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)
TT

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.”



UK Proposal to Charge Tourists to Visit Museums Sparks Backlash

FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo
FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo
TT

UK Proposal to Charge Tourists to Visit Museums Sparks Backlash

FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo
FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo

Britain is considering introducing entry fees for tourists visiting some of England's most renowned museums, a proposal that has drawn criticism from restitution groups and countries while disputed artefacts remain on display.

Free admission to Britain's national museums and galleries was introduced in 2001 by former Labour Prime Minister Tony Blair in a bid to make culture more accessible to all.

Last month, the UK government said it would work with the museum sector to explore the potential benefits of charging international visitors at ⁠national museums, including how ⁠this could support the arts sector. It would provide an update of the consultation before the end of the year, it said.

However, the proposal is facing backlash amid growing calls worldwide for artefacts to be sent back to their communities or countries of origin, Reuters reported.

Although some efforts have been made to confront the long-standing issue, artifacts as well as human ⁠remains taken during the colonial era are still held in various museums across Europe. Some long-standing claims for artifacts involving the British Museum include Greece's Parthenon Sculptures, known as Elgin marbles, and Nigeria's Benin Bronzes.

The British Museum has previously said that the strength of its collection lies in enabling millions of visitors to understand the world's cultures and how they are interconnected.

Ghana, which has some of its regalia and other artifacts in British institutions, said charging foreign visitors to view such objects raises issues of "fairness," particularly where restitution discussions remain ongoing, ⁠foreign minister ⁠Samuel Okudzeto Ablakwa told Reuters.

The proposal, if implemented, would be "unethica," said Eric Phillips, vice chair of the Caribbean Community's reparations commission, a bloc of 15 member states including Jamaica and Barbados.

"Why should we have to pay to see our heritage?" Phillips said.

Arley Gill, chairman of Grenada's national reparations committee, said the priority should be to return the artifacts to their "rightful owners."

Open Restitution Africa (ORA) said Africans and others already face barriers to accessing artifacts taken from their countries and held in Western museums, including visa requirements and travel costs.

"Introducing entry fees further compounds these inequalities," ORA said.

Meanwhile, the US-based non-profit Restitution Study Group said a fee exemption for such visitors would be a "meaningful gesture."

The government declined to comment on the criticism.


Riyadh Art Unveils 75 Works in Expanding Public Art Collection Across Capital

The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA
The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA
TT

Riyadh Art Unveils 75 Works in Expanding Public Art Collection Across Capital

The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA
The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA

The Royal Commission for Riyadh City, through its “Riyadh Art” program, has unveiled 75 new artworks as part of a growing permanent collection installed across key locations in the capital.

The initiative forms part of broader efforts to expand the presence of public art in urban spaces, with additional installations planned in the coming period.

The program aims to enrich daily life in Riyadh by integrating art into the urban fabric, contributing to a dynamic cultural environment that reflects the capital's regional and international stature.

As one of the world’s largest public art initiatives, the Riyadh Art program now features 75 installations, with plans to expand the collection by adding 115 more works. The current collection includes contributions from 35 Saudi artists and 100 international artists representing 45 countries.

Among the internationally renowned artists featured are Anish Kapoor, Giuseppe Penone, and Jeff Koons, alongside prominent Saudi artists such as Zaman Jassim, Mohammed Alsaleem, and Manal AlDowayan.

The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs, enabling residents and visitors to engage with them as part of their everyday environment and reinforcing the role of art in public life.

The collection comprises both commissioned and acquired works. Commissioned pieces are specifically designed to respond to their surroundings, integrating with the urban context and patterns of movement within each location.

Recent commissions were selected through an international competition that attracted 161 artists, with 72 shortlisted participants submitting 70 proposals. These contributions have helped shape a diverse and evolving collection spanning the city’s main axes and public spaces.


New Tools Rescue Old Art at Madrid’s Prado Museum

A conservator works on the restoration of gilded moldings at the Prado museum's sculpture restoration department in Madrid on October 23, 2025. (Pierre-Philippe Marcou/ AFP)
A conservator works on the restoration of gilded moldings at the Prado museum's sculpture restoration department in Madrid on October 23, 2025. (Pierre-Philippe Marcou/ AFP)
TT

New Tools Rescue Old Art at Madrid’s Prado Museum

A conservator works on the restoration of gilded moldings at the Prado museum's sculpture restoration department in Madrid on October 23, 2025. (Pierre-Philippe Marcou/ AFP)
A conservator works on the restoration of gilded moldings at the Prado museum's sculpture restoration department in Madrid on October 23, 2025. (Pierre-Philippe Marcou/ AFP)

In a quiet space secluded from the throngs of daily visitors to Madrid's Prado art museum, a team of experts perpetuate an ancient tradition of restoring centuries-old European cultural treasures.

Creations by some of art's most illustrious names -- Goya, Velazquez, Rubens, Caravaggio, Bosch and El Greco -- are conserved in the vast, bright space at one of the world's most-visited museums.

The Prado has always put an emphasis on the conservation and restoration of art since it opened to the public in 1819.

Cutting-edge technology and modern tools to analyze and treat paintings and sculptures allow Almudena, Marta, Maria, Alvaro, Alicia, Elena, Sonia and Eva to maintain the tradition.

The team is capable of caring for the museum's most prized collections as well as works from other institutions.

In February, the Prado launched the restoration of "Pablo de Valladolid", an emblematic portrait that Spanish master Velazquez produced in the 17th century.

But the work will first undergo a deep technical analysis by new equipment, the museum said in a statement.

Scanning technology will allow the experts to identify and locate the materials used by the artist, while multispectral infrared reflectography will reveal details invisible to the naked eye.

Everything contributes to a deeper understanding of the artist's technique, the work's state of conservation and preparing its restoration.