Dakar is a creative hub where innovative and captivating projects flourish. This environment fosters a unique dynamism characterised by resilience and a determination to evolve independently of external cultural influences that may introduce discord and inadequacies. Amidst a growing movement to reconnect with and revitalise endogenous practices, Imann Gaye – ceramist and co-founder of BAN Workshop – is leading the charge. "My fascination with ceramics stems from its potential as a tool for empowering communities both economically and socially," explains Gaye. Through a thoughtful and introspective approach, she aims to "reinterpret this ancient practice within a contemporary context."

Gaye studied sculpture at Wimbledon College of Arts in London while concurrently training at Kana studio where she could immerse herself in practical ceramic work. She then relocated to Dakar to work for an association specialising in ceramic training for deaf and mute individuals but she and other members left to seize an opportunity to create their own space. After a round of crowdfunding, she successfully launched BAN Workshop alongside Amadou Samb, Aboubacar Barry and Sidy Sy in 2020. They initially occupied an abandoned house then secured the current villa in the heart of Mamelles where the ceramic studio expanded with the addition of a café after Gaye’s sister Aïda joined the team in 2021. And so now, it offers an inviting space where visitors can come to enjoy pottery classes followed by gourmet lunches and fresh juices.

Gaye’s experience has revealed the precarious state of the art form in Senegal, making the transmission and preservation of ceramic practices of paramount importance to her. "In London, half of the process is industrialised. You order the desired clay colour from a selection of over 50 options and use an electric kiln. You simply place your pieces inside and the next day they're perfect," she explains. In Senegal, however, the process is entirely artisanal. "If you want to do ceramics, you need to learn everything yourself," she says. Obtaining clay involves sourcing directly from villages, then you must refine it by hand and navigate the gas-fired kiln process.

Predominantly carried out by women from rural communities, these skills face extinction due to a lack of intergenerational transmission. With traditional ceramic objects increasingly being replaced by metal and plastic, Gaye urges the need to reinvest in ceramic knowledge systems to ensure their survival for generations to come. "We can't stand by and watch this practice fade away without taking action. Let’s consider how we can preserve it and create an economy around it because as this practice disappears, people cannot financially empower themselves through it. That's why starting classes was crucial for us."

Establishing a viable ceramics industry in Senegal presents challenges around limited financial resources and opportunities. However, for Gaye, the collective benefits outweigh the hurdles faced by an independent studio. "The most impactful thing I've observed from the outset of BAN Workshop is that other members of the collective now truly value their work." She vividly recalls how proud the parents of an apprentice were when they saw their child's work, convincing them that ceramics could in fact offer a viable career.

Recently, BAN Workshop hosted a special two-week residency featuring chef Diadié Diomban of Freddy’s Kitchen, who was invited by her sister to mastermind a series of brunches and dinners. Beyond the culinary experience, it was a way to relaunch the studio with a fresh approach to product development. Initially focusing on practical objects such as mugs, cups and bowls, Gaye recognised the need to design objects both collectively and individually. Collaboration emerged as one of their key methodologies and a means to foster a shared sense of care. "I've learned a lot from working with people, not just professionally but also learning about their personal lives," she reflects.

The relaunch also sparked new ideas and ambitions for the future. Gaye envisions creating a free training programme for youth in the neighbourhood and beyond. Aligned with her aim of establishing a sustainable ceramics economy, she hopes to equip the next generation with the tools to pursue professional paths in the field. "Imagine if we help them open their own studios in the long term," she enthuses at the idea of young people putting energy in the craft. From an idea conceived in London to a thriving studio in Dakar, BAN Workshop looks set to continue to evolve and positively impact its community.