Kamran On Bike

Kamran On Bike Kamran On Bike is a photographer traveling the world by bicycle for the past 10 years.

I took these portraits of Donso musicians in Kankan, Guinea, not very far from the border of Mali.Darkness had already f...
08/05/2026

I took these portraits of Donso musicians in Kankan, Guinea, not very far from the border of Mali.

Darkness had already fallen upon the village, and only two weak solar street lights illuminated the dusty open space where the musicians performed while locals danced with their guns under the dark night sky.

The voices of the singers pierced the silence like swords of light through the darkness. During one of the performance breaks, I took the musicians aside and made these portraits with a tiny pocket light that I carry on my tours.

For a brief moment, it brought some calmness into the intensity of the atmosphere.

People assume that I love cycling, and that is why I have been traveling the world by bicycle for more than 11 years.

But that is not really the case.

I travel by bicycle because it is the best way to explore the world. Slow, intimate, and demanding. A way of travel that requires both physical and mental resolve. You must work hard to earn your experiences.

Photography is the reward. It is what I truly love and enjoy. Cycling is the labor and the price I pay to experience and document people, places, and cultures.

Behind these portraits of honest and dignified musicians — performing for their own people, untouched by materialism, tourism, and social media — are thousands upon thousands of kilometers of cycling across deserts, villages, borders, heat, loneliness, and uncertainty.

All of that effort, just to stand in places like this for a few fleeting moments and witness something real.

And perhaps that is my true love for the indigenous cultures and tribes of Africa. Not to consume them, but to reach them slowly enough to truly see them.

07/05/2026

LONGING
Somewhere in a remote village in Kankan, Guinea close to the border of Mali, the Donso strings sounded like they were crying into the dark. Sweat running down the singer’s face, voices echoing through the night, people dancing with guns raised in the air while dust moved through the faint light.

They told me they mostly sing hunter songs. But this one felt different. This song carried longing.

I didn’t understand the words, but I felt a yearning in my chest the entire time. Like the singer was reaching for something far away, something lost, something impossible to hold onto again.

And for a few minutes in that dark village, it felt like everyone was longing for the same thing.

Faces of Tionk Essyl, Casamance, Senegal.This is the same village where I filmed my last reel about Kumpo. I arrived as ...
24/04/2026

Faces of Tionk Essyl, Casamance, Senegal.

This is the same village where I filmed my last reel about Kumpo. I arrived as a stranger but was welcomed in a way I didn’t expect. At one point, there was even an announcement made in the village, and I was embraced as part of the community.

These portraits are from the days of the Kamanar Festival.

The Diola people are deeply connected to their land, their traditions, and their community. Most are Muslim yet they continue to preserve their older indigenous beliefs, rituals, and music.

There’s a quiet dignity in the way people carry themselves and a calm, welcoming presence.

I was allowed to leave on one condition…that I would return next year.

Which face stayed with you the most?

13/04/2026

Kumpo is a sacred tradition of the Diola (Jola) people in the Casamance region of Senegal and The Gambia. It is believed to be a spirit of the forest that appears in the village, not something a person simply wears.

Covered in palm leaves and moving with incredible speed, Kumpo is respected as a living presence—one that protects the community, keeps away negative forces, and maintains balance between people and nature.

When Kumpo appears, the entire village gathers. Through music, rhythm, and movement, it becomes something you don’t just watch… you feel. If Kumpo doesn’t appear in a village for a long time, it’s a sign something bad may happen.

Deep in the heart of Casamance, Senegal, the forest comes to life.Meet the Kahlua, a powerful protector of the Jola (Dio...
11/04/2026

Deep in the heart of Casamance, Senegal, the forest comes to life.

Meet the Kahlua, a powerful protector of the Jola (Diola) people. Draped in fresh green leaves, the Kahlua is a living symbol of the sacred forest.

The Kahlua wears a distinct wooden mask, painted in bold black-and-white patterns to represent the duality of the spirit world. In Jola culture, the Kahlua is both a fierce disciplinarian and a protector of the community from evil forces.

It is considered a wild spirit, carrying a long staff and moving with unpredictable, animal-like agility. He represents the raw force of the wilderness entering the village to bring fertility and protection.

The Kahlua is always accompanied by a number of boys dancing alongside him in leaves. They are the next generation, learning the rhythms of their ancestors and the secrets of the forest.

Right in the middle of the vast Sahara in Mauritania, surrounded by endless stretches of sand, lies the small settlement...
08/04/2026

Right in the middle of the vast Sahara in Mauritania, surrounded by endless stretches of sand, lies the small settlement of Chinguetti. This place feels almost unreal, especially from above — isolated and tiny against the sheer scale of the desert. It’s incredibly quiet, yet full of history.

Chinguetti used to be a key stop for pilgrims on their way to Mecca, crossing the desert with nothing but faith and determination. It was considered one of the holiest cities in this region of West Africa, and for many who couldn’t complete the journey to Mecca, reaching Chinguetti itself held deep spiritual significance. Over time, it also became a major hub for trans-Saharan trade, where caravans carried gold, salt, and stories across continents. It naturally grew into a meeting point of cultures, ideas, and knowledge.

The city is home to one of the oldest mosques still in continuous use. It’s very simple, almost unchanged over time. Inside, instead of carpets, there’s just sand where everyone prays directly on the ground.

What surprised me the most were the old libraries. Hidden inside these mud-brick homes are ancient handwritten manuscripts covering the Quran, astronomy, mathematics, astrology, and grammar, carefully preserved by families for hundreds of years. Chinguetti was once known as a center of learning, where scholars studied long before modern universities existed. Many of these texts are truly unique, with no digital copies.

But the desert is slowly reclaiming it. Sand dunes are creeping in, partially burying buildings, and over time, parts of the town have had to shift just to survive. You can actually see how people have adapted, moving with the landscape instead of fighting it.

It’s strange that a place once so significant now feels so quiet and remote. But maybe that’s what makes Chinguetti special. It’s not lost; just existing in its own time, waiting to be discovered.

Definitely one of the most unique places I’ve ever been.

I visited the Wolof community near Wassu in The Gambia.The Wolof people are found across both The Gambia and Senegal. Th...
07/04/2026

I visited the Wolof community near Wassu in The Gambia.

The Wolof people are found across both The Gambia and Senegal. Their language is widely spoken in the region, connecting people across borders.

Most Wolof people are Sunni Muslim. Their practice often incorporates traditional beliefs in spirits and the use of protective amulets (called Jujus) from spiritual leaders.

Traditionally, Wolof society was divided into different castes—freeborn, artisans, and those of slave descent. These distinctions are fading, but they still influence social life and marriage in some places.

Pottery is a traditional craft among the Wolof people in The Gambia. It is mostly done by women, passed down within artisan families.

The Wolof are also known as trendsetters in West African fashion, with elaborate hairstyles, flowing robes, and a strong sense of identity in how they present themselves.

EDUCATIONAL & CULTURAL CONTEXT: This is a traditional Jola ceremony (Butusab) in The Gambia. Do not attempt.During my ti...
05/04/2026

EDUCATIONAL & CULTURAL CONTEXT: This is a traditional Jola ceremony (Butusab) in The Gambia. Do not attempt.

During my time in Gambia, I found myself part of an experience I’m still trying to process.

At the Futampaf Festival in Bwiam, I had the opportunity to witness the Butusab Dance — a traditional performance carried out by men of the Jola (Djola) community.

The performers wear “jujus” (amulets) and prepare themselves with a medicinal food known as Kundanai, considered an important part of their preparation. Within the tradition, it is associated with spiritual strength and focus. The exact ingredients and preparation are kept within the community and passed down through generations.

During the dance, experienced participants perform controlled demonstrations, reflecting deep-rooted cultural beliefs, discipline, and preparation.

I spent time with members of the community and was able to learn more about their traditions — some of which are not meant to be shared outside the group.

At one point, a member placed a medicinal liquid around my neck and asked me to close my eyes. I felt a brief warmth on my skin. When I opened my eyes, I instinctively touched my neck — there was no mark at all, not even a scratch.

Later, they told me:
“You are now Butusab. You can write your name as Kamran Ali Butusab Birkama. You are now part of our group.”

These acts are part of local tradition and are performed by experienced individuals — not meant to be imitated.

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