CULTURE
BENIN: “Healing certainties” by Reckya Madougou
Reckya MADOUGOU Former Keeper of the Seals, Minister of Justice, Legislation and Human Rights Former Government Spokesperson Former Minister of Microfinance and Youth and Women Employment Special Advisor to the President of the Republic Togolese International consultant in financial inclusion and passionate about development mechanisms presented her new book on September 26, 2020 in Cotonou, the capital with the presence of many personalities. Eleven years after “My fight for speech”, “The challenges of a citizen mobilization for the promotion of democratic governance” published by Harmattan with a preface by the former French Minister of Justice Christiane Taubira, Reckya Madougou resumes the feather: “Heal the certainties” is his new interview-book.
The international expert in inclusive finance and several times minister, completed the writing of her book at the end of 2019. And once again, the opportunity and the relevance of the issue addressed do not fail to meet its standards. “Care for certainties” is the title of this book-interview with the young and talented Beninese writer Stephens Akplogan who succeeded in convincing her to this collaboration. Especially since we know that on several occasions Reckya Madougou approached by journalists from the international press and academics for projects of authorized biography of her has always declined arguing that new achievements are yet to come in her career. already very inspiring. She also evokes her feeling of embarrassment in relation to a “classic biography” which, according to her, is narcissistic.
In the end, it is to her young companion, who has proven himself otherwise, that she chose to offer the opportunity to break the glass ceiling for a co-writing illustrated by a tangle of experiences both public and private life. But be careful, she said from the outset, the subject of the book should focus on subjects of general interest to Africa and particularly her country Benin and not simply on biographical subjects. The challenge was thus taken up with Stephens Akplogan at Éditions Jean-Jacques Wuillaume in France.
Without pathos but with precision, the author protests against the false evidence and the clichés constructed to legitimize a certain fatality of the African drama. So, she is committed to deconstructing these certainties that keep African countries, youth and women in the assistantship. Otherwise she pleads for treatment. The antidotes? Training, economic citizenship, the financial inclusion of populations, the dividends of digitization, the empowerment of women, the structural transformation of agriculture, entrepreneurship, political intelligence and social justice. In short, a new “dialectic of inclusion and the human minimum in Africa”, the subtitle of the book. The advantage is that the author does not sell mere theories, much less fiction, but starts from her own experiences on these subjects and takes an analytical cross-look at development options by suggesting mechanisms that have been proven to work.
With a rich Preface by the President of the Republic of Senegal, Macky Sall, himself a follower of the association of liberalism with social inclusion, the book offers a more objective reading grid of new development challenges. Captivating anecdotes and practical experiences follow one another, sometimes in educational form, sometimes in inspiring form, sometimes with a critical eye. Everything is meaningful and hollows out realities that irrigate and solutions that are permanently installed. “There is a sort of pervasive lack of successful methods to get our society off the ground,” she wrote.
According to the pages, Reckya Madougou advises, reformulates, explains, teaches, denounces and above all proposes. Here, the conviction of an Africa of possibilities is painted without the risk of being fooled by prejudices. The continent is the most profitable region in the world. You have to recognize it and prepare for it, the author seems to say. In this, she invites “familiarity with the summits without complex” by focusing on what she calls a “spirituality of effort” or even “economic citizenship”. “Reducing the horizon of economic citizenship to the question of employability is a mistake in this century of great technology and the digitization of reflexes. What makes this citizenship fully authentic is not so much the job itself. especially with the threat of the disappearance of some jobs, “wrote Reckya Madougou.
Some excerpts from the book: 1. There is a sort of pervasive lack of successful methods to get our society off the ground.
2. The problematic of effort and as you say, its spirituality requires us to explore both the physical and metaphysical character of effort. And it’s a matter of interest that arguably follows this manipulative rhetoric of whether Africa is cursed. Because that does not get along with a human potential of this quality and a wealth of arable land as well as the most valued materials in industry and technology, we are there, contemplating complaints and begging for help. all wind and foolproof. This is a mistake.
3. It is then necessary to cultivate emotional self-resilience. The exorcism of emotions begins with the ability to know yourself first. You need to know your strengths and their limitations, and then tame your weaknesses.
4. What is failure? This is a carryover of success. And the better you invest yourself in taking stock of your methods and resources, the faster you will recover from your fall. It is more accidental to live exclusively in expectation of good shaking.
5. Emotions are criminogenic when you are not vigilant about yourself. Part of our psychological and even intellectual motor skills come from emotions. Making sure they’re not blissful helps contain the excitement that distorts the action.
6. The will of the children must be directed on the path which carries them into the future. This path is that of their multimodal education (at school, at home, and everywhere else). I particularly like this aphorism by François Mitterand: Intelligence? It’s the most shared thing in the world. Willpower is rarer. Those who are afraid of their shadows wait until noon to get up. Meanwhile, the few who believe and want to win the future are running. And there is always a future for those who think about the future.
7. Reducing the horizon of economic citizenship to the question of employability is a mistake in this century of great technology and the digitization of reflexes. What makes this citizenship fully authentic is not so much the job itself, especially with the threat of the disappearance of certain jobs. It is at the end of a certain solvent individuality that economic citizenship is found. It is not enough today and in the coming decades to exercise a profession with the automatism to which that predisposes. You have to be up to the task of the world which qualitatively moves with its creativity and ingenuity.
CINEMA
BURKINA FASO – Culture and tourism: The 4th edition of Tunnel honors the builders of the shadow
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
See on the platforms the legendary Senegalese hip-hop group Daara J Family. On May 30, 2025, the band returns with “COSAAN”, a committed single that resonates, with its morning mbalax melodies and gentle flows, as an essential reminder: never forget where you come from. The single has over 80,000 views and 900 comments on YouTube.
“Fan nga cosaanoo?” – Where are your roots?
This question in wolof, almost a supplication, serves as the thread to the new title of Daara J Family. NAACP literally means “origin” or “heritage”. With this single, the iconic duo formed by Faada Freddy and Ndongo D delivers a work that is at once poetic, political and deeply rooted in history, especially that of Senegal. It is also a call to African youth not to forget their origins. And above all to enhance its cultural heritage by walking with pride in the footsteps of the ancients.
Cosaan, between mbalax and rap
Formed in 1994, while still in high school, the members of Daara J Family never gave up their musical identity. Indeed, they have always mixed sharp words, spirituality and pan-African consciousness. In “COSAAN”, they revisit this tradition that is dear to them. In this song, there are traditional sounds (mbalax) and contemporary hip-hop textures, echoing their long-standing belief: rap was born in Africa, traveled, then came back. The refrain, translated into French, is unequivocal: “Le monde et ce qu’il contient / Si tu vas là et que tu l’obtiens / N’oublie pas, n’oublie pas / This is where your origin lies!” A direct appeal to African youth not to give in to cultural amnesia and to keep the memory of ancestors and African identity alive.
When history inhabits the word
Faada Freddy, with his recognizable soul voice among a thousand, hums: “We know where we come from/ What worries us is where we are going…” This lucid concern can only be tempered by an unwavering faith in the values of the elders. Ndongo D, adds in a quick flow: “If you forget yesterday, tomorrow you will be lost (…) You were born here, you come from here, you live here.” It is an anchor cry, a response to uprooting, a warning against forgetting.
Daara J Family: Making sense of the flow
From their first eponymous album in 1998 to Boomerang in 2003 — hailed as one of the best hip-hop albums of the century by The Observer — to Yaamatele in 2020, Daara J Family have always been able to combine the art of flow with that of meaning. Their commitment goes beyond words. They shared the stage with icons such as Public Enemy or Mos Def, and travelled through festivals from Africa to Europe, from WOMAD to Live 8.
COSAAN: a single dedicated to transmission
More than a return, COSAAN is a transmission. It is a manifesto. That of a knowledge, a duty to remember, a pride. At a time when markers are shifting, when crops are being diluted. In an era marked by migration, globalization and multiple influences, Daara J Family reminds us that identity is a foundation, not a burden. That heritage is not nostalgia, but a compass. And they offer a musical compass and identity with this single: Cosaan!
The monumental works depicting the battle of Little Big Horn, exhibited on the Pont des Arts in Paris in 1999, made the Senegalese artist famous. The installation has just joined the fortress in the Hautes-Alpes for at least ten years.
Muscled warriors meld, horse bumping. Sounds of the fury of battle are heard. Under the impressive curvilinear wooden frame of the old Rochambeau barracks, at the fort of Mont-Dauphin (Hautes-Alpes), is played the battle of Little Big Horn, opposing, in 1876, a coalition of Cheyennes, Sioux and Arapaho to the soldiers of General Custer’s regiment.
In thirty-five monumental sculptures, visible from 6 July, the Senegalese sculptor Ousmane Sow (1935-2016) celebrates the resounding victory of the fragile over the powerful. Deposited in this fortified village for a period of ten years renewable by his widow, the director Béatrice Soulé, this epic installation is well known to the Parisians who discovered it amazed, one day in March 1999, on the Pont des Arts.
The exhibition has remained in the annals with its record attendance – at least 3 million visitors in three months. «An unexpected success», recalls art critic Emmanuel Daydé, then deputy mayor for cultural affairs. For the former physiotherapist born in 1935 in Dakar, who later became an artist, it is consecration. But also, surprisingly, a swan song.
At the moment when Ousmane Sow gains international fame, the art world turns its back on him. Although he was the first African artist recognized in France, none of his successors, to whom he had paved the way, claimed it.
Mayor’s daughter supports her cause
It had all started well. In 1993, the Senegalese sculptor, who two years earlier had been on the cover of Revue noire – a quarterly magazine that revealed a number of African talents – was invited to the major five-year exhibition at Documenta in Kassel, Germany. In 1995, here he is at the Venice Biennale, which is to contemporary art what the Cannes Film Festival is to cinema. The autodidact dreams of an event in Paris.
By chance, he met Hélène Tiberi, daughter of the mayor at the time, Jean Tiberi. Who supports his cause at the City Hall. The location is easy: it will be the Pont des Arts, between the Louvre and the Academy of Fine Arts. It will take diplomatic treasures to convince these two institutions, who have not seen with a good eye the proximity of massive silhouettes imagined by an African artist.Archives «World»: Ousmane Sow questions Bordeaux and politicians
The neighbouring National School of Fine Arts, where figurative art was then taboo, is also pinching its nose. Money is missing. The Havas group had initially promised to contribute to the addition of 5 million francs (the equivalent of 1 million euros today), but its new CEO, Jean-Marie Messier, is sneaking out. Béatrice Soulé moves heaven and earth, finds sponsors and is personally indebted to the tune of 1 million francs. More here
Source: Le Monde
