If a difference does exist between the photography in Africa and that of Europe, for example, it is above all primarily cultural. It goes back to establishing the role of images in a given society.
Simon Njami, Memoires intimes d’un Nouveau Millenaire
Malick Sidibé used to say that he had a duty to make his client beautiful. This notion of beauty, like yhay of permanence and mourning to some Ghanaian productions, for example, has no aesthetic signification. It simply confirms the materiality of photography in Africa.