Latest news with #Cameroonian-born
CAF
09-06-2025
- Sport
- CAF
TotalEnergies CAF WAFCON - DR Congo: Hervé Happy's Strategic Approach
Hervé Happy is the new head coach of the Leopards Women's team He promotes a three-pronged management style: combining authority, a paternal posture, and active listening He has travelled across Africa and Europe to build a balanced squad When Hervé Happy talks about football, he doesn't just string words together — he builds. Word by word, look by look, connection by connection. The new head coach of the Democratic Republic of the Congo's women's national team has a name that sounds like a promise, but in his world, neither luck nor euphoria sets the pace. At 47, Happy understands the weight of responsibility. One call from Kinshasa changed everything: a clear and ambitious proposal — to take charge of the DR Congo women's national team just weeks before the TotalEnergies CAF Women's Africa Cup of Nations 2025, set for July 5–26 in Morocco. The Cameroonian-born coach didn't hesitate. 'It's an honour, but more importantly, it's a mission,' he says calmly — a contrast to the urgency of the moment. Both a field man and an analyst, he's not venturing into unknown territory. As a technical advisor for the French Football Federation, stationed for several years at the Paris League, he led scouting and youth training programs. His method — built on high standards and knowledge-sharing — earned him the respect of the FFF's technical staff. Across Africa, he has also worked with several federations as a consultant and trainer. This dual African-European experience shapes a rare profile. DR Congo hasn't recruited a flashy name; they've chosen a builder. To assemble a solid team for the TotalEnergies CAF WAFCON, Happy got to work immediately. He analyzed match footage, launched talent scouting in Europe, conducted an initial training camp in Tanzania, and carried out several scouting missions in Lubumbashi. In a tough group — Morocco, Zambia, Senegal — he isn't looking for excuses, but for solutions. What was your first reaction when FECOFA contacted you to lead the women's national team? Hervé Happy: It's always a great pleasure. Leading a national team is an honour. And in women's football, it's a very interesting challenge. You have to build, mentor, and help players progress. That's what motivates me. How would you describe your management style? I'd say it's hybrid. You have to be authoritative when necessary, hands-on when needed, and sometimes take a more paternal approach. I have two grown daughters, so I understand what it means to be both demanding and attentive. It's about balancing those three styles at the right time. Your first impressions during the Tanzania camp? I already knew the group. I'd seen a lot of the players in Europe, watched many of their games. But it's always better to have them in a training camp, to see them live. That's when you see their attitudes, team spirit, and group dynamics. It's very enriching. What did you tell the players at your first meeting? I told them it's a joy to be here, to play football. First and foremost, football should be a pleasure. Yes, there's a competition, but I want them to approach each session with enthusiasm. This first camp, and the next, are for evaluating everyone. We'll then select 21 players and 3 goalkeepers for the WAFCON. DR Congo is in a tough group with Morocco, Zambia, and Senegal. Your thoughts? If a team qualifies for AFCON, it means they're good. I take every opponent very seriously. Morocco will have home advantage, Zambia is always tough to handle, and Senegal is progressing rapidly. We're preparing one match at a time, with discipline. What are the three core values you want to instil in this group? First, discipline — in behaviour, both on and off the field. Second, humility — always. And third, strong character. You need heart to turn situations around. We saw it with the men's CAF Champions League — often it's the drive that makes the difference. What would you say to a young girl playing football in Kinshasa or Goma? I'd tell her to keep playing! But also to join a club. Football should be about enjoyment first. At that age, we're not talking competition. They need to discover the game and play freely. Let them have fun without pressure. Just last night, we passed by a beach and saw kids playing beach soccer. That kind of spontaneous football teaches a lot too.
IOL News
12-05-2025
- Entertainment
- IOL News
Italian Prime Minister pays tribute to Zeitz MOCAA's Koyo Kouoh
Koyo Kouoh, the executive director and chief curator of Zeitz Museum of Contemporary Art Africa. Picture: Instagram. Image: Picture: Instagram. Cameroonian curator Koyo Kouoh, the head of the top contemporary art museum in Africa and first African woman appointed to lead the Venice Biennale, died Saturday, the Zeitz MOCAA museum said. Born in 1967, Kouoh had headed the Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA), in Cape Town, since 2019. She was chosen last year to curate the next Biennale - one of the world's most important contemporary art shows - opening in May 2026. The Zeitz MOCAA "received news in the early hours of this morning, of the sudden passing of Koyo Kouoh, our beloved Executive Director and Chief Curator", the museum said on social media. "Out of respect", the museum's programming will be "suspended until further notice", it added. The Venice Biennale said in a statement it was "deeply saddened and dismayed" to learn of Kouoh's "sudden and untimely passing". Koyo Kouoh, a Cameroonian-born curator who has been serving as Executive Director and Chief Curator of the Zeitz Museum of Contemporary Art Africa (MOCAA) in Cape Town since 2019, poses for a portrait at the museum in Cape Town, on October 31, 2023. Since Koyo Kouoh took over the reins of the MOCAA, the Cape Town museum has been making waves in the contemporary art world by putting Africa front and centre. Image: (Photo by MARCO LONGARI / AFP) Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Advertisement Next Stay Close ✕ Only the second African to head the legendary art show after the late Nigerian art critic Okwui Enwezor, Kouoh had been working "with passion, intellectual rigor and vision" on the conception of the 2026 edition, it said. She had been due to present the title and theme in Venice on May 20 this year. "Her passing leaves an immense void in the world of contemporary art," the Biennale said. Italian Prime Minister Giorgia Meloni expressed her "deep sorrow" for the curator's "premature" death. Brought up between the Cameroon coastal city of Douala and Switzerland, Kouoh set up a cutting-edge art centre - the RAW Material Company - in Dakar, Senegal. On Saturday, the centre paid its own tribute to her, describing Kouoh as a "source of warmth, generosity and brilliance" who "always stated that people are more important than things". As head of the Zeitz MOCAA, she positioned the museum at the cutting edge of contemporary art by championing Pan-Africanism and promoting artists from the continent and its diaspora. Focusing on African art was a "no-brainer" as the narrative around the continent was still largely "defined by others", Kouoh told AFP in an interview in 2023. "Africa is for me an idea that goes beyond borders. It's a history that goes beyond borders," she said. When announcing her appointment to the Biennale in December last year, its president Pietrangelo Buttafuoco had hailed her as a "curator, scholar and influential public figure" who would bring the "most refined, young and disruptive intelligences" to the sprawling 130-year-old exhibition. Cape Times
New York Times
10-02-2025
- Entertainment
- New York Times
100 Years of How Black Painters See Themselves
At the Bozar Centre for Fine Arts in Brussels, the Cameroonian-born curator Koyo Kouoh — who will oversee the main exhibition at the 2026 Venice Biennale — has filled the vast Art Nouveau galleries with works by artists from Africa and the African diaspora. More than 150 paintings by around 120 artists, most seen in Brussels for the first time, show people and scenes of Black life across the globe. Kouoh's show, 'When We See Us: A Century of Black Figuration in Painting,' which runs through Aug. 10, originated at the Zeitz Museum of Contemporary Art Africa museum in Cape Town, which Kouoh has helmed since 2019. The show demonstrates the sophisticated breadth of her curatorial approach, which is both aesthetic and art historical, painterly and political. In the exhibition catalog, Kouoh notes that there has been an explosion of exhibitions exploring Black culture since the 2020 police murder of George Floyd and the subsequent Black Lives Matter protests, with a particular interest in how Black artists represent themselves both as individuals and as members of communities. Her contribution, 'When We See Us,' adapts its title from Ava DuVernay's 2019 Netflix mini-series about the Central Park Five, a group of Black and Latino teenagers who were wrongfully accused of rape and assault. But where DuVernay's story of violence and brutality had 'They' — 'When They See Us' — Kouoh has 'We,' pointing to the importance of Black self-expression, or the ability to tell one's own story. The art on show here does not only exist in relation to oppression or otherness, but also on its own expansive, frequently gorgeous, terms. The display at Bozar groups paintings according to six loose themes — 'The Everyday,' 'Repose,' 'Triumph and Emancipation,' 'Sensuality,' 'Spirituality' and 'Joy and Revelry' — mixing old and new. (The birth years of the artists range from 1886 to 1999.) Although each painter can be associated with a particular nation, artistic movement or era, Kouoh's aim is to tease out the hidden connections. We begin to see a wider web that connects these artists across time and space, regardless of borders and boundaries. In the first section, 'The Everyday,' you might notice different attitudes toward realism: from the West Chester, Pa.-born painter Horace Pippin's 'Victory Garden' (1943), striking for its brightly blooming flowers, to the South African George Pemba's portrait of a nurse at work, 'At the Clinic' (1979), to the Botswanan Meleko Mokgosi's immense triptych of enigmatic domestic scenes, 'Pax Kaffraria: Graase-Mans' (2014). But not every painting is straightforward in style. In the 'Repose' section, figures are more at ease, sitters are engaged in conversation, lost in thought or looking away from the viewer. The styles here vary, with figures sometimes painted loosely, abstracted, or collaged, as if to say that, in repose, we are permitted some leave of our bodily selves. I loved the pairing in this section of two radically different paintings that upended the traditional Western 'odalisque,' or eroticized reclining nude: the Kenyan painter Wangari Mathenge's 'Sundials and Sonnets' (2019), a large, realist portrait of a woman in a blue bathing suit who fixes us in her gaze as she reclines languidly on a bright yellow sofa, was hung next to the American artist Henry Taylor's 'Ly for Me' (2010), a small, impressionistic image of a woman lying on an ornate couch in a cluttered living room. In both, the women are clothed, self-possessed and commanding of our gaze. They look as if they might get up and walk away at any moment. There is a huge amount of work to take in and — given the focus on figurative art — there is also a lot of visual overlap. But pictures of people are also filled with stylistic choices, and these are as diverse as their makers. Textures, textiles, postures and patterns repeat throughout, like calls from room to room: for instance, the glittering black rhinestone hair of the entangled paramours in Mickalene Thomas's humorously titled 'Never Change Lovers in the Middle of the Night' (2006), and the shimmering sequins and glitter that cover the locks of the central figure in Devan Shimoyama's 'The Abduction of Ganymede' (2019). There are no pristine white spaces or rigid demarcations from room to room or theme to theme. Instead, paintings hang on green, red, ocher and orange walls. Free-standing displays bifurcate some spaces, but their structures are gently curved with ramps and sloping corners. A soundscape, made in response to the show by the South African composer and sound artist Neo Muyanga, plays throughout. If we need new ways of thinking about Black figurative art and how it fits into the canon, Kouoh's presentation seems to argue that we also need new kinds of spaces within the museum itself. At the close of the show hangs 'The Birthday Party' (2021) by Esiri Erheriene-Essi, which shows the South African anti-apartheid activist Steve Biko, who was murdered by the police at age 30. In this picture, painted in warm hues, he is very much alive: thriving, holding out a birthday cake, surrounded by friends, wearing a Malcolm X pin on his shirt and the badge from a London soccer team on his hat. It is a scene of sheer joy. Next year, when Kouoh becomes the first African woman to oversee the Venice Biennale, I look forward to seeing more of the ambitious ethos that underpins the Brussels show: the refusal of neat lineages in favor of new ways of seeing the past, present and future.
