OUGADOUGOU, Burkina Faso — The past three years have proven to be exceptionally challenging for Fanta Charlotte Dabone, a mother of three living in the conflict-ridden region of Burkina Faso.
After extremists attacked her village, she was forced to abandon both her husband and her farm. Since that day, she has continually moved from one location to another, struggling to afford rent and provide adequate food for her children, including a toddler who is just two years old.
However, last month brought a surprising twist to her plight—she was cast as a queen.
Dabone, alongside numerous other displaced Burkinabe men and women affected by extremist violence, participated in an engaging performance for almost two hours daily at Recreatrales, an international theater festival held in the capital, Ouagadougou.
“I was overwhelmed with joy,” she shared, “I can’t even fully describe what it felt like.”
Burkina Faso, a landlocked country home to 23 million inhabitants in the Sahel region, has historically been renowned for its vibrant arts scene, featuring acclaimed film festivals and theatrical performances alongside its exquisite craftsmanship.
Unfortunately, recent years have transformed the nation into a focal point for the security crises plaguing the region. It has been shaken by a wave of violence from extremist factions and the accompanying government responses, much of which has spilled over from neighboring Mali, compounded by two military coups in quick succession.
The military junta that assumed power in 2022 has failed to deliver the promised stability. On the contrary, conditions have worsened: current estimates reveal that over 60% of the country now operates outside governmental control, more than two million people are displaced, and nearly 6.5 million require humanitarian assistance to survive.
Captain Ibrahim Traore, the country’s leader, has implemented a de-facto censorship system, resulting in the mysterious disappearances of those who criticize the regime or are forcibly conscripted into the military. Consequently, even friendships have been strained by fear over discussing political matters.
Despite these significant obstacles, the Bougsemtenga district of Ouagadougou transformed into a lively festival ground last month as it hosted the Recreatrales for the 13th time.
Named after the Moore word “bougtenga,” which translates to “happiness district,” the area lived up to its reputation this year, morphing into a whimsical landscape that blended elements of a traditional village festival with the fantastical world of “Alice in Wonderland.” Over 150 artists from Africa and Europe took part, allowing 4,500 theater enthusiasts a temporary escape from the somber realities of life in Burkina Faso.
Improvised stages were set up in courtyards, while the streets were adorned with vibrant lights and artistic sculptures crafted from plastic bottles and wax-printed fabric remnants. Local residents constructed colorful stalls offering refreshments, such as beer and meat skewers, catering to an eclectic audience that included both international diplomats and local tradespeople. A giant frog served as the ticket booth, its mouth wide open for attendees.
Artistic director Aristide Tarnagda expressed his firm belief that, despite the insecurity gripping the nation, the festival had to proceed as planned.
He emphasized that theater represents “the primacy of life over death,” asserting that gathering to create and appreciate live performances serves as a form of resistance against adversity and violence. This year’s theme was aptly titled “Turning the face to the sun.”
“Human beings possess the ability for love and freedom; nevertheless, they occasionally forget this potential,” he noted. “The theater’s role is to remind them.”
Occurring biennially, the festival is the culmination of year-round efforts by organizers to engage with the Bougsemtenga community, which boasted two theaters and a theater association before the inaugural Recreatrales in 2002.
They conduct workshops in diverse artistic disciplines, including writing, theater, dance, and scenography, aimed at young people from the district and across Africa, in addition to facilitating mentoring and business skills training for local women. Festival director Odile Sankara stressed their commitment to involving as many individuals as possible.
“This is a working-class community,” she explained. “We aim to foster a genuine interest in art and cultivate appreciation for it.”
She continued, “Art stands as a formidable weapon in the pursuit of more light, humanity, and love,” especially when the country—and the Sahel region as a whole—grapples with ongoing security and humanitarian challenges.
Claude Ilboudo, a 30-year-old resident of Bougsemtenga, has been a dancer in the opening ceremonies of Recreatrales since its inception. Previously a glazier, Ilboudo’s life took a different direction five years ago when he suffered a severe injury to his right hand that ended his ability to work in that field.
Discovering a newfound passion for theater, he became involved with the Recreatrales association. “Theater saved me,” he remarked, “It helped me realize my potential.”
This year, Ilboudo had the opportunity to collaborate on the opening play, working with internally displaced actors to develop everything from the concept to choreography, marking his first experience engaging with individuals who had been uprooted due to extremist threats.
According to Sankara, for those who have been displaced, theater serves not only as a therapeutic outlet for processing trauma but also as a means for marginalized groups to garner visibility within Burkinabe society.
During the production, Dabone, the mother of three, stood center stage with her toddler securely strapped to her back, theatrically expelling a long, white paper strip that she described as a representation of all her haunting thoughts being released. Yet, the lingering question remains—how long can this catharsis truly last?
“Life is incredibly challenging,” she admits. “But on stage, I experience joy. It’s only when I return home that the weight of those thoughts comes flooding back.”