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MEDI1TV Afrique : Tout ce qu'il faut savoir sur "Africapitales" 2026 - 22/02/2026
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00:09And it's with a great pleasure to meet you on Median TV for this new escale culture
00:14in the heart of Africa. And as usual, it will be a complete tour of the
00:19artistic and cultural activity on our continent. And before all, we have our invitation to
00:24see you in the future.
00:30Today, we have the immense pleasure of receiving an
00:35man of culture that we do not present, a true passion, Khalid Tamer. He is with us and he
00:43talks about the artistic director of Africa, capital Conakry, Paris, which will open its
00:52portes, the 6th March. So, it is with us today. Hello Khalid.
01:00Hello.
01:04Thank you for being with us today for Africa in culture.
01:09Khalid, Africa capital, the 6th March, it arrives at Grandpas.
01:15So, 7th edition, so this year. And today, we would like to know, in fact, before we talk about
01:22this new edition, how is it born, how is it born, how is it born, this initiative, this
01:29very beautiful initiative, and how it has evolved all over these years until today, in
01:362026?
01:40Well, thank you.
01:42Thank you for the invitation.
01:44How is née this initiative?
01:47We have put it in place after Africa 2020, because
01:51several friends, several experts of culture had a
01:57ras-le-bol of thinking that Africa is a country.
02:00Africa is 54 Etats, with differences culture, architecture, mode, design, etc.
02:10So, instead of saying Africa is a country, we wanted to show each originality.
02:16And we started with Bamako, Kigali, Kotonou, Dakar, and this year, this year, it's
02:22what we created.
02:23So, it's really a particularity, it's that we travel through a capital, through a
02:27city, with its colors, its cuisine, its philosophies, its culture, and its mode also.
02:37So, it's really to go to the heart of the city.
02:42And we saw that every year, people ask us if we didn't know Kigali like that,
02:48we didn't know Bamako.
02:50And it's also to discover a city and to discover the Africa, the richness african.
02:56And my second question, it would be a project of seven years,
03:02which is well encased, as we say.
03:04And I would like to know, is it for you, it's before all a matter of transmission,
03:11it's a matter of discovery, or an invention of the African imaginers,
03:18maybe in rupture, with the image that was made, it depends,
03:24the Occident of Africa?
03:31Thank you for your question.
03:33Well, there are several questions, and it's interesting, because in all
03:35what you just said, there is all that, there is the fabric and imagination,
03:39repenser to our culture, it's to say that there is a richness
03:41so strong on the African continent,
03:46that we wanted, instead of talking about the colonization, to change
03:50the paradigm, to talk about our narrative,
03:54and to say, look at all the African richness,
03:57look at what we do, the African youth also,
04:01who speaks, who is there.
04:03So, it's really to try to put everything in the loupe,
04:07and to look at what we do in Africa.
04:14This program is also made to discover
04:17all the palette, both political and culture,
04:21and also to build an imagination together,
04:25that the Occident doesn't look at what's happening in Africa,
04:30because yes, there are wars,
04:32but there are beautiful things that happen also,
04:35that we don't show them.
04:36There are designers, there are stylists,
04:40there are great stylists, there are artists
04:44in all the domains, and for us it was important
04:48to really go and say,
04:52it's not to tell our history,
04:55it's to tell our Africans their own story.
04:59So, for us it's important to start with what we have done
05:03with these five cities,
05:04and to continue to talk about
05:07a transmission of the beauty of Africa,
05:09and, of course, we see it because there are more and more
05:11of diasporas who come back to Africa.
05:15I saw it at Bamako with the ambassadors,
05:18it's a young association called
05:20the ambassadors at Bamako.
05:23I saw it at Dakar where there are many people who come back.
05:25So, there is a transmission,
05:27there is a new look on this continent.
05:30And for us it's important to put this regard
05:33there,
05:34to create really
05:37our own own history.
05:39Pardon.
05:40Our own own history,
05:42an African sovereign,
05:44of course.
05:45And I would like to come back to you,
05:46you said something very interesting.
05:48So,
05:49seven years,
05:50seven villes,
05:51and,
05:51today,
05:53you, in terms of the culture,
05:54in terms of all its forms,
05:56in terms of Africa,
05:57also.
05:59Khalid,
06:00you talked about wars,
06:04civil wars,
06:05many things,
06:07which are ronging,
06:07and continue to ronger,
06:08Africa.
06:09Is it today,
06:10we are face
06:11to a multiple Africa,
06:15a multiple Africa,
06:17or, finally,
06:17an Africa,
06:18unified,
06:19despite everything
06:20that can ronger
06:22the inside,
06:24that it is,
06:25of course,
06:26cultural and artistic.
06:27–
06:27–
06:27–
06:31now,
06:32when you know it,
06:33–
06:35–
06:35–
06:36–
06:37–
06:37There were the independence in the 1950s, there was a pan-africanism that was made,
06:44well or not, there were questions to be posed, but today I feel on the continent that it's really an
06:51Africa unie,
06:52with multiple identities, culturelles, and I see each day, because I come back from the Cape Verde,
07:02I go to the Guinea-Bissau, Guinea equatorial, so every time I live in a country, I feel that Africa
07:12unie with our own history,
07:14so for me there is a renaissance, there is a renaissance, there is a renaissance, there is a renaissance of
07:20his jeunesse,
07:21but there is also a renaissance of a narrative, of something that is in order to build.
07:25Yes, indeed, Africa is sick, after the independence of these wars that are a little bit,
07:38after all that happened in the West, unfortunately in the Central Africa, between the Congo and the Rwanda,
07:45but there is also an espoir of a jeunesse who tries to rebuild a new history between its history in
07:56Africa and the world.
07:58That's why I call it often that we are today in an Africa-monde, and we need to rapport with
08:06the Occident,
08:07and to rebuild with its diasporas, it's important, the diasporas, because it's perhaps the key of the future of Africa.
08:15And before we leave, Khalid, the event Ouvrir à ses portes will begin the 6th March, and for the public,
08:25what's the which we expect concrètement?
08:30Well, as I said earlier, there is art plastic, there is design, there is fashion, there is Queen Rima,
08:39who is a great chanteur guinéan, who is going to be the women, who has put a lot of women
08:47in honor,
08:49Nam Saloba and Melissa Diallo in exposition, Tonton, Petit Tonton, a great cantor guinea,
08:57and then someone whom I love, who is called Hakimba, who is a great mentor in scene and auteur of
09:05theatre,
09:05who has even had a prize at New York, so there is plenty of things.
09:10We will go to the cinema, we will go to the world, and we will also eat culinary guinéan.
09:15So, for 15 days, we will travel Conakry to Paris,
09:20and my hope is to do Rabat-Conakry, Rabat-Bamako.
09:27I think that's the key of the success, it's to do it and to work on the South-Sud.
09:34That's my hope.
09:36In any case, thank you for having been with us Khalid Tammel.
09:40I remember that you are a man of culture, a real passion for you,
09:44and you are the artistic director of African Talk,
09:47who will open up its doors the 6th of March, the 6th of March.
09:50Thank you very much for having been with us.
09:55Thank you, thank you for the invitation.
10:04And all of a sudden, we are talking art with the artistic universe of Khaliko Kissé,
10:10who is in a very identifiable approach,
10:13through the painting.
10:15He explores the notion of memory, of roots and belonging.
10:19His œuvres traduisent a constant search of the sense,
10:22where the forms, the colors and the figures
10:24become symbols chargés d'histoire et d'émotions, of course.
10:28In any case, his work seems to dialogue with the heritage culture,
10:32all in affirmating a contemporary vision.
10:35This tension between tradition and modernity
10:37creates the key of his art,
10:39a visual dynamic very strong,
10:41where each screen becomes an space of expression
10:44personal and collective expression.
10:47I started my work since 1977.
10:51My first exhibition date of 1981.
10:56I had the chance to meet a lot of talented artists.
11:00And I remember that at the time,
11:01there was someone who came to Senegal,
11:05who was called Werner Turk,
11:06who was a great German artist,
11:08who told me he wanted to take me to Germany.
11:10He contacted my father,
11:12but I told him that I didn't want to go,
11:14I didn't want to travel,
11:14so I didn't want to be known in my country.
11:17All at the beginning,
11:18we were three.
11:19There was Rasen Djaï,
11:21so there was Poland,
11:22who was also one of them.
11:23We opened a art gallery called the Artists of Révelines.
11:27It was the first private gallery
11:28of art sénégalais,
11:30taken by the Sénégalais artists.
11:32And we worked in this gallery
11:34for almost a dozen years.
11:38Later, in 1993,
11:39we were installed in New York.
11:42We showed our project
11:43and that allowed us to have
11:46a new experience in life,
11:48to see that the work is done
11:50always in time and in space.
11:52Because when we left the Sénégal,
11:53we thought that when we arrived in New York,
11:55we had to start to expose
11:56immediately, in a week or 10 days,
11:58so that it didn't happen like that.
12:01The chance was to have to visit Soho,
12:03which is one of the biggest
12:05artists of the world,
12:07of New York.
12:07There was an explosion of creativity
12:09and that has boosted us.
12:12Our work was interested,
12:13but they asked us to stay
12:16for maybe one year or two years.
12:20We stayed for one year
12:22to present our work
12:23in the gallery,
12:24in the institutions
12:24and even in the churches.
12:26And that worked very hard
12:27because we had a strong demand.
12:28We were exposed to the United Nations
12:31a very beautiful exhibition
12:32which was in the city total.
12:34We were exposed to Soho Bees
12:35and it was really a concentration
12:37in our work.
12:39And our work was already known
12:40in New York
12:41and it was already known
12:42in New York.
12:44the work turned around the world.
12:46So we stayed in New York
12:48but frankly,
12:50I didn't find myself in this field.
12:51I didn't feel it more
12:53I didn't feel it.
12:53At a moment,
12:54I said I was going to return
12:55to my home
12:55and we came back to the Sénégal.
12:58It's important to know
12:59that the universe of Calico Pisset
13:01is distinct above all
13:02by a strong emotional dimension.
13:05In fact,
13:06his paintings and compositions
13:07put in a sort of introspection
13:09a quai de sang
13:10and the expression
13:11of the deep feelings.
13:12It's not only of art
13:14but of a real space narrative
13:17where the artist
13:18tells the fragments
13:19of life,
13:19the experiences,
13:20the intimate reflections.
13:21His aesthetic
13:22also depends on an atmosphere
13:24immersive
13:25with the colors
13:26which envelopes
13:28the spectator
13:29and creates a climate
13:30propice
13:31to the reflection.
13:32The terms
13:32abordés,
13:33the identity,
13:34the advancement of soi,
13:35the espoir,
13:35the luttes personnelles,
13:36the collective,
13:37the construction
13:39of a coherent
13:40and authentic
13:41because the artist
13:42seeks to touch
13:43his own spectator
13:44with his own sensibility.
13:50I created the ateliers
13:52of the Sénégal.
13:52It's really an ateliers
13:54where the art
13:54can be built,
13:55it's transformed,
13:57it's transformed,
13:57it's created to do
13:59everything we want
13:59through our creativity.
14:02We've exposed
14:03a bit of the world
14:05and also to Dakar
14:06in providing
14:07a bit of the humanitarian
14:08approach,
14:08as I said,
14:09a bit of the humanitarian
14:10because I told myself
14:11that if my art
14:12doesn't serve my population
14:14or my people,
14:15it's not easy to do it.
14:17the African
14:18is facing difficulties,
14:21problems of water,
14:22energy,
14:23health problems.
14:25It's to the artists
14:26to give the signal,
14:27to provide solutions
14:28to the population's difficulties.
14:33I don't want to do
14:34what I like to do
14:35what I like to do
14:35what I like to do
14:36is my patience.
14:38I feel first
14:39I'm trapped
14:39with my work.
14:40It's like my baby
14:41because often,
14:41to make a table
14:43I have a pain
14:44because I feel
14:45that I've left something
14:46and I've left something
14:48and I've left something
14:49and I've left something
14:49and I've left something
14:50and I've pushed.
14:53I feel like
14:54I'm not feeling
14:54at all.
14:56I'm now going to
14:57I'm now going to
14:58take a look
14:58and think.
15:01It's to say
15:02that the painting
15:02of Calico
15:03is characterized
15:05by an intensity
15:06expressive
15:06marked.
15:07The chromatic
15:08sometimes
15:09contrasting
15:10sometimes
15:10more soft
15:11and deep
15:12particularly
15:12the material
15:16pictorial
15:17it seems
15:18that the material
15:19and the movement
15:20to its composition
15:21and its works
15:22that they don't
15:22represent.
15:24They suggest
15:25and provoke
15:26a reaction
15:27to the spectator.
15:29The Regard
15:29is invited
15:29to explore the details
15:30and to interpret
15:31the symbols
15:32and to feel the emotion
15:33which is traversing
15:34the wall.
15:35It's an art
15:35which is not
15:36indifference
15:37but which is
15:38and engage
15:39before all.
15:41This reflection
15:42has allowed me
15:43to put in question
15:44in my work
15:45in saying
15:45that I am
15:46in my family line.
15:48It's a question
15:48that I simply
15:49take the thread
15:50and take it
15:51as a pretext
15:52and start something.
15:54It's at this moment
15:54that I started
15:55I remember
15:56that I had my
15:57ateliers
15:57at HLM4
15:58and I started
15:59to trace
15:59on the black table.
16:01I first started
16:02saying
16:03here is the thread
16:03and instinctively
16:05I took off
16:06my head, my arms
16:07and my feet
16:08I took off
16:09a character
16:09and that's how
16:10his filiforme
16:10was born.
16:12I gave the first
16:14story
16:14which was talking
16:15about his filiforme
16:17quietly
16:17with a bowbie
16:19behind.
16:19He became musicals,
16:21music, dancing,
16:23danced,
16:23danced in the years.
16:25He became character
16:26and placed
16:26in my works.
16:27That's how
16:28the filiforme
16:29came true.
16:31In the next
16:33approach,
16:34I made the
16:34composition
16:35of my
16:36learning
16:37when I was in the manufacturing of my training,
16:40and certainly I put a lot of colors,
16:43because I like life, I like the colors,
16:46and I told myself that the color is the beauty.
16:49Through this work that I have just finished,
16:52I will be intitulated the hand of hope,
16:54because the hand of hope is a multicolor,
17:00multicultural, because this hand tender
17:02can be the hand of any person, of any color.
17:06This hand tender that I wanted to make sure
17:08this hand tender to the human being towards the other.
17:17We are now on the cinema with Heart is a Muscle,
17:20a film sud-african or simple.
17:22Aka Flats, Ryan, jeune père sud-africain,
17:25voit sa vie basculer lorsqu'un incident avec son fils
17:27fait resurgir des blessures en fluide depuis longtemps,
17:31confronté à la peur, à la culpabilité,
17:33et le regret doit apprendre à affronter son passé
17:36pour réparer ses liens familiaux et trouver la force
17:39de se relever.
17:40The Heart is a Muscle raconte avec intensité et sensibilité
17:43ce chemin vers, avant tout, la rédemption et la résilience.
17:47Nous regardons ensemble à l'extré la bande à nous.
17:56Als hij en un autre type
17:57ou à la straat geboren was,
18:01kon hij enige iets gewisse.
18:02isé par la bande à la faute sur lui ?
18:09Je ne sais pas comment je j'ai quité.
18:11Je ne sais pas comment je pours faire le mage.
18:12Jules!
18:17C'est un petit déjeuner.
18:18Il est de la motiveriel c'est des relyingides.
18:22Jules!
18:24Jules!
18:26Jules, c'est un petit déjeuner.
18:27Aucune depuis 4nm de la description.
18:31Sous-titrage en 5nm de la description.
18:32Jules, c'est un petit déjeuner.
18:36Is there anyone here, Ryan?
18:44What is your love, man?
18:46I don't see it on you.
18:49But he can tell you, Ryan.
18:54One day,
18:58and he said,
18:58everything is over.
19:02Do you want to know what you have?
19:09We're skipping away the sins.
19:20The heart is a muscle.
19:21The soul explores the strength of the heart,
19:24the resilience of the life.
19:27Like a muscle,
19:29the heart,
19:29when he is confronted with the pain and the vulnerability,
19:32Ryan,
19:33the complexity of the modern masculinity,
19:36a man who learns to protect those who he loves,
19:38all of them affronting his inner pain.
19:40The social care of Kaplas
19:42also offers authenticity and profound,
19:44showing the challenges of a community marked by the history,
19:48and the violence,
19:50the intimacy,
19:51the intimacy,
19:52and the natural light
19:53accentuate this emotion
19:55and the fragility of the characters.
19:58Every moment
19:59is poignant and credible.
20:00The film reminds
20:02that the real force
20:03exists in the love,
20:05the acceptance of the soul
20:05and the capacity
20:06to be raised
20:08despite the pain
20:09and the cicatrices.
20:11This is a story universe
20:11on the redemption
20:13brought by the emotions
20:14and sincere emotions.
20:16The film also says
20:17that
20:17each episode
20:18is an opportunity
20:20to rebuild
20:21the barriers
20:21and to learn
20:22to love,
20:23to love,
20:23to love,
20:24to love,
20:24to love,
20:27to be able
20:28to reconcile
20:29with the same
20:30and with the same
20:31who he loves.
20:31This redemption
20:32is both univeling
20:33and universe
20:34since she touches the spectators
20:35and reminds
20:36that,
20:37as a muscle,
20:38the heart
20:39force
20:40when he goes to the end.
20:43So,
20:43a film
20:44to look at the urgent.
20:54Before we quitter,
20:55We talk literature, with Tribalic, Henri Lopez, who is with us, is the ethnic divisions
21:02which frees the construction of the African nations after independence through the characters
21:07through the tribals and the collective ideas.
21:10He denies the derivatives of power and the fragility of the African identities.
21:15His écriture, both real and ironic, reveals the contradictions of a continent in quête
21:20of unity and of justice.
21:21Plus qu'un récit politique, le livre est un miroir moral tendu à l'Afrique moderne
21:26par sa clairvoyance et son courage critique.
21:30Lopez s'impose comme une des plus grandes voix de la littérature africaine francophone.
21:35Aujourd'hui disparue, son œuvre conserve une portée universelle
21:38rappelant que les blessures du tribalisme restent actuelles.
21:42Tribalic reste un texte fondateur, un appel à la conscience collective
21:45et à la fraternité au-delà des appartenances.
21:48Un livre intemporel à lire d'urgence.
21:50D'ailleurs, on écoute tout de suite le défunt Henri Lopez.
21:54Pour moi, c'est une image formidable, puisque je n'appartiens à aucune race.
22:05Si je dis que je suis blanc, je suis suspect.
22:08Si je dis que je suis noir, je suis toujours suspect aussi.
22:11Et je crois au métissage.
22:18Donc, mixte ta race va devenir ma devise à moi aussi.
22:23Parce que vous m'avez lu, vous savez que j'ai dit cette phrase dont je suis fier,
22:30que tous ceux qui se croient d'une race pure descendent d'un métissage oublié.
22:37C'est l'oubli.
22:39Mais ils ne le savent pas.
22:41Mais nous sommes tous des métisses et nous le deviendrons tous.
22:47Henri Lopez, le regretté.
22:49Henri Lopez, donc, tribalique, un des livres les plus importants de sa littérature,
22:57à lire d'urgence ou à redécouvrir peut-être.
23:00Merci d'avoir été avec nous sur Médien pour l'Afrique en culture.
23:04On se donne rendez-vous dès la semaine prochaine.
23:05Sans faute, d'ici là, portez-vous bien.
23:07Sous-titrage ST' 501
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