奥运赛事首次来到非洲，AI 也学着「入乡随俗」
AI 第一次跟着奥林匹克去非洲，干的第一件事居然是……打鼓？！
没有酷炫的算法参数科普，也不是搞数字化展览，在达喀尔青奥会的 Festival Site 现场，一套互动装置直接把鼓棒塞到了围观群众手里。
先跟着屏幕鼓上玩节奏游戏，抬头拍张照，几秒钟后，屏幕里就出现了自己穿着塞内加尔传统服饰的「数字分身」，跟着鼓点疯狂卡点。
还有小朋友不够展台高，要被大人抓住手，仰着头努力跟上敲打的节奏，人手里的鼓棒还没放下，就凑上前看生成出来的视频。
这套被围得水泄不通的装置叫 Alibaba Teranga Beat，可不是随便挑来凑热闹的道具。在塞内加尔，Sabar 鼓流淌在庆典、摔跤赛和街坊社交的血液里。Alibaba Teranga Beat 直接借用了「敲鼓、律动、围观合奏」这套当地人最熟悉的身体语言，这恰好对上了装置名字里的「Teranga」——塞内加尔文化里最引以为傲的热情与分享精神。
正在举办的 2026 年达喀尔夏季青年奥林匹克运动会，是奥运历史上第一次踏上非洲大陆，作为奥运会多年的合作伙伴，阿里巴巴带来了这样一套独特的互动装置，没有让当地人去适应一套冷冰冰的科技产品，而是反过来，让 AI 先去接住当地的文化节奏。
怎么让技术好玩到让人想凑过来、上手试一把，还能怎么让这些有用的技术留在当地？真正的本土化，从来不是换两张非洲壁纸、加个双语菜单那么简单，需要回答很多实实在在的问题。
不用背提示词，直接上手打鼓
一看到 Alibaba Teranga Beat 跟前，第一反应很难觉得这是一款「AI 产品」，倒是像一台让人看了手痒的街头节奏音游大机台。
实际上这也的确是音游的形式，握住鼓棒，照着面前的 Sabar 敲下，紧绷的鼓皮瞬间弹起回响，装置应声唤醒；再对着镜头定格一张表情，剩下的戏份就交给了后台的千问（Qwen）大模型。
最妙的设计在于「等待」本身：平时用生成式 AI，最劝退的往往是盯着那个拼命转圈的进度条干等。但在这里，算力在后台飞速运转的几十秒，都被融入进了一场停不下来的节奏挑战里，等待的焦躁早就被抛到了脑后。
不知不觉，屏幕里熟悉的脸庞立刻「飞」进了非洲大陆，有达喀尔标志性的海岸线与双丘、枝干粗壮的猴面包树，还有岸边色彩浓烈的彩绘木船。
看着屏幕上那个眉眼神态跟本人一模一样、却在娴熟敲打 Sabar 鼓的自己，现场都是新奇的呼声，很难忍住不掏出手机扫码把视频存进相册。这样一来，原本只是路过看热闹的观众，就自然而然地成了这场盛会的一部分。
敲完鼓往旁边走两步，AI 又切换成了接地气的「指路搭子」。不管是飙法语还是讲英语，直接开口问赛程、查场馆或者搞不清某项比赛规则，基于千问大模型打造的青奥专属智能问答助手都能秒回。
一个负责让人惊呼「AI 这么会玩」，一个负责搞定「下一场去哪看」，AI 就这样丝滑地跟着奥运入乡随俗。
开幕式大片里的100 张真脸，没有一个「走错片场」
如果说广场上的互动装置拼的是好玩，那刚刚落幕的达喀尔青奥会开幕式，拼的就是硬核的视觉控场能力了。达喀尔青奥会组委会携手阿里巴巴，发起了开幕式 AI 共创项目，邀请约 100 位来自全球的青年参与者，每人提交一张自己的照片。AI 会为每个人生成一段几秒的击鼓视频，最后融合一段一分钟左右的短片，在开幕式现场鼓乐演奏环节，通过现场大屏呈现。
现在的视频生成模型，随手捏一段几秒钟的炫酷空镜早已不算稀奇；但要把一段长达 60 秒的 AI 视频搬上奥运级别开幕式的大屏，可不是那么简单——要知道，这是 100 张真真实实的脸，要让他们整整齐齐亮相，最终汇合在同一个舞台上。
在阿里云基于 Wan 3.0 制作的这段开幕式百人群像短片里，最终呈现出的画面质感堪称惊艳。镜头在宏大的舞台空间里连续推拉流转，100 张鲜活的面孔在极具非洲美学张力的几何光影中接力登场。无论是大幅度的旋转，还是穿梭在明暗交错的追光灯下，每一个人的五官特征、敲打动作都稳稳锁死。
更让人叹服的是整个舞台空间与光影的物理真实感，画面中的舞台结构、塞内加尔传统纹样、高耸的立柱，哪怕是一闪而过的建筑细节，在长镜头的连续转场中都始终保持着极高精度的透视关系与建筑体量感。
这段视频出现在总统宣布本届青奥会正式开始后的下一刻。在现场，镜头从云层中由场馆穿梭到这段 AI 合奏场景，和现场表演交错，这段视频把开幕式推向华彩。
为了呈现出这种无缝衔接的的丝滑视效，制作团队在幕后给足了狠活：把 100 位参与者的面部素材逐一编号建档，搭建起严密的人物与舞台三维参考系，通过分段生成、首尾帧无缝咬合，再叠加上高精度的人脸追踪、装置运动校正、光影合成与局部精修。说白了，想让 Wan 3.0 尽情放出视觉想象力的「大招」，就得用极致的工程控制死死拽住缰绳，绝不让任何一个像素乱来。
所有的技术死磕，最终在开幕式之夜换来了一个极具感染力的瞬间，大屏幕亮起，参与者真的在万众瞩目下认出了自己，观众席上的人们也认出了自家的邻居、朋友和同胞。
比起一个毫无瑕疵却查无此人的虚拟超模，一张真实、鲜活的本地面孔出现在奥运舞台中央，才最能引爆全场的欢呼。因为这 60 秒讲的不是「算法脑补出来的非洲印象」，而是真实具体的人。用最硬核的生成技术，给在地文化最充分的尊重，这才是那支开幕式短片最燃的地方。
最懂事的技术，往往在幕后当「隐形人」
鼓点和开幕式视频，可以尽情引发尖叫，但另外一种声音必须严防死守、不能出现：「怎么买不了票？」「怎么检票机又卡了？」「比分怎么半天不更新？」
对看比赛的人来说，手机亮码、机器「嘀」一声响，就可以进场了。然而在这几秒钟背后，7 个竞赛场馆、1 个 Festival Site、约 100 万张门票的销售与核验数据，正通过现场 100 多台手持 PDA 实时传输。
电子签证、赛事管理与成绩信息发布系统，也在毫秒级地连接着来自全球的青年运动员、工作人员和观众。稳稳托住这套庞大的数字底盘的，是基于阿里云 Apsara Stack 搭建的奥运专有云，采用高可用的双可用区架构运行。
双可用区架构，防的就是大型赛事「回滚重来」的残酷现实，即便单个区域突发波动，核心业务也能无感切换、照常运转。看台上的人不需要知道自己的刷票请求跑在哪台服务器上，他们只知道队伍一直往前走、信息一刷就出来、精彩开局一秒都没耽误。
这块业务不够吸引眼球，也不能「出片」，但在奥运级别的大型赛事里，观众越是感觉不到技术的存在，越说明技术完美地做到了自己的工作。
台前的 AI 像个社牛，带着大家敲鼓、拍片；幕后的云架构则像个极致靠谱的隐形管家，把购票、验票和赛况更新安排明白。一动一静，围着转的其实都是同一个核心，让每一个来到现场的人，从踏入场馆前的第一眼好奇，到检票入座的每一秒顺畅，都能沉浸在这场非洲奥运首秀的快乐里。
比赛会散场，但那朵云决定留在达喀尔
14 天的青奥会赛程终会跑完，等到闭幕式的烟花散去，喧闹的鼓点停歇，展台、技术间、配套设施，似乎也得一起拔掉电源，打包回程了——不，阿里巴巴没打算这样做。
按照既定规划，达喀尔青奥会落幕后，这套历经国际顶级赛事严苛实战检验的奥运「专有云」将整体移交塞内加尔政府，直接转型为当地长期自主使用的国家主权云，这将是一整套已经被百万级票务与跨国赛事调度的数字基础设施能力。
以后这朵「专有云」的方向，完全由当地人自己决定。当所有权与使用权真正完成交接，这件事的性质就彻底变了，从「中国科技企业在非洲做了一个奥运项目」，变成了「非洲本土长出了一套能持续造血的数字底座」。
与此同时，另一份看得见摸得着的礼物也在同步落地：Panda Pack 计划为塞内加尔 850 所小学送去了体育器材，孩子们下课，就有了更丰富的体育器材可以使用。
▲ 接收体育器材的学生
这两样看似完全不搭界的东西，却在做同一件事——把短短两周的奥林匹克周期，拉长成当地人日常生活的长期红利。
从一面把人聚拢过来的 Sabar 鼓，到开幕式上那 100 位 AI 鼓手，再到为整个赛事的技术护航、赛后整体留驻的专有云，与奥运会一起首次进入非洲，是来自中国的 AI 与云技术在新的文化和基础设施条件下接受检验。
阿里在达喀尔展示了一种真正聪明的技术本土化。进入一片新大陆，从来不是拎着锤子到处找钉子、生怕别人不知道自己参数有多猛，而需要先俯下身听懂这片土地的鼓点，让这里的人玩得尽兴、用得顺手，也让当地文化被世界看见。再让技术真正的入乡随俗，长长久久地留在这片土地上。
本文由 AI图鉴自动抓取并翻译，版权归原作者所有；如需查看原文请点下方链接。
For the first time in Africa, AI learned to "go home."
The first thing AI did after the Olympics to go to Africa was play the drum!
There are no cool algorithms, no digital exhibitions, and at the Festival Site site of the Dakar Green Olympics, a set of interactive devices put drumsticks directly into the hands of viewers.
Play a rhythm game with the drums on the screen, take a photo head up, and a few seconds later, there's a "digital alternation" on the screen in Senegalese traditional costumes, followed by a wild cardpoint of drums.
There are also children who are not high enough to be caught by adults, who try to keep up with the beat, and whose drumsticks are still in place, and who are able to pick up the video they see in front of them.
The device, which is surrounded by water, is called Alibaba Teranga Beat, which is not a random prop. In Senegal, Sabar's drums are in the blood of celebrations, wrestling competitions and neighbourhood socialization. Alibaba Teranga Beat, who directly borrows the most familiar body language of the local people, the Drums, Motion, Panorama, coincides with the "Teranga" in the name of the device, the most proud spirit of enthusiasm and sharing in Senegalese culture.
The ongoing 2026 Summer Youth Olympic Games in Dakar was the first time in the history of the Olympics that had set foot on the African continent. As a partner in the Games for many years, Alibaba had brought with it a unique set of interactive devices that did not allow locals to adapt to a cold-cold-scientific product, but, in turn, allowed AI to first catch the local cultural rhythm.
How can technology be so fun as to make people think about it, try it, and how can they stay here? Real domestication has never been as simple as replacing two African wallpapers with a bilingual menu, and many real questions need to be answered.
No, no, no, no, no, no.
When I saw Alibaba Teranga Beat in front of me, it was hard to think that it was an "AI product" and it was like a big street rhythm platform that made people look itching.
Indeed, this is the form of a sound-show, holding the drumstick, banging at Sabar in front of him, resonating at once with a tight drum skin, and waking up the device; then a look at shot, the rest of the play is given to the Qwen (Qwen) LLM backstage.
The best design is the "waiting" itself: normally using a generation-based AI, and the most discouraged is to stare at the progress strip that's turned around. But here, for dozens of seconds, counting has been incorporated into an unstoppable rhythm challenge, and the anxiety of waiting has long been left behind.
Unknowingly, the familiar faces on the screen immediately "flyed" into the African continent, with the Dakar-marked coastline and the dunes, a thick, dry monkey bread tree, and a sea-covered paintboat.
Looking at the eyebrow on the screen with the same look on his face and beating the Sabar drums, the scene was full of new calls, and it was difficult to resist taking out a phone scan to put the video in the album. So it was just a crowd passing by and naturally became part of the event.
After beating the drums, two steps to the side, AI switched to the "fingerprint" of the ground. Whether it's French or English speaking, you can ask questions about the course, check the premises, or you can't understand the rules of a game.
One is in charge of making "AI so playful" and one is in charge of "Where to go next game," so it's slid to the Olympics.
One hundred real faces in the big opening movie, none of them "the wrong scene."
If the interactive devices in the square were fun, then the opening of the recently debunked Dakar Qing Olympiad was a hard-core visual control. In conjunction with Alibaba, the organizing committee of the Dakar Youth Games launched the inaugural AI co-creation project, inviting some 100 youth participants from around the world to present a photograph of each of them. AI will generate a few seconds of drum video for each individual, and will eventually integrate a short one-minute film, which will be played on-site at the opening ceremony and presented through the live screen.
Now the video generation model, with a few seconds of cool mirrors, is no surprise; but it's not that simple to put an AI video that lasts 60 seconds on the big screen of the Olympic-level opening -- you know, it's 100 real faces, and it's gonna make them all look like one stage.
Alibaba Cloud is based on Wan 3.0 and the final image of the opening 100 people is amazing. shot pushes the flow continuously in huge stage space, with 100 fresh faces resonating in a geometrical shadow of African aesthetic tension. Whether it's a large rotation or a journey under a light of twirl and twirl, everyone's five-office character and knock-on action are locked to death.
Even more impressive is the physical reality of the entire stage space and the light, the structure of the stage in the picture, the traditional pattern of Senegal, the height of the pillars, even the passing details of the building, and the very high accuracy of the shot ' s continuous revolving field.
The video appears at the next minute after the President announced the official opening of the Games. On the spot, shot traveled from the cloud to this part of the AI ensemble, which intersected with the live performance, and the video pushed the opening to the lottery.
In order to present this seamlessly connected wiring effect, the production team worked hard behind the scenes: it set up a single-numbered asset face of 100 participants, set up a three-dimensional frame of reference for people and stage, created in segments, with a seamless tail frame, and folded with high precision human face tracking, motor correction of devices, photo-synthesis and partial fine-tuning. To get Wan 3.0 to play the big game of visual imagination, you have to use extreme engineering to control the dead to hold the rope and never let any pixels mess up.
All the technology died, and finally, on the night of the opening ceremony, a very contagious moment came to light, and the participants really recognized themselves with great attention, as did their neighbours, friends and fellow citizens.
A real, living ground hole in the middle of the Olympic stage is the best way to set off the full cheer than a flawless virtual supermodel of the man. Because 60 seconds is not about the "calculations of Africa" but about the real people. With the most hard-core generation technology, and with the fullest respect for local culture, this is where the short opening film was most lit.
The most sophisticated technology, often behind the scenes, is invisible.
Drums and opening videos can cause screams as much as possible, but the other sound must be protected from "Why can't we buy tickets?" "How can the ticket machine get stuck again?"
For the people watching the game, the cell phone, the machine, the sound of the sound, is ready to enter. However, behind these seconds, the sales and validation data of seven competitions, one Festival Site and about 1 million tickets are being transmitted in real time through over 100 handheld PDAs.
The e-visa, race management and achievement information publish system is also connected to young athletes, staff and viewers from around the world in milliseconds. The steady holding of this large digital chassis is based on an Olympic-specific cloud built by Alibaba Cloud Apsara Stack, which operates using a highly functional dual area structure.
The dual-usable sector structure is wary of the cruel reality of "back-to-back" large-scale events, where core business can move unsuspectingly and as usual, even if there are sudden fluctuations in individual regions. Those on the stand do not need to know which server they requested to run, but they only know that the team is moving forward, that the information comes out, and that the good start is not delayed for a second.
This business is not attractive enough to attract attention, nor can it be "smuggled," but the more people at the Olympic level do not feel the existence of technology, the more the technology does its job perfectly.
It's like a social cow with drumming and filming, and the cloud structure behind it is like a very reliable invisible butler, updating the ticket, the check and the race. It's all about the same core that lets everyone who comes to the scene, from the first eyes of curiosity before entering the stadium to the joy of the African Olympic premiere every second of the ticket.
The game is over, but the cloud decided to stay in Dakar.
14 Days of the Green Olympics will end up running, until the closing fireworks are scattered, the loud drums are stopped, the booths, the technical room, the ancillary facilities seem to have to pull out the power together and pack the back — no, Alibaba did not intend to do so.
Following the planned conclusion of the Dakar Games, the "unique cloud" of the Olympic Games, which has been tested by the international champions, will be handed over to the Senegalese Government as a whole and will be transformed directly into a national sovereignty cloud for long-term local ownership, which will be a set of digital infrastructure capabilities that have already been deployed in million-class voting and transnational competitions.
The future direction of this "unique cloud" is entirely up to the locals themselves. The nature of the matter changed completely when ownership and use rights were actually linked, from “China’s technology company is doing an Olympic project in Africa” to “African mainland has a digital base that sustains blood”.
At the same time, another visible gift is on its way: the Panda Pack project is sending sports equipment to 850 primary schools in Senegal, and the children are leaving school with a much richer sports kit.
Students receiving sports equipment
These two seemingly completely out of bounds are doing the same thing — bringing the two-week Olympic cycle to a long-term dividend in the daily lives of local people.
From one side of the Sabar drum that brings people together to the 100 AI drummer at the opening ceremony to the technical escort for the entire event, the exclusive cloud that stays behind the match, and the first time in Africa with the Olympics, AI and Cloud Technologies from China are tested under new cultural and infrastructural conditions.
Ali demonstrated in Dakar the localization of a truly intelligent technology. Entering a new continent, never searching for nails with hammers, fearing that others will not know how powerful their parameters are, needs to get down and understand the drums of the land, so that the people here can enjoy themselves, use them well, and make their culture visible to the world. And we'll let the technology go into the country for a long time.
Auto-fetched and translated by AI Atlas. All rights belong to the original author.