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

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

The widow of former Chadian president Hissein Habré, an activist who is committed to the cause of Africa and women, Fatimé Raymonne Habré has established herself in the literary and intellectual landscape through her fighting pen. Jurist by training, publisher, librarian and founder of the Carré Culturel, she shares with us her background, convictions, and vision of contemporary African literature. We met him at the Abdjan Book Fair.

Trevor: Who is Fatimé Raymonne Habré? If you had to introduce yourself in a few words to our readers, what would you say?
Fatimé Raymonne Habré: Very pleased to meet you and to exchange with you. I am the widow of former Chadian President Hissein Habré. I am an activist for the cause of Africa and an activist for the cause of women.

Trevor: What led you to writing? A trigger moment?
Fatimé Raymonne Habré: Yes, there is a trigger. This was what we called the Hissein Habré case, which lasted for more than 20 years with judicial and media harassment that has not been seen anywhere else. We suffered a lot from this media lynching, and I took my pen for a media response action through articles, open letters and also television shows.

Trevor: Tell us about your books. What are some of the themes you care about?
Fatimé Raymonne Habré: My first book is entitled Africa Standing and they are political chronicles that deal with many themes: the fight against terrorism, Winnie Mandela, Gaddafi, the genocide of the Tutsi, the conflict around the territory of Aouzou, the relations between journalists and politicians, etc. This is my vision and my participation in awakening consciences, especially of our youth who are unaware of many things.

Trevor: In your opinion, what is the role of literature in contemporary African society?
Fatimé Raymonne Habré: Literature plays an essential role. It preserves our history and transmits ancestral traditions to future generations, thus preserving our cultural identity. It allows Africans to share stories of their experiences that others will willingly ignore. Literature highlights our social, political, economic and cultural realities. It develops critical thinking. It is also a platform for expressing emotions, experiences—that was my case. Writing has therapeutic, calming virtues, helping people to express points of view…

Trevor: How does your personal and professional background feed into your writing?
Fatimé Raymonne Habré: My personal journey is a sum of experiences: the war, the political conflicts that have degenerated, power, exile, and the injustices we have suffered through the legal proceedings against President Habré. As for the professional side, I am a lawyer by training and have coordinated the defence and communication division with lawyers for years. Currently, I am a publisher, bookseller and gallery owner. Unquestionably, my reflections are fed by my experience and the hardships endured, with the commitment to decipher the undersides of the cards, if you will, and to respond to the haters of Africa, Without forgetting the role of African elites in the situation of our continent.

Trevor: You founded a cultural space: the Carré Culturel. What is its vocation and how do you live it every day?
Fatimé Raymonne Habré: Le Carré Culturel is a space composed of an independent bookstore, a publishing house that has demonstrated that it is possible to offer a fair publishing contract, allowing authors to receive 40 or even 50% of the copyright on their work. We have next door an art gallery where we sell works but also set up exhibitions. We produce programs that I invite you to discover on our YouTube channel Le Carré Culturel: a program The opinion of women, which gives women a voice, and another, Les Carnets culturels.

Trevor: How do you see the place of women in literary creation in Africa today?
Fatimé Raymonne Habré: Their place is increasingly influential. Although women writers have long been marginalized and under-represented, they are increasingly dynamic. They explore many subjects, personal experiences, and talk about the issue of gender, violence suffered, tradition. Their writings contribute to a more authentic view of the realities of African women. As a publisher, I get more and more books written by women authors. That’s encouraging.

Trevor: As a lawyer, do law and justice influence the way you write or design a work?
Fatimé Raymonne Habré: I think what’s important is the commitment of my pen. It’s a fighting pen. When you are a lawyer and you are as passionate about law as I am, the rigor of your training can influence your writings in the sense that you feel the need to argue, to strengthen your words. Justice is very complicated in that the theory of the separation of powers is not a reality. The executive always uses its influence when it wants to get the decisions it wants.

Trevor: Which African authors do you admire or follow with attention?
Fatimé Raymonne Habré: Apart from the great classics of African literature that we have all read, I read a little bit of everything. It can range from books by Chimamanda Ngozi Adichie, Michelle Obama’s Becoming, to books on politics, international relations, political communication, or the books of Théophile Obenga. I took advantage of the SILA to acquire books by authors from Côte d’Ivoire.

Trevor: What are your current or future plans? Do you have a new book in preparation?
Fatimé Raymonne Habré: At the Cultural Square, in terms of publishing, I want to launch a children’s collection. We are preparing an exhibition on the nomadic Peuls. Personally, I have in the process of finishing volume 2 of Africa Standing, which also contains political chronicles, and the continuation of my novel Symbil and the royal decree.