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IOL News
2 days ago
- Politics
- IOL News
Burkina Faso's revolutionary shift under Traoré's leadership
Captain Ibrahim Traoré, the President of Burkina Faso's transition. One thing is clear: Burkina Faso is once again positioning itself at the vanguard of Africa's liberation project. IN Ouagadougou, the capital of Burkina Faso, a structure has risen that embodies more than just memory: It symbolises vision, renewal, and resistance. It is the Thomas Sankara Mausoleum. The Thomas Sankara Mausoleum, designed by the internationally acclaimed Pritzker Prize-winning Kéré Architecture, is not merely a tribute to a distinctly revolutionary icon. It is a declaration: that the spirit of Sankara is alive, and under the leadership of Captain Ibrahim Traoré, the President of Burkina Faso's transition. One thing is clear: Burkina Faso is once again positioning itself at the vanguard of Africa's liberation project. The mausoleum — sleek, dignified, and rooted in African architectural identity — honours the legacy of Thomas Sankara, the pan-Africanist leader assassinated in 1987 (after just four transformative years in power), as well as twelve of Sankara's fellow comrades. The auspicious inauguration of the event was attended by an array of international dignitaries, including South African anti-apartheid activist and former chairperson of the African Union (AU) Dr Nkosazana Dlamini-Zuma. South Africa's former President Thabo Mbeki, although invited, was unable to attend as he was hosting the 15th Thabo Mbeki Africa Day Lecture in Dar es Salaam, Tanzania. The erection of this memorial site is a profound and befitting tribute to Sankara, the Burkinabe revolutionary whose influence and reverence were felt both continentally and internationally. This tribute also speaks volumes about today's Burkina Faso. Under the leadership of the significantly popular President, Captain Ibrahim Traoré, Burkina Faso has taken dramatic strides towards its advancement. From education and healthcare to infrastructure and security, the country is reclaiming agency over its development. By commissioning and championing this project, President Traoré is not only preserving history, but he is actively invoking it. He is steadfastly reviving the political and philosophical principles that made Sankara both admired and feared: integrity, self-reliance, unapologetic anti-imperialism, and a deep commitment to the African people. The Sankara mausoleum is more than a mere monument; it is a reclaiming of the Burkinabe narrative to a place long shrouded in pain. For decades, the site represented fear and pain, and today, it has been reimagined as a site of power, true leadership, and the positive reconstruction of Burkina Faso's society. This transformation is more than symbolic, it reflects the broader African awakening — a refusal to let our heroes be erased or our futures dictated. This is not just symbolic politics. It is part of a larger revolution Traoré is undertaking, one that seeks to realign Burkina Faso's path away from dependency and toward sovereignty, regional solidarity, and genuine national development. In fact, Traore markedly withdrew Burkina Faso from Ecowas, forming instead the Alliance of Sahel States with Mali and Niger, two nations also run by post-coup administrations. He has also reversed his predecessor's salary increase for government officials, and remained on his military captain earnings, similarly to South Africa's former President Nelson Mandela, and Gabon's military leader, Gen Brice Oligui Nguema. Furthermore, Traore has ended military cooperation agreements with former coloniser France, redirecting security efforts to local and national forces, and emphasising the importance of reclaiming ownership — not only of land and minerals but of policy, narrative, and identity. In many ways, the mausoleum is a fitting metaphor. It roots Burkina Faso in its radical past, while offering a platform for reimagining its future. And that future, under Traoré's guidance, is being shaped in bold and unapologetically African terms. This is the revolution within the revolution, a cultural and psychological shift that echoes Sankara's own emphasis on dignity. It is one thing to control a nation's territory; it is another to inspire its people, to nurture its identity, and to outrightly put the needs of the people at the top of the national mandate. Through Traoré's renewed focus on local agriculture, education, public service delivery, and so much more, Traoré is successfully reconstructing the foundations of Burkinabè society, from the ground up. This is why the Sankara Mausoleum is so immensely invaluable. It is a reminder that leadership is not about personality cults or grandstanding; it is about purpose. Traoré, like Sankara, is leading with vision and intention, rather than from palaces and pompous acts of grandiosity. Critics, particularly in European and Western circles, have cast doubt on the trajectory of Traoré's leadership, particularly the long-term sustainability of Burkina Faso's break from its former strategic partners. However, we must remain wary of the age-old habit of non-Africans speaking on African matters. In fact, any critique of Traore must also be balanced against the undeniable decades of ineffective governance, chronic instability, and external interferences that have brought Burkina Faso to the brink of collapse. Traoré's leadership has proven itself to be rooted in the pan-Africanist belief that Africa can govern itself, defend itself, and define itself, without relying on those who have historically (and continue to) benefit from its vulnerabilities. This leadership model is not limited to Burkina Faso. From Northern Africa's Arab Maghreb Union (AMU) to the Southern African Development Communities (SADC), and beyond, the world is watching Traore intently. Traoré's assertiveness has resonated with citizens across Africa — and beyond — who are sick and tired of corruption, dependency, and underdevelopment despite abundant resources. His actions have rekindled the passionate values of Pan-Africanism, not as a theoretical ideal, but as a practical, implementable, transformational political path. Traoré, propelled by the will of the people rather than elite interests, represents a break from the old order that served foreign agendas more than African futures. The reforms taking root today reflect a broader continental awakening: one where sovereignty, dignity, and justice are no longer negotiable. Traoré is showing us what is possible when leadership listens, acts, and stands firm. The Thomas Sankara Mausoleum is more than a memorial; it is a cornerstone of a new national narrative. It signals to Burkinabè youth, and to African youth everywhere, that we are not condemned to repeat the cycles of the past. We can choose leaders who reflect our values, who honour our history, and who are willing to challenge the structures that have kept us marginalised and grossly underprivileged for far too long. Ibrahim Traoré is far from finished. But what he has begun, from policy reform to cultural renewal, is already shifting the political horizon. The revolution he leads is not just about Burkina Faso's future, it's a profound declaration of what Africa is yet to achieve. As the prolific former leader of Ethiopia, Emperor Haile Selassie once famously stated: 'Throughout history, it has been the inaction of those who could have acted… that has made it possible for evil to triumph.' If the Sankara Mausoleum is the foundation, then perhaps what follows will be the architecture of a new, sovereign, self-defined Africa. And that, at last, is what true leadership looks like. While many invoke Sankara's legacy, it is Traoré who most visibly fulfils Sankara's revolutionary challenge: 'We must dare to invent the future.' * Tswelopele Makoe is a gender and social justice activist, editor at Global South Media Network ( a researcher and Columnist. She is also an Andrew W Mellon scholar at the Desmond Tutu Centre for Religion and Social Justice, UWC. ** The views expressed here do not reflect those of the Sunday Independent, IOL, or Independent Media.
AU Financial Review
4 days ago
- General
- AU Financial Review
Millions have flocked to this billionaire's art islands
On a tree-dotted hill on Naoshima, an island in Japan's Seto Inland Sea, a museum was being completed, with construction equipment on hand and workers finishing their day. The Naoshima New Museum of Art opened last weekend. A concrete structure by Tadao Ando, it has a few unusual touches for a building by this Pritzker Prize-winning architect. There's a pebbly wall along the walkway to the entrance. To harmonise with the townscape, it has a black plaster exterior, exhibition spaces that are largely underground, and a single storey above, topped by a sloped metal roof. The iridescent sea is visible from the top floor.
New York Post
16-05-2025
- Business
- New York Post
Penthouse in the only NYC building designed by Tadao Ando lists for $35M
If these walls could talk, they'd whisper — in minimalist Japanese. The penthouse at 152 Elizabeth Street, the only residential building in New York City crafted by Pritzker Prize-winning architect Tadao Ando, has just been listed for $35 million, The Post has learned. The duplex residence, which spans more than 5,600 interior square feet and over 3,200 square feet of private outdoor space, reflects Ando's trademark blend of simplicity and precision. 16 The residence offers more than 3,200 square feet of private outdoor space. Evan Joseph Studios 16 The home offers 5,600 square feet of interior space. Evan Joseph Studios Designed in collaboration with New York-based Gabellini Sheppard, the home features four bedrooms, 4.5 bathrooms, and a host of luxury features that position it among the most exclusive listings in the city. Discreetly tucked into Nolita, the building's raw concrete facade and water feature — a serene, mirrored reflecting pool — announce Ando's signature ethos of silence and structure. Inside, a private key-fob elevator opens directly onto the apartment's striking central staircase, made of satin-finished stainless steel and honed Pietra Cardosa stone. The staircase visually and physically connects all three levels, while floor-to-ceiling windows usher in light and views from every direction. 16 The landscaped roof terrace offers panoramic views of New York City, an outdoor kitchen, a granite soaking tub, and one of Ando's signature reflecting pools. Evan Joseph Studios 16 The home also includes rare automated valet parking and private storage — uncommon perks in Manhattan's luxury market. Evan Joseph Studios 16 The duplex residence features interiors by Gabellini Sheppard. Evan Joseph Studios 16 A dramatic glass-and-stainless-steel staircase, honed Pietra Cardosa stone, Dinesen oak floors, and floor-to-ceiling windows set the tone for understated luxury. Evan Joseph Studios The first level includes a 52-foot-long great room anchored by a gas fireplace with a custom stone hearth, a high-end chef's kitchen appointed with Italian milk glass and eucalyptus wood cabinetry, and access to a landscaped terrace fitted with Ando-designed water walls and reflecting pools. Upstairs, the bedroom suites are upholstered with sound-dampening fabric for added privacy, and the primary suite includes a private covered balcony, a dressing room, and a walk-in closet. The en-suite bathrooms are clad in Bianco Sivec marble with glacier-white Corian vanities and wall-mounted fixtures. Atop the residence, a full-floor roof terrace offers views of the Empire State Building, One World Trade Center, and the Williamsburg Bridge. The space is outfitted with a full outdoor kitchen, a carved granite soaking tub, and yet another reflecting pool—this one wrapping around a granite fireplace custom-designed by Ando. 16 Highlights include a 52-foot great room with a fireplace. Evan Joseph Studios 16 The Italian-crafted chef's kitchen. Evan Joseph Studios 16 The home boasts floor-to-ceiling windows for optimal sunlight. Evan Joseph Studios 16 A den. Evan Joseph Studios 16 A dining nook.l Evan Joseph Studios Among the rarest features for a Manhattan apartment are the two on-site automated valet parking spaces and private storage, which come with the unit — amenities virtually unheard of in Nolita, or anywhere below 14th Street. The building includes just seven residences and features a full-time doorman, 24-hour concierge service, and a level of discretion often reserved for uptown ultra-luxury towers. Adam Modlin and Andrew Nierenberg of the Modlin Group hold the listing. 16 Japanese Prime Minister Junichiro Koizumi (R) and Tadao Ando (L) stand in front of a miniature of Pinault Contemporary Art Museum on April 4, 2003. Getty Images 16 The building offers just seven residences. Evan Joseph Studios 16 The home offers four bedrooms and 4.5 bathrooms. Evan Joseph Studios 16 The primary suite boasts a walk-in closet, dressing room, and private balcony. Evan Joseph Studios 16 The home offers easy indoor/outdoor access. Evan Joseph Studios Though known for his deeply meditative concrete structures and poetic spatial language, Ando has only designed a handful of private residences in the United States. In 2023, Beyoncé and Jay-Z made headlines when they paid $200 million for a Malibu oceanfront compound designed by Ando, setting a California real estate record. In contrast, Kanye West purchased a separate Ando-designed home in Malibu for $57.3 million—only to strip it to its bones and leave it unfinished. That property returned to the market this spring with a gutted interior and a steep drop in value, drawing criticism from architecture purists and fans of Ando alike.
Zawya
30-04-2025
- Entertainment
- Zawya
Next In Summit: "Museums are dynamic institutions with visions for the future"
GLOBAL FORUM This summit, organized by ACCIONA Living & Culture, featured key voices from the Middle East, including Arwa Al Ali (Ministry of Culture & Diriyah Biennale Foundation), Noura Al-Maashouq (SAMOCA), Hamad Alhomiedan (Royal Commission for AlUla), and Sean Gaffaney (Ilmi, Misk Foundation), who shared Saudi Arabia's bold cultural vision with the global stage. RIYADH. Last week, over 300 professionals in museology, architecture, and the arts convened in Madrid for the second edition of the NEXT IN Summit, hosted by ACCIONA Living & Culture. This global event brought together international experts to explore how museums and cultural institutions are evolving in response to societal shifts, digital transformation, and new forms of audience engagement. This year's forum featured key voices from Saudi Arabia in a dedicated panel titled 'Creative Nations: Redefining Cultural Programming in Saudi Arabia', highlighting the Kingdom's unprecedented cultural momentum as it builds future-facing institutions with a startup mindset. Arwa Al Ali, representing the Ministry of Culture and the Diriyah Biennale Foundation, described the Kingdom as an 'oasis of hope' in the region, driven by a digitally native youth population. '70% of the population is under 30... Imagine the explosion of potential when infrastructure and policies are finally there,' she noted. Biennales in Saudi Arabia, such as the Islamic Arts Biennale in Jeddah, serve as agile platforms to discuss contemporary issues, merging tradition and innovation in spaces like the Hajj Terminal. Noura Al-Maashouq of SAMOCA in Riyadh emphasized the freedom and responsibility of building institutions from scratch: 'Everyone on this stage… has the opportunity of a blank canvas. It's a privilege but also a responsibility.' She highlighted the flexibility of non-collecting institutions like SAMOCA to experiment and collaborate closely with artists embedded in the JAX creative district. From AlUla, Hamad Alhomiedan of the Royal Commission shared how the historic site is positioned as a 'global cultural crossroads'. 'AlUla is an open living museum, where every initiative feeds into the larger cultural transformation of Saudi Arabia,' he stated. Projects like Wadi AlFann and the new Contemporary Art Museum are central to this regeneration-driven vision. Sean Gaffaney of Ilmi, part of Misk Foundation, presented Ilmi as an immersive, STEAM-focused cultural center that activates all senses and encourages curiosity among the Kingdom's youth. 'We see our job as showing kids that there are things they can do, places they can go, paths they hadn't imagined yet,' he said. Together, these voices reflected a shared ethos: that Saudi Arabia's cultural future is being shaped in real time by ambitious, community-rooted initiatives that prioritize inclusion, experimentation, and bold imagination. The summit also featured global figures including 2023 Pritzker Prize-winning architect David Chipperfield, MoMA director Glenn D. Lowry, and Prado Museum director Miguel Falomir. While their insights centered around redefining modern museology, expanding digital access, and diversifying audiences, the Saudi panel stood out as a clear example of how cultural ecosystems can emerge with agility and purpose. Lowry highlighted that 'the concept of modern art is a work in progress,' advocating for museums to collapse boundaries between the virtual and the physical. This idea resonated with Al Ali's emphasis on using contemporary formats like biennales to reframe sacred and civic spaces in Saudi Arabia as sites of global dialogue. A ROADMAP FOR SUSTAINABILITY AND INNOVATION The event also marked the launch of The Ultimate Museum Book, a guide developed by ACCIONA Living & Culture based on research in over 150 museums worldwide. The book outlines best practices for creating sustainable, inclusive, and future-ready cultural institutions—principles echoed in Saudi Arabia's Vision 2030 initiatives. As Arwa Al Ali summarized: 'It's not just about building institutions—it's about protecting our creative community, taking bold decisions, and creating platforms that allow artists to speak, where they couldn't before.' With cultural reinvention driving national narratives across the region, NEXT IN Summit 2025 offered a clear message: the future of museums lies not only in preservation, but in their power to participate, provoke, and pioneer. ACCIONA Living & Culture combines innovative urbanism and culture to develop sustainable projects around the world. With more than 30 years of experience and presence in over 40 countries, the company has created responsible urban solutions such as residential complexes, iconic offices, interior design projects and logistics spaces, as well as museums, exhibitions, immersive experiences and sports and entertainment events. Notable cultural projects developed by ACCIONA Living & Culture include the Grand Egyptian Museum, the House of European History Museum in Brussels and the Qatar Olympic & Sports Museum. In the residential sector, it has developed more than 13,000 homes in Spain, Mexico, Poland, Portugal and Brazil, as well as offices and major logistics projects. ACCIONA is a global company and a leader in the provision of regenerative solutions for a decarbonized economy. Its business offer includes renewable energy, water treatment and management, eco-efficient transportation and mobility systems, resilient infrastructures, etc. The company has been carbon neutral since 2016. ACCIONA recorded sales of €19.19 billion in 2024 and has a business presence in more than 40 countries.
Yahoo
15-04-2025
- Business
- Yahoo
Elaine Wynn, Las Vegas casino co-founder, dies at 82
LAS VEGAS (KLAS) — Elaine Wynn, a prominent philanthropist who co-founded a casino empire in Las Vegas with her ex-husband Steve Wynn, passed away at the age of 82, according to a release from the Elaine Wynn and Family Foundation. 'She played an instrumental role in shaping the modern-day Las Vegas, from the Golden Nugget where she infused glitter gulch with a little luxury, to The Mirage, establishing the paradigm for everything that followed, including Bellagio, Wynn and Encore resorts,' the release announcing her death read. 'She understood that Las Vegas was not just a destination; it was an experience—an ever-evolving tapestry woven with threads of art, culture, and the human spirit.' The release, which was sent at around 6 a.m. Tuesday morning, did not list a cause of death. 'As we remember Elaine Wynn, we celebrate a life lived with purpose—a life that embracedthe extraordinary potential of Las Vegas, a city she truly loved. Her legacy will echo throughthe vibrant streets and the stories of those she touched,' the release stated. The largest individual shareholder of Wynn Resorts, Wynn's impact extended beyond Las Vegas. At the Los Angeles County Museum of Art (LACMA), Wynn championed accessibility to the arts, helping to enhance the cultueral fabric of the community. 'Her leadership was characterized by grace and ambition, ensuring that art remained an essential part of our shared experience,' the release read. Wynn recently announced a collaboration with Pritzker Prize-winning architect Francis Kere to build the Las Vegas Art Museum, another example of her commitment, not just to the cultural arts, but to Las Vegas itself. Through the Elaine P. Wynn and Family Foundation, Wynn supported community organizations that aligned with her passions, including improving children's lives through education. Wynn co-chaired Nevada's Blue Ribbon Education Reform Task Force in 2011 and served on Nevada's State Board of Education, even elected as its President twice. The release stated that Wynn's family was her greatest pride. She was a mother to two daughters, Kevyn and Gillian, and a grandmother of seven grandchildren. 'In the heart and soul of Las Vegas, she will forever reign, not as Ms. Las Vegas, but as a visionary who turned possibilities into realities, inspiring all who followed in her footsteps.' Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
