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CULTURE

RD CONGO: Open heart with Rogatien Milord artist musician humanitarian activist

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Rogatien Milord is a Young musician who declares himself African of Congolese origin.This hopeful enthusiast is also a humanitarian social activist who works for youth. He was attracted to music from an early age. It was at the age of 5 that he began his professional solo career, with an album and multiple singles, and many scenic appearances. His path crossed that of great figures of African music like: Lokua Kanza, Manu Dibango, A’salfo, Alikiba, Asa, Levixone and or Navio. Ze-Africanews team went to meet him.

Ze-Africanews.com: What is music for you?
Rogatien Milord: Music for me is, quite naturally, a passion. It is a gift from the VERY HIGH, a talent that has been well worked and has now become a profession or even a job. In short, music is a part of Me!

Ze-Africanews.com: What does it take to give people hope?
Rogatien Milord: For Me, to give hope to people passes first by the attitude held during the years of experience acquired throughout time… a being whose character and spirit are forged, has always been a symbol of hope.To give hope is also to give of its time to others who need it.

Ze-Africanews.com: You are musician, guitarist, author and composer, you are multi cap?
Rogatien Milord: I had the chance to learn successively to play many musical instruments, apart from the fact that I also have voice to sing, an average idea about the musical arrangement and the writing of the texts and the mastery of the songs without wanting to be pretentious, it constitutes a part of my artistic strength, and makes me a multi-cap artist.

Rogatien Milord

Ze-Africanews.com: You are also a volunteer humanitarian activist engaged in the education and youth sector? What is it?
Rogatien Milord: Knowing that music is one of the platforms or disciplines that had much more influence on youth, I decided to direct my vision in this direction. The objective is to contribute to the development of the latter… whether through artistic achievements or through the image of personality, education and youth remain my first prize objective.

Ze-Africanews.com: You are a graduate in Information Sciences and communications (Sikkim Manipal University/Kampala) with bilingual ability at the international level (French-English), What period did you switch to music?
Rogatien Milord: My love for music intervened from a young age. only, I was lucky enough to have a mother who made me understand the value of an artist with an intellectual background and a well-founded education in life! after, you had to put everything in its place… when you know how to combine education with talent, it’s just wow!
Ze-Africanews.com: Can we say that your music is committed? And why?
Rogatien Milord: My music is universal, but with a specific target and objectives. It is also important to point out that I am sensitive to noble causes, and as an influencer, I really do.

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Ze-Africanews.com: «How to live tomorrow CO-VI-D» is your new song, explain us?
Rogatien Milord: “Comment Vivre Demain (Co Vi D)” is the title of my new hit, which was released on June 30, 2020. First, it is a song about raising awareness about measures against the Covid-19 pandemic, and at the same time, I sent a message against racism, paying tribute to some African figureheads and personalities who have disappeared because of the coronavirus. And finally, I made a special dedication to the medical corps determined to save lives during these complicated times in the world.

Ze-Africanews.com: You also did a song about covid-19 «Coro’Nothing», what is the purpose of this song? Explain us?
Rogatien Milord: “Coro’Nothing” is the first song I released between March and April around the coronavirus because there was so much panic, uncertainty and despair. Through this song, I wanted to ask everyone especially the fans to keep hope, to try to respect the containment that was highly recommended at this time, in addition to observing the hygienic measures to defeat the pandemic together! the general idea was to communicate a positive attitude.

Ze-Africanews.com: Tell us about the “CHARITY CONCERT TOUR”?
Rogatien Milord: the Charity Concert Tour was the first big positive achievement at the beginning of my career. A concert series that aimed to collect funds through various concerts in different cities in the eastern part of the Democratic Republic of Congo to help vulnerable people especially street children, orphans and widows. It is one of the most beautiful memories of my young career as an artist.

Ze-Africanews.com: Have you had to collaborate with international artists?
Rogatien Milord: From the first years of my young career, I had the chance to see my way cross with those of some giants of African and even international music like Lokua Kanza, A’salfo, Manu Dibango, Erick Smith, Magalie Rodier among others and it is magical moments that have remained precious and that always bring a plus in the life of an artist.

Ze-Africanews.com: What’s your next project?
Rogatien Milord: My next project… (I have many). I am first in the phase of finishing My album. after that, we will need to create a permanent fund in parallel with the album, which would allow us to invest in the education and health sector for people who do not have easy access to it. it is not a solo project so far. It is open to anyone who would like to accompany it.

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Rogatien Milord

Ze-Africanews.com: Do you have a message for African youth
Rogatien Milord: The African Youth remains the image of the succession towards a brilliant destiny, light, influence, passion and hope, on this, it must be brave, authentic, disciplined, responsible and innovative. It’s the symbol of hope.

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CINEMA

BURKINA FASO – Culture and tourism: The 4th edition of Tunnel honors the builders of the shadow

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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.

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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

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CULTURE

SENEGAL – With “COSAAN”, Daara J Family signs a high-flying single

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Ndongo D & Faada Freddy

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!

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ART

SENEGAL – Ousmane Sow’s massive sculptures enter the Vauban fort at Mont-Dauphin

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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

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