News

It’s #GivingTuesday!
Nov 30, 2021

Many of you have already shown your support for Le Korsa this year, but if you haven’t yet made a donation, there is no better day than today. Facebook is matching donations this morning, so you can turn your $25.00 into $50.00 by giving to Le Korsa through Facebook. Giving once is giving twice!

Donate to Le Korsa via Facebook

You can also give directly to Le Korsa through our website, though the match won’t apply.

No matter how you choose to give, your donation is 100% tax-deductible and goes directly to improving lives in Senegal.

Thank you for being a part of Le Korsa!

Tambacounda Hospital Extension Called “Stunning” by The Guardian
Nov 11, 2021

Today’s edition of The Guardian brought praise for Le Korsa’s latest project, the new maternity and pediatric ward at Tambacounda Hospital in Tambacounda, Senegal. Architecture and design critic Oliver Wainwright referred to the building as “a stunning hospital saving lives” with “poetic touches that make the clinical environment feel like a place of care.”

Le Korsa is thrilled and we celebrate this incredible building with the doctors, nurses, midwives, patients, and people of Tambacounda.

We want to thank Manuel Herz, our friend and partner on this project, for his beautiful design and hard work in helping us to realize this vision. Also, a huge thank you to The Josef and Anni Albers Foundation and all of our donors who gave generously to help this much needed facility open its doors and serve the women and children of Tambacounda.

To read the full article, please click the link below:

https://www.theguardian.com/artanddesign/2021/nov/11/bauhaus-africa-hospital-senegal-inspired-anni-josef-albers

Q and A with artist Ryan Cronin
Oct 29, 2021

Q and A / Le Korsa and Ryan Cronin

Before you did a residency at Thread, you had traveled to Senegal with our dear friends from the amazing NGO Go Doc Go. What was that initial experience of Senegal like for you, both as an artist and a traveler? And how did you become involved with Go Doc Go to begin with?

I began working with Go Doc Go in 2017 through our Charitable Fund, 12 Months of Giving. Melanie, my wife, and I established 12MG to support causes close to our hearts and to champion changemakers like Dr. Maggie Carpenter, Founder of Go Doc Go. Maggie became a dear family friend and really encouraged me to see the work they were doing firsthand. I’d never traveled to a third-world country before. Culturally, socially, and visually it was so different from anything I had experienced up until that moment, and yet Senegal felt familiar, or at least I felt at ease there almost immediately. It was humbling. Experiencing urban street life – the vendors, storefronts, and the people were so impactful and really resonated with me as an artist. The bold colors, the hand-crafted signage, so much of the landscape were completely new to me, and yet in these things, I found a visual vocabulary to make sense of what I was taking in. 

At Thread, artists live within a rural village and are working alongside the local population as well as Le Korsa’s staff, who are engaged in a range of development projects from gardening to tree planting to beekeeping. Were you able to observe or participate in any of those activities, and, conversely, did the local population engage with you and your art? 

Every day I made a point of walking around the village to take in what was happening around me. I would say I did more observing than participating when it came to the gardening projects, tree planting, etc, but I definitely took it in. It all piqued my curiosity, which continued when I came home. I have since connected with a friend in my community who is originally from Senegal and is growing rice in my area, the Hudson Valley, using techniques where rice is grown and harvested in the tradition of his tribe, the Jola, master rice growers, from The Gambia. His farm is Ever Growing Farm and I am going to be collaborating with them in the future using one of my collages that I created at Thread for their rice bags.

As far as engaging with my art – the door to my studio/living space was open during my working hours, generally from when I woke, until 8 PM, or so, with breaks for meals. I welcomed visitors and loved sharing my work with everyone who came by, especially the exchanges around the visual imagery, which made the language gaps less of a barrier to communication.

Did you have a certain approach to making art while at Thread? How did it evolve while you were there?

One of the things that both excited and scared me was the fact that I did not have much of an idea of what I was going to create, or what materials I was going to use. I have a pretty specific approach to painting, and some of that process is creating and preparing the surface. I enjoyed letting the physical space and surroundings dictate or suggest the materials and images/iconography I used. I incorporated a lot of found paper and discarded aluminum cans into my work. Making art was so much a part of my every move. I made waste, picked up waste, and then saw it as materials. I felt curious. I was there to create, and it felt easy, almost like a meditative state, with very little else distracting me.

Outside of art-making, you helped to introduce lacrosse to Sinthian. Can you say more about how that came about, and how lacrosse has endured in the village? Are you still in touch with any of the players?

Lacrosse is a passion of mine, a game I love to play, and share with others through coaching. I managed to fit 4 sticks in my luggage with the intention of introducing the game. The kids were immediately interested when they saw me playing wall ball. A handful of them really took to it and playing became a kind of ritual for us. Every day at around 5 PM, just before dinner, they would come by my studio and grab the sticks. I would finish up what I was doing and join them. When I returned home to the States we put the word out and quickly had donations of more sticks and equipment which we sent along with team jerseys bearing the logo I created during my time there. Of course, COVID slowed the progression a bit, but I continue to be in touch with Cisa, and am happy to report that Sinthian Lacrosse continues! I dream of going back with more equipment and some other folks to work with the kids. I hope to be able to do that someday soon!

You made a lot of work in Senegal, from paintings to collages, and continued to make work inspired by your residency after your return to the United States. Was there any piece you made that you feel embodies or captures what the residency meant to you, or in which you felt, “ah, this is what I could do only by being here”?

Everything I made was specific to my time there, and I am extremely grateful for that. The body of work I created there encapsulates my experience. In fact, I created a 30-day visual diary to document moments that seemed significant to me at the time, which now gives people the opportunity to take in my experience there. My work was heavily influenced by the local fabric, the design, and the architectural elements of the residency itself. I was also inspired by the resourcefulness all around me; people using found objects to make things they needed. I got into tool making, figuring out how to create with what I had, my favorite example being a much-needed fly swatter.

Twice you have sold work made during your residency and given the proceeds to Le Korsa, which is an incredibly generous gift. Is using your art for good an essential part of being an artist for you? And because Le Korsa and Thread straddle the worlds of art and humanitarian work, how do you think that these worlds can cross-pollinate and benefit one another? How can artists help?

Using art for good is an essential part of being an artist for me, and doing good work is an essential part of being a human for me. It really has been a natural evolution and has become a great intersection of creativity that allows for me to connect with people through my work and feeds my desire to do my part in making the world a better place. A lot of what I do is social commentary, and that includes my observations on inequity and privilege. I think that is why we have had such success using my imagery for fundraising initiatives, as it connects people through a visual statement, removing the need for overthinking or debate. It just is. This is where I see the most beneficial cross-pollination between the worlds of art and humanitarian work. This fairly simple idea that impactful visual messaging connects people across cultural and economic lines, unifying them in a shared purpose. 

Is there anything else about your experience in Sinthian you would like to share?

The people who run the program are amazing – hardworking, and compassionate. I really cherished sharing meals, specifically dinner, which usually included guests from the community. Lots of memorable conversation, always genuine and informative, it was very inspiring to learn about the good work people are doing there.

Cissé went out of his way to introduce me to artists in the community. I was welcomed into their homes/studios. I work from my home studio as well, so this felt familiar and comforting. It was an honor really, to see the materials they use, and to learn about how they approach their work. I felt so fortunate to be there.

Of course, spending time with the kids meant so much to me. The language barrier did not hinder or complicate the experience, we just enjoyed being together and having fun. It also helped fill in those moments of homesickness, when I was especially missing my own family.

Thread featured in Sustainable Japan Magazine
Oct 26, 2021

It’s been over six years since Thread, the artists’ residency and cultural center designed by Toshiko Mori Architect, opened in Sinthian. With its sustainable materials and rainwater-recycling roof, the building, and the ideas that have flowed through it, thanks to the local community, visiting artists and Le Korsa’s dedicated staff, have been a catalyst for change in the region. That’s why the Japan Times’ Sustainable Japan Magazine featured Thread on its cover this week, and spoke in depth with Toshiko about how architecture has a role to play in making the world a better place.

One of Thread’s most lasting impacts has been in agriculture. By providing gardening space, a water source, and agricultural training from Le Korsa coordinator Habib Dieye, Thread has helped over a hundred women develop the farming skills to feed their families year-round while also earning income from selling surplus produce. These women quickly outgrew the Thread gardens where they started in 2015 and have expanded to other larger fields—several hectares in total. They are now producing a fortified flour, consisting of corn, millet, fonio, peanuts and other ingredients, which is used in local medical centers to help nourish underweight babies. They just received another order of 1000 kilograms, which will sell for $1700.00.

If you would like to continue supporting all the life-changing work emanating from Thread and Le Korsa, we hope you will make a donation. If now is not a good time, would you consider filling out a survey? We are always trying to learn more about how we can help our partners in Senegal.

A new medicinal garden at the Foyer
Oct 20, 2021

Herbal medicine is an important tradition in Senegalese culture. Certain elders in rural communities possess knowledge of local plants that are valued for their healing properties and therapeutic effects. 

To help the students at the Foyer learn more about these plants, Le Korsa, with the assistance of local agronomist Adama Sarr, recently planted a medicinal garden. The selected species were purchased from the local forestry service after being suggested by one of their chief gardeners, Mr. Touré. These included lemongrass, gamhar, moringa, and two types of acacia tree, all of which have medicinal value. 

The girls are already familiar with some  of these plants. To expand their knowledge, they are encouraged to learn more about other plants by talking to the elderly women in the community. The goal is to show the value of traditional knowledge, and provide another forum that might broaden the girls’ interest in different careers, such as becoming pharmacists or agronomists.

Adama, and two Foyer students, oversee the planting and maintenance of the garden. Mr. Touré also makes site visits to help explain more about the plants, and to demonstrate proper drying and storage techniques. Together, all are teaching the other girls, and the Foyer staff, to deepen their knowledge of botany and health.

If you would like to support the garden or the Foyer, please join us!