoi le coquillage peut être utilisé dans le futur, fait dire au collectif Exponentielles que son œuvre prend source dans le futur. Ce, sans se détacher du passé. Car le coquillage «c’est un patrimoine dans les traditions ancestrales qui sont aujourd’hui renouvelées avec des projets comme celui soutenu par Enda dans le delta du Saloum».
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