The Great Mosque of Djenné, a magnificent structure located in the bustling city of Djenné, Mali, is considered to be one of the greatest examples of Sudano-Sahelian architecture. Dating back to 1907, the mosque stands on the flood plain of the Bani River and is a testament to the rich cultural heritage of Africa.
With roots tracing back to the 13th century, when it was first built as the center of the community of Djenné, the mosque is one of the most famous landmarks in Africa, known for its timeless beauty and remarkable architectural style. As well as being the centre of the community of Djenné, it is one of the most famous landmarks in Africa. Along with the “Old Towns of Djenné” it was designated a World Heritage Site by UNESCO in 1988. Built in the 13th century, this stunning mosque is made entirely out of mud bricks and plaster. Its unique architecture features large pillars and tall, sculpted minarets that rise high above the surrounding landscape.
The Great Mosque of Djenné is not only a place of worship but also a symbol of the rich cultural heritage of Mali. Nevertheless, UNESCO’s report notes the fragility of Djenné and other traditional earthen buildings in the changing climate as they are particularly susceptible to temperature and humidity. The lowest temperature recorded (monthly average) was 22℃ in January 1983 in Djenné. The highest temperature recorded (monthly average) was 36℃ in May 2015 in Djenné. The year 2004 was the warmest in Djenné, the average temperature was: 31℃. 1958 was the coldest year, the average temperature was: 28℃. Every year, the people of Djenné come together to reapply a fresh coat of mud to the mosque, maintaining its structure and preserving its beauty. The remarkable restoration (Crépissage) and plastering of the Great Mosque of Timbuktu is held every year before the start of the rainy season in June and runs for weeks. This year the annual event began in May 2024, and like every year, attracted Muslim worshippers from all sections of the society.
Traditionally, an auspicious date for the ceremony was agreed upon by a group of wise and trusted elders, and the association of masons lent their blessing. In 2005, however, control over scheduling the event was assumed by a festival planning committee with vested interests in attracting foreign tourists and international development aid to Djenné. The Aga Khan Trust for Culture (AKTC) is one such donor, and in 2009 they oversaw a massive conservation project for the mosque, stripping its walls, roof and buttresses of accumulated layers of plaster in order to restore the building to its “original” form and to address points of structural weakness. Debates and discussions ensued among conservationists, material scientists and town residents over the long-term preservation of the building, and it was rumoured that one group of foreign experts even proposed the application of a more permanent protective layer that would render the annual re-plastering ceremony obsolete.
Once the Crépissage is underway, teams from each neighbourhood in Djenné race to re-plaster the mosque, albeit carefully and precisely. Under the supervision of a guild of 80 senior masons, a highly revered profession in Djenné, young men scramble up the building’s façade carrying wicker baskets dripping with wet clay to smear in thick layers onto the walls, using the toron like ladder rungs. The entire community contributes to the effort, each group playing a different role. In addition to the actual repair work, men are tasked with preparing the construction material known as banco, a mix of fine clay from the nearby rivers, rice bran, shea butter, baobab powder and water. They rush around furiously, depositing huge amounts of banco into wicker baskets and continuing on to the mosque. Before long the writhing mass of bodies are hard to decipher from the mud itself.
The annual ceremony renews bonds among the town’s citizens and between the various town quarters. It also provides an important forum for youth to learn about their architectural heritage and religious identity, and it introduces young men to basic building techniques that they can apply in the upkeep of their own homes. In sum, the Djenné Mosque is more than a place for Muslim prayer or an object of architectural interest: rather, it is the focal point around which Djenné society, identity and knowledge has been continually renewed and reinforced. According to Djenné master mason Konbaba Tennepo: ‘Each year the people of Djenné congregate to re-plaster the mosque, and the event rekindles love and understanding between them.
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