Koudougou, May 31, 2025 (AIB) – The 4th edition of Tunnel, a ceremony for distinguishing cultural and tourist actors in the Central-West region, was held in Koudougou on Saturday, noted the AIB on site.

This annual event, initiated by Adama Badiel, aims to create, according to him, a platform of visibility and support for artists and tourism professionals to allow them to establish themselves on national and international scenes.

The promoter Adama Badiel stressed the importance of this edition, placed under the sign of collaboration, recognition and collective construction. He recalled the fundamental objective of the Tunnel: “to highlight the cultural and tourist talents of the Center-West, these women and men who, often without spotlight or support, nourish our region with their passion, creativity, and determination.”

This year, the event paid a special tribute to its partners, whose support is deemed indispensable. Among the officials present were Jean Noël Bonkoungou, representing the minister of culture, patron of the ceremony, El Hadj Inoussa Bagué, president of the Patronat du Centre-Ouest, Franck Alain Kaboré, CEO of Cinéma Neerwaya, and Ali Bonkoungou, CEO of Salsabil Bâtiment, testifying to the commitment of the private and public sectors.

Despite a slight reduction to five categories in competition this year, due to a limited number of album releases and works meeting the criteria, Adama Badiel ensured that the “Golden Tunnel” category will evolve from next year to expand opportunities while maintaining the quality requirement.

The promoter also launched a call for goodwill because, “we need you to build a true ecosystem where art, heritage, tourism and youth can express themselves, thrive and inspire.” This heartfelt plea highlights the major challenge of the lack of resources to fully support the laureates and optimize their visibility.

Several emblematic figures of Burkinabe cinema, such as Eugène Bayala (Oyou), Sawadogo Alidou (head of the Village of Kikideni), and Rasmané Ouédraogo (Razo), have already been honored in previous editions.

This year, the winners on the artistic side include Mr. Baraka, Tasha, Yololo Junior, and KSB 80.

In the cultural and tourist field, personalities like El Hadj Inoussa Bagué, Franck Alain Kaboré, Rasmané Ouédraogo, Boubacar Berewoudougou (Hôtel Pousga), Catherine Zoma (ISMK), and Salfo Dermé were distinguished, in addition to tributes paid to ancient glories of Burkinabe music such as Pasteur Moussa Josué.

Adama Badiel concluded by stating that “the Tunnel is not a one-time event. It is a movement, an ambition, a bridge between what we are and what we can become. A strong message for the future of culture and tourism in the Center-West.

The boss’s representative, Jean Noël Bonkoungou, reassured the promoter of Tunnel of the support of the ministry.
Source: Information Agency of Burkina

Photo credit: Information Agency of Burkina

We found you a nugget of music; a sunny lady, always cheerful, who embodies African music outside the continent. Three years after ‘‘Sama Soppé’, she is reborn with an EP of three tracks as if it were not the number that counts. This is the sulphurous Astou Seck who has just released an EP entitled: ‘‘AFRO Fusion’’ available on the platforms.

Born artist
Born in Dakar, Astou Seck began her career not as a songwriter but as a dancer and model. She looks like an actress from the film Wakanda. In 2008, she left Senegal and moved to Italy. She makes her little man way there. One night in Milan, at the end of a fashion show – she is still a model – she feels the call of music. She will play ‘‘Life in Pink’ by the Jamaican Grace Jones. This performance, spontaneous, delights the audience who is especially sublimated by this voice with a rare sensitivity. Grace Jones notes it. They meet. Astou Seck’s musical destiny is sealed. She now roams the scenes of the world. In 2014, Astou Seck released his first album, fusing R&B, world music, Afrobeat and house. This musical style blend imbued with the rhythms of the Senegalese tradition gives a musical cocktail bluffing. In 2018, she unveils ‘‘Sama Soppé’, an intimate musical statement, followed in 2021 by ‘‘Ndiakhass’, a work that marks her rise and artistic maturity. The single ‘Dance with Me’ completes this period, symbolizing his ease in forging links between musical genres.

“AFRO Fusion”, open door to another dimension
This EP was highly anticipated. It’s here. With an immense background that gives a certain tinge to his songs, Astou Seck is never without imagination and the main message that runs in the phrasing of texts like ‘‘Memories’’ and ‘‘My Story’’, is so edifying that it «takes us as a sea» – Baudelairian expression. Both titles are very successful on streaming platforms, and we’re expecting ‘Fenn’’ to be released in November. Astou Seck is an artist who, in addition to mastering various musical styles, incorporates in her texts, often in English, a very African rhythmic. In just a few years of career, Astou Seck, with her voice that reminds us of this blues gospel coming from the United States of America, she has managed to impose a new rhythmic and rhythmic genre in which the artist still dominates his art. Her voice! And what voice… Soul? Jazz? Blues? We get lost trying to fix it in a box so his talent is immense. With this voice a little hoarse, gaillarde and a little cuivrée is chopped of syncopes. At the first notes, we are a little out of place, but when the words gush out of our throat, the rhythms lead us towards an African-American music whose melancholy accents always remind us of Africa.

A course in the do range
Astou Seck glides out of the frame. In addition to possessing a majestic voice, she knows how to dance and is a model. This versatility makes these scenic performances captivating moments of a rare intensity. It was this trajectory, nourished by pride and audacity, that led her to found the group LOUMSA, a symbol of a fusion between ancestral sounds and modern rhythms. Astou Seck’s music has no boundaries. So you’d have to listen to his latest EP to realize it. It is a mixture of melodies that unites hearts and transcends cultures, with ‘’instruments of shock’ (…) that freak out and produce all the twists and turns of the flesh’ – to speak like André Gide.

Reggae has always been a music of struggle, a cry from the heart for justice and freedom. With Once Upon a Time in Africa, Daddy Maky & The Fighting Roots propose an EP deeply rooted in African history and realities. The mixture of languages gives this opus of five titles a unique and singular sonority.
A roots reggae from roots
In a very mixed register, Maky Makeba Sylla, alias Daddy Maky, true urban troubadour, is at the same time singer, filmmaker and activist. Born in Dakar, this artist of rare singularity, who distills poignant texts, is distinguished by his messages of revolt and hope. With a wealth of experience in the field of directing, notably with his documentaries on Laba Sosseh and Amath Dansokho, he combines music and political commitment to convey a strong and sincere word. With Once Upon a Time in Africa, Daddy Maky has teamed up with Fighting Roots to offer a dancehall reggae roots at the crossroads of Jamaican and African influences. This five-track EP – an explosive cocktail – is a true journey through the struggles and hopes of a continent too often relegated to the margins.

An EP that moves
Once Upon a Time in Africa draws heavily on African music. Through its traditional drums and its mix of languages (wolof, bambara, English and a touch of French), each title is adorned with a unique sonority. But it’s mainly through his soul grooves that Maky stands out. Never quiet, he always gets carried away. His powerful voice takes us deep into the roots of reggae. From the very first track, Time Fi Revolution (in English), the EP sets the tone. Driven by punchy rhythms and a determined voice, this song is a call to awakening African consciences. Then comes One and the same people (in dioula and in French), a hymn to African unity, recalling that despite the borders, Africa remains one and indivisible. With Ay Nan Ka Wûli (in Bambara and French), Daddy Maky delivers a powerful warning: “When Africa rises again, nothing will be the same.” A committed flame, sounding like a rallying cry. Then, Rudeboy inna Town (in English) immerses us in the world of reggae in its purest form, with an ode to Rasta culture and its rebellious values. Finally, Nitt Ku Ñul (in Wolof and English) offers a real history lesson on Africans while serving as an advocacy against injustice. Through these five songs, Daddy Maky does not just denounce: he proposes a vision based on the memory, commitment and solidarity of African peoples.

Daddy Maky, African Memory Singer
In addition to being an exceptional reggaeman, Daddy Maky is also a filmmaker with a passion for African history and culture. With El Maestro Laba Sosseh, he retraces the career of the pioneer of African salsa, highlighting the influence of this immense artist across the continent and beyond. His documentary Amath Dansokho looks back at the life of a tireless activist, committed to democracy in Senegal. His commitment is not limited to the screen. In 2022, during a concert in Mulhouse, he publicly called for the release of Ousmane Sonko, imprisoned under the presidency of Macky Sall. More than an artist, Daddy Maky is a fighter, a voice of social justice.

Once Upon a Time in Africa, in the bins on 14 February
With Once Upon a Time in Africa, Daddy Maky and The Fighting Roots deliver a true cry from the heart, a musical manifesto. Faithful to the roots of reggae, the artist conveys a message of awakening consciences and resilience, without forgetting to promote fundamental values such as love – especially that of others. Scheduled for release on February 14, this EP will be available on all platforms.