CULTURE
IVORY COST: The “thieves of dreams” of Oumar Ndao.
Oumar Ndao is a Senegalese who lives Married and father of family, he works as journalist-corrector for “Gbic” h! “Go Magazine” and “Allo Police”, Ivorian weeklies. Passionate about writing, he takes advantage of the little free time he has to devote himself to the joy of writing.
Ze-Africanews.com : How did you get to writing?
Oumar Ndao : By reading. Quite simply. I very early discovered a passion for reading. It started with comics that my father brought back. My adolescence was lulled by heroes such as Bleck the Rock, Zembla, Little Trapper, Rahan the son of the fierce ages, and so on. But also, an African hero that, Kouakou. My first real novel, it was on the office of my elder brother that I had “found” it, it is about “Children who love each other”, Claire France. I had almost devoured … Then I did not stop, I practically devalued the library of my brother. When I was forced to revise my classes, I sometimes managed to hide a paperback inside the notebook … On days when I did not have a class, I sometimes locked myself in my room during hours to read. It was like a drug for me. Then I began to entrust my feelings to a notebook that I took care to hide well … Followed news that I had read to my French teacher of the college, a certain Madame Ndiaye. A lady who encouraged me to continue. And who gave me very wise advice. I believe that it was above all thanks to her that I gained confidence. It’s gone like that!
“I tell a story of love under a post-election crisis that has practically turned into a civil war in a West African country.”
“Thieves of Dreams” is your latest novel, explain to us?
Yes, this is my last born, which will only be available in bookstores at the beginning of October, inchallah. I tell a story of love under a post-election crisis that has practically turned into a civil war in a West African country. I am trying to point out a number of defects that undermine African society. The thieves of dreams are manipulative politicians, it is these neighbors who overnight turn into a monster and attack you because you simply are not on the same political edge, they are the false prophets, these are the ones who offer you their hearts in the morning, and in the evening you tear yours … These are all those who steal our hopes of happiness.
“Les voleurs de rêves” of Oumar Ndao.
Are your evil characters more wicked than those of Tasmani?
(To laugh). No, they are not diabolical. In general, they suffer. They have as karaba, the wicked witch, a thorn in the back that makes them dog hurt. It is their pain that makes them wicked, but most of them do not know it. It is enough to take away the thorn in question to humanize them.
In spite of a perpetual questioning, suffering or pain, love is never far away? Why ?
Yes. Love always Love. Because only love can save us. Love makes life more bearable.
You say on the fourth cover page: “It’s not the good against the bad guys.” With the good ones that win at the end to do ‘correct’. Because no, in real life, it is usually the bad guys who prevail.”, can you tell us more?
Yes, because we must not veil our faces. I say things as they are. We all would like to live in a fairer world, but that is not the case. It is not a smooth book, nice … Besides I hate nice books. I believe that the duty of the writer is also to put the finger on all ugliness. The truth must not be made to make it more bearable. So, as in real life, in this book, sometimes the bad guys prevail.
Oumar Ndao with family.
Are you talking about war? What war? What do you think of the war?
War, the one made with weapons, with men falling, the innocent burning alive, tires around the neck. The war against certain devastating passions as well …
What do I think of the war? I believe that this is the extreme manifestation of our bestiality. Only the merchants of the dead, I mean the arms industry, wins.
You are not in your first book, what are the other main themes that you address in your writings?
In Body and Soul, my first collection of short stories, I discuss topics such as domestic slavery, child labor, poverty … I try to reconcile pieces of shattered life. It is IDIOT D’AIMER, the second collection of short stories, summarizes a little bit what Beigbeder said: “Love is a magnificent catastrophe: knowing that one moves in a wall and accelerates nevertheless; run to his ruin, with a smile on his lips; wait with curiosity for the moment when it will mess up. IMAGINE, the first novel is a love story, but neither water nor rose.
The other two novels of Oumar Ndao : “Corps d’âme” et “C’est idiot d’aimer”.
As a writer, what is the message you are sending to African youth?
Just one thing: wake up! Stand up and fight against all these wicked politicians! Do not let them steal your dreams! The future is not in flight out of the continent, whether by plane or canoe. You must work for your dignity here. Do not be afraid !
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
