In Senegal, the Bastion of the Region’s Francophonie, French Is Giving Way to Local Languages

A man sits outside a stationary store with French signs in Dakar, Senegal, Thursday, Oct. 3, 2024. (AP)
A man sits outside a stationary store with French signs in Dakar, Senegal, Thursday, Oct. 3, 2024. (AP)
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In Senegal, the Bastion of the Region’s Francophonie, French Is Giving Way to Local Languages

A man sits outside a stationary store with French signs in Dakar, Senegal, Thursday, Oct. 3, 2024. (AP)
A man sits outside a stationary store with French signs in Dakar, Senegal, Thursday, Oct. 3, 2024. (AP)

For decades Senegal, a former French colony in West Africa, has been touted as the bastion of the French language in the region. Leopold Sedar Senghor, the country’s first president and a poet, is considered one of the founding fathers of the concept of Francophonie, a global alliance of French-speaking countries.

But many say a shift is underway. While French remains the country’s official language, inscribed into its constitution, its influence is waning. It is giving way to Wolof, the most widely spoken local language — and not just on the street, where the latter has always been dominant, but in the halls of power: government offices, university corridors and mainstream media.

As the French president hosts the annual Francophonie summit north of Paris, Senegal’s president is not attending in person. He sent the foreign minister as his representative instead.

“Wolof is on the rise because Senegalese people want to be seen,” said Adjaratou Sall, professor of Linguistics at the Cheikh Anta Diop University in Dakar, who began researching the Wolof language in 1998. “They want to detach themselves from the colonial heritage and reclaim their own cultural identity.”

There are 25 languages in Senegal. Six of them have the status of national languages, but Wolof is largely dominant. Out of the population of 17 million people, over 12 million speak Wolof, compared to around 4 million French speakers.

But like in most former colonies, French has traditionally been the language of Senegalese political and cultural elites. The vast majority of schools across the country and all universities are French speaking. All official documents are issued in French. With the education rate in Senegal at around 60%, this excludes a large part of the population.

President Bassirou Diomaye Faye, the youngest elected leader in Africa, was voted in six months ago on an anti-establishment platform, and his rise reflected the frustration of the Senegalese youth with the traditional, elderly political class. He has made a point in making all of his official speeches in both languages, French and Wolof, and pledged to give local languages the primary role in schools, with French introduced later.

The shift comes as most West African nations are rethinking their relationship with France, which is losing its clout in the region. In some cases, like in Burkina Faso and Mali, which are ruled by military juntas, the divorce with the French language has been abrupt: They dropped French as the official language and banned many French-speaking media outlets.

The decline of French in Senegal has been more subtle. But to a careful observer, the signs are everywhere: More and more billboards are either bilingual, or in Wolof. Although all university courses are still conducted in French, Sall said that professors and students speak Wolof to each other in the corridors, which would have been unthinkable when she started working. Some Senegalese writers are publishing their books in Wolof, and not in French.

“Surely, the nationalism which began to take root with the new government is playing a role,” said Fall. “But another important factor has been the revolution in the media, which started with Sud FM.”

Sud FM, the first private radio station in Senegal, started broadcasting programs in Wolof in 1994. The morning news program in Wolof now has over 2 million listeners, said its director, Baye Oumar Gueye.

“We replied to a real need: providing information to the population, who does not speak French,” Gueye said in an interview in his office. “They can now participate in the exchange of information.”

He added: “The use of the French language is decreasing. When you want to reclaim your sovereignty, the first thing is to have your own language.”

El Hadj Aip Ndiaye, who has been driving a taxi in Dakar for the past 45 years, said he remembers well the launch of Sud FM. “Everyone listened to it,” he recalled.

Ndiaye, who did not go to school and speaks a very limited French, said he listens to the radio everyday from 5 a.m. until midnight, as he drives across the dusty roads of Dakar in his yellow, rickety taxi.

“Before, all the news on the radio was in French,” he said. “I could not understand it. But with news in Wolof, you can understand what they are saying. You understand the world better, and you can take part in the conversation.”

“People are now proud to speak Wolof,” he said. “Before, when you spoke Wolof, you were judged as a peasant. But now, even our president speaks Wolof a lot, so people are not afraid to speak it.”

But even the biggest proponents of Wolof do not want a revolution. Fall, the linguistics professor, said she dreamed of university courses being held in Wolof, and children being taught in their local language, whether it would be Wolof, Serrer or Peul.

“We will get there, but it's a process,” she said. “And we need French as well. It is the language of openness, which allows us to communicate with others in the region.”



Two Unseen Monet Paintings to be Sold in Paris

A visitor takes a picture of the painting "Iris, 1924-1925" by French painter Claude Monet (1840-1926) during the presentation of 28 art works from the Schlumberger Collection ahead of the auction at Sotheby's auction house in Paris, France, September 17, 2026. REUTERS/Abdul Saboor
A visitor takes a picture of the painting "Iris, 1924-1925" by French painter Claude Monet (1840-1926) during the presentation of 28 art works from the Schlumberger Collection ahead of the auction at Sotheby's auction house in Paris, France, September 17, 2026. REUTERS/Abdul Saboor
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Two Unseen Monet Paintings to be Sold in Paris

A visitor takes a picture of the painting "Iris, 1924-1925" by French painter Claude Monet (1840-1926) during the presentation of 28 art works from the Schlumberger Collection ahead of the auction at Sotheby's auction house in Paris, France, September 17, 2026. REUTERS/Abdul Saboor
A visitor takes a picture of the painting "Iris, 1924-1925" by French painter Claude Monet (1840-1926) during the presentation of 28 art works from the Schlumberger Collection ahead of the auction at Sotheby's auction house in Paris, France, September 17, 2026. REUTERS/Abdul Saboor

Two paintings by the Impressionist master Claude Monet that have never been shown in public are to be sold in Paris next month by the Schlumberger family of France, auction house Sotheby's said Thursday.

"Iris", a large painting Monet completed toward the end of his life, has been valued at 22 million to 30 million euros ($25-34 million), which represents "the highest estimate ever given for a painting offered at auction in France", Sotheby's said as it unveiled the sale at its Paris headquarters.

It has never left the Schlumberger family's home in Paris after being acquired by Jeanne Schlumberger (1889-1983), who was described as "a brilliant art collector" by Sotheby's art department co-head Thomas Bompard, AFP reported.

Alongside "Iris", three other canvases by Monet are included in the sale on October 22, among them "Saule Pleureur" (Weeping Willow), valued at 9-12 million euros.

This photograph shows French painter Claude Monet's La maison a travers les roses (The House Seen Through the Roses), during a preview of 28 Impressionist works from the Schlumberger Collection, unveiled ahead of the October 22, 2026, sale at Sotheby's auction house in Paris on September 17, 2026. (Photo by LOU BENOIST / AFP)

The sale comes in the year marking the centenary of Monet's death on December 5, 1926, which is being commemorated by two Paris exhibitions opening in late September: "Monet, Painting Time" and "Stories of Landscapes, from Monet to Hockney."

The Schlumberger collection, which will be shown in Hong Kong and New York before the sale, also includes three works by Paul Cezanne, among them "La Ferme" (The Farm), "the largest work by the artist ever to be offered at auction," estimated at 600,000 to 800,000 euros.


Culinary Arts Commission, China Discuss Sector Cooperation

The two sides discussed expanding professional ties between Saudi and Chinese - SPA
The two sides discussed expanding professional ties between Saudi and Chinese - SPA
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Culinary Arts Commission, China Discuss Sector Cooperation

The two sides discussed expanding professional ties between Saudi and Chinese - SPA
The two sides discussed expanding professional ties between Saudi and Chinese - SPA

Culinary Arts Commission CEO Mayada Badr met today at the commission's headquarters in Riyadh with Counselor at the Chinese Embassy to Saudi Arabia Ma Jian to discuss cooperation between the two countries in food products, professional development, and culinary exchange.

The meeting reviewed ongoing cooperation between Saudi Arabia and China in the dairy and fisheries sectors. It also examined ways to facilitate the export of Saudi agricultural products to Chinese markets in coordination with relevant stakeholders, SPA reported.

The two sides discussed expanding professional ties between Saudi and Chinese chefs, focusing on skills development, specialized preparation techniques, and the use of ingredients to create innovative culinary experiences inspired by both cultures.

The talks also explored potential partnerships with Chinese manufacturers to benefit from their production expertise in the culinary sector.

They also discussed establishing institutional communication channels to assess joint commercial opportunities aligned with the commission's strategic priorities for sector growth.


China’s Porcelain City Carries Centuries-old Heritage to New Generation

Chinese porcelain artist Chen Qing holds up two cups after painting them in Jingdezhen, known as China's "Porcelain Capital," in eastern China's Jiangxi province, Tuesday, Sept. 1, 2026. (AP Photo/Achmad Ibrahim)
Chinese porcelain artist Chen Qing holds up two cups after painting them in Jingdezhen, known as China's "Porcelain Capital," in eastern China's Jiangxi province, Tuesday, Sept. 1, 2026. (AP Photo/Achmad Ibrahim)
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China’s Porcelain City Carries Centuries-old Heritage to New Generation

Chinese porcelain artist Chen Qing holds up two cups after painting them in Jingdezhen, known as China's "Porcelain Capital," in eastern China's Jiangxi province, Tuesday, Sept. 1, 2026. (AP Photo/Achmad Ibrahim)
Chinese porcelain artist Chen Qing holds up two cups after painting them in Jingdezhen, known as China's "Porcelain Capital," in eastern China's Jiangxi province, Tuesday, Sept. 1, 2026. (AP Photo/Achmad Ibrahim)

Chinese porcelain artist Chen Qing has a vivid memory of her grandfather. It was the only time he wrote down the formula for her family’s distinctive red pigment.

He asked her mother to memorize it and burned the paper minutes later. The secret has since been passed down orally from one generation to the next.

“My mother did not reveal the formula to me until I was over 30,” Chen said.

Her family has practiced the craft since around 1860 in Jingdezhen, known as China’s “Porcelain Capital.” It is located in Jiangxi province, about 1,180 kilometers (735 miles) southeast of Beijing.

Students practice traditional ceramic craftsmanship at Zhan Shao Ceramic Arts Practice Base in Jingdezhen, known as China's "Porcelain Capital," in eastern China's Jiangxi province, Tuesday, Sept. 1, 2026. (AP Photo/Achmad Ibrahim)

Jingdezhen’s pottery-making history spans more than 2,000 years. It began during the Han Dynasty, and its porcelain sites were inscribed on UNESCO’s World Heritage List in 2026.

Small details take years to master Jingdezhen’s craftsmen have kept alive techniques once used to produce porcelain for the imperial court. That knowledge later spread to private artisans.

Chen’s ancestors adopted some of those traditions after the fall of the Qing Dynasty in 1912.

“The craft is very difficult for an outsider to master,” The Associated Press quoted Chen as saying. “A family might spend nearly a century developing a single technique.”

Two tables in her studio are covered with brushes, unfinished pieces and pigments. She works in silence, a lamp lighting her strokes.

Chen’s fingers never touch the porcelain’s surface. She steadies her hand against its outer edge, holding the brush firmly as she paints delicate, precise strokes.

Painting a porcelain teacup can take days to complete. A single particle of dust or sweat could ruin the piece and require her to start from scratch.

Landscapes are the most difficult scenes to paint because their boundaries are not clear. A mountain summit might be emerald green, gradually shifting to brown and other warmer colors farther down the slope.

“Mastering a craft is a lifelong process,” Chen said. “Few people are willing to spend more than 10 years learning such a painstaking craft.”

Fragments of porcelain reveal a spiritual past Artists like Chen work alongside archaeological sites and museums to preserve China’s porcelain heritage.

Chinese ceramic wheel-throwing artist Zhan Shaolin demonstrates his craft in Jingdezhen, known as China's "Porcelain Capital," in eastern China's Jiangxi province, Tuesday, Sept. 1, 2026. (AP Photo/Achmad Ibrahim)

Jingdezhen’s Imperial Kiln Institute researches and restores ceramics excavated from an adjacent complex, where pieces for emperors were crafted in kilns whose remains are still visible today.

The institute is incorporating new technologies into its work, including artificial intelligence, to help match and reconstruct ancient porcelain fragments.

“By the establishment of our ceramic gene bank, we can collect all kinds of information,” said the institute’s president, Weng Yanjun. “We hope that we can retrieve ancient technology with modern science.”

That research can also shed light on the culture and beliefs that surrounded porcelain-making centuries ago.

Among the tiles made at Jingdezhen’s imperial kilns were those used in the Bao’en Pagoda.

It was part of a Buddhist temple complex that was destroyed during a 19th-century rebellion in the city of Nanjing. Its exterior walls were covered with porcelain tiles, each bearing an image of the Buddha.

Traces of other religious traditions can also be found in porcelain studied by the institute, Weng said.

“Islam, Buddhism, Taoism and, later on, European Catholic Christianity harmoniously blend into the porcelain decorations,” he added.

Porcelain-making was surrounded by its own beliefs Within Jingdezhen’s imperial kiln complex stands a shrine commemorating Tong Bin, the protective spirit of ceramics.

Known as the “Immortal Master of Wind and Fire” or “Kiln God,” Tong was revered during the Qing dynasty for sacrificing himself in protest against the abuse of kiln workers, according to local tradition.

The shrine remains open today, with a statue honoring Tong inside alongside figures representing other traditional roles in porcelain-making.

“In ancient times, the technology was not as advanced as it is today, so, in many cases, people had to rely on their beliefs — their gods — to help bring good luck and better results,” Weng said.

How artisans today honor their craft varies widely Some Jingdezhen craftsmen say they hold no particular beliefs associated with porcelain-making. Others display figures of Budai — or the laughing Buddha — in their workshops as symbols of good fortune and prosperity.

For artisans like master Sun Lixin, however, the work retains a spiritual dimension. He is a fourth-generation practitioner who learned the trade from his father at age 13.

“Some traditional rituals have faded considerably,” Sun said. “Yet in the hearts of craftspeople, that reverence remains.”

Every time he paints or fires a piece, Sun is mindful of the hundreds of millions of years of geological history the white clay has undergone before reaching his hands.

He does not visit Jingdezhen’s shrine, but has a practice of his own. Sun instinctively bows to the Kiln God before a firing, wishing for it to be successful and for fine porcelain to emerge.

“If we do not care for it, paint it with devotion and treasure it, how could we possibly do it justice?” Sun said.

Artists from China and abroad find their way to Jingdezhen While Jingdezhen’s pottery-making continues to be passed down within families, universities and residency programs host new generations of Chinese and international practitioners.

Paola Masi is an Italian ceramic artist in a residency program through October.

She said Song dynasty porcelain shaped her early training. So coming to Jingdezhen feels like going back to the roots of her own path as an artist.

Chinese artist Huang Qi graduated from Jingdezhen Ceramic University in 2015 and left the city to work elsewhere. She eventually decided to come back and is also now an artist-in-residence.

“Jingdezhen is where my dream began,” Huang said. “More and more people are coming and the city is attracting growing attention.”

Encountering fellow craftspeople has allowed her to learn new techniques, while Jingdezhen’s inscription on UNESCO’s World Heritage List makes her optimistic about the future.

“It gives us confidence,” Huang said. “Things will continue to get better.”