The Mask

A Photograph by Djibril Drame

This is the 169th edition of Tender Photo, a digital platform of African photography.

---

The photograph shows a person sitting on the stairway in front of a faded yellow building, wearing a mask with an elongated oval shape, adorned with what appears to be cowrie shells and raffia materials at the top. With hands clasped together between their lap, they are dressed in a layer of colourful clothes—a jacket with a vibrant checkered design, a black shirt with white details underneath, and a bright blue trouser with circular patterns and white sneakers. To the right of the seated figure is a wheelbarrow with large wheels. The building behind them has a synchronized pattern of metal doors, metal-grated windows, and discoloured yellow walls. There’s an open doorway visible on the right side where some clothes can be seen hanging. The ground is animated with dirt and dust, and there’s a plastic container visible on the left side of the frame. The presence of the masked individual transforms the worn surrounding into a ceremonial stage. Together, space and human raise the question of what may have been lost and that which remains timeless.

— Tony Agbapuonwu

---

“Photography is impactful because it invites you to be still, to think and to be patient.”

A masked figure sits in stillness on the worn steps of a yellow façade, blending tradition and urban reality. Clad in vibrant wax prints and sneakers, they embody a quiet resilience amid the faded textures of everyday life. This portrait captures the tension between spiritual identity and working-class survival in contemporary Senegal. This photograph was taken in Rufisque in Senegal. My approach to photography is through observation, researching, processing, developing and sharing. Photography is impactful because it invites you to be still, to think and to be patient. It is also one the tools that are the most interactive. It gives the receptor, the emitter and the subject the same values. Nobody is left out. Everyone's contribution is important and has a solid pedigree.

— Djibril Drame

---

About Djibril Drame

Djibril Drame is a Dakar-based multidisciplinary artist who is best known for his unique engagement with materials such as repurposed waste and animal skulls. This approach not only highlights his commitment to sustainability but also redefines traditional artistic boundaries. By integrating these elements, Drame creates compelling visual dialogues that reflect on cultural knowledge, environmental consciousness, and the fusion of heritage with contemporary practices. See more of Drame’s work on his website.

---

RELATED — “Sabodala Riders” by Djibril Drame

The photographed rider sits on his motorcycle close to the bend of a road, right in front of the tattered canopy of a fruit seller. The street behind him is a quiet riot of goods—the apples, bananas, clementines, the jerseys. A parked taxi welcomes the immaterial purchase of a journey, the same exchange suggested by the motorcycle.

Read more.

---

LAST WEEK — “Wagen Suuq” by Faduma Mohamoud Ali

In the narrow, fluorescent-lit corridors outside Wagen Suuq, there are three figures; one, far around the corner, sitting with his knees close to his chest, appears deep in contemplation. Closer to the front, the other two figures are facing each other at a close angle. Almost silhouettes, they stand just outside of the reach of illumination.

Read more.

---

TENDER PHOTO is a digital platform of African photography, founded by Emmanuel Iduma. This edition is edited by Tony Agbapuonwu, one of our editorial fellows. Our newsletter aims to engage with life on the African continent through photography. We publish narratives about the people, places, and events pictured in photographs, contributing to nuanced and layered perceptions. The newsletter also read on web (best for viewing images), and via the Substack iOS/Android apps.

Every Wednesday we feature a photograph, a short caption about it, and a statement from the photographer. In the past, we have published commentaries or photo-essays in response to photographs previously featured on the newsletter, including CORRESPONDENCES, CONCORDANCE, KINDRED, INDEX, and AFFINITIES.

Thank you for reading. If this newsletter was shared with you, consider subscribing, or forward to a friend. Please whitelist the newsletter to ensure you never miss it.