01 A fleet without a harbour

That detail explains the shape of the boats. A pirogue that has to cross the surf twice a day needs a high, sharply raked bow, a narrow shallow-draught hull, and to be light enough for a group of people to move it over the sand. Everything you see in the hull answers that requirement.

Size varies widely within that logic. There are small ones of about three metres and there are ones of up to twenty. And all of them are built by hand: a small pirogue leaves the workshop in about a week; a large one, in around a month.

A white wooden pirogue coming into the shore with a very high, sharply raked bow, seen from the beach: the stem and bow carry a dense decoration of floral and geometric motifs in red, blue, yellow and green, with the number 13 painted in black near the bow and an inscription in Arabic script on the side; the interior shows blue-painted cross benches; on the left, several people in dark waterproofs and vests haul on a rope to beach the boat, all with their backs or profiles to the camera; more than twenty gulls fly around the boat; at the back, the sea is turquoise green with the horizon line covered by a fleet of dozens of anchored pirogues; the sky pale blue and clear.
A pirogue coming in through the surf, with the fleet anchored behind. Beaching is done by hand, hauling on a rope.IssamBarhoumi / Wikimedia Commons / CC BY-SA 4.0·CC BY-SA 4.0

02 Why the water is cold

The desert reaches the shore, but the sea in front of it is cold. That contradiction is what fills the nets.

Off this coast runs the cold Canary Current, coming down from the north hugging the continent. By pushing surface water offshore it causes upwelling: deep, cold, nutrient-loaded water rising into the sunlit layer. There plankton production takes off, and with it the whole chain.

The result is that Mauritanian waters are among the most productive fishing grounds there are, at the door of a country where inland practically nothing grows. It is a striking asymmetry: the desert reaches the beach on one side and abundance begins at the surf line on the other.

A colour satellite image of a stretch of coast: on the left, the ocean in very dark blue with a turquoise band of shallow water hugging the shore; on the right and filling most of the frame, the desert appears as a blanket of orange and pink tones crossed by dozens of parallel bands of elongated dunes, all running on the same diagonal; between sea and dunes, a large dark grey patch of gridded texture marks the city, with two straight axes leaving it towards the interior; around the urban patch, rectangular greenish patches of plantation can be made out.
The exact line where the desert meets the Atlantic. The fleet works the band of shallow water visible against the shore.Laura Rocchio, Landsat Project Science Office / NASA / Wikimedia Commons / Dominio público·Dominio público

03 Every hull, hand-painted

The first thing that strikes you on reaching the beach is the colour. Each pirogue is painted by hand, one by one, and none repeats another's design exactly. The usual motifs are geometric and floral, in red, blue, yellow and green, concentrated above all on the stem and bows, which is the part most visible from the water.

The hull also carries the registration painted large, and often inscriptions and an identification number. Taken together, a pirogue works as a visual licence plate: it is recognised from far off by its colour combination before anything can be read.

The trade also has a precise origin. The building of these boats is sustained above all by craftsmen of Fula and Wolof origin, who came in their time from Senegal and have long been established in this part of the Mauritanian economy. The technique travelled with them along the coast.

04 How to see it

The fishing beach is on the city's Atlantic edge, in the El Mina district, and it has a clear hour. The moment is mid-afternoon, roughly between four and six, when the boats come back with the day's catch and the selling is set up on the sand.

A sunset photographed against the light over an urban silhouette: the whole sky is stained a very uniform earthy orange, cloudless and with the light dulled by suspended dust; the sun, a small white disc with a clean outline, is about to disappear behind the city blocks; in the lower third, cut out in absolute black, are the rectangular volumes of several low buildings and their tanks, a power pole with a television aerial and two cables crossing the frame from side to side.
Late afternoon in the city. The beach's activity concentrates in the hours before this light.Ferdinand Reus / Wikimedia Commons / CC BY-SA 2.0·CC BY-SA 2.0

It is a working area, not a viewpoint, and it is worth behaving accordingly: keep clear of the strip where the boats are dragged, do not get in the way of the sorting and ask before photographing anyone close up. The scene stands on its own without needing to get near faces.

And there is a detail that rounds off the visit if you look: towards the horizon you can see the fleet at anchor, dozens of pirogues lined up beyond the surf. Knowing that none of them will berth at a quay and that all will end up beached on this same sand, the image changes meaning considerably.

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Lucía Montes

Worth Knowing editor · Flowtravel

Lucía stops at what a place takes for granted and nobody explains.