Why did you choose to place this 14th edition of Fitb under the theme of Africa?

Because we are Africans, deeply attached to our continent. Africa has been divided into North Africa, West Africa, English-speaking Africa, French-speaking Africa, etc., and that's a shame. Too often, we know ourselves through the eyes of the former colonizer. It's time to look at ourselves directly, to understand ourselves for ourselves.

This edition therefore sought to re-establish this connection, notably through an international conference devoted to popular languages in African theater. I was also moved by the Burkinabe play performed in Moré. It was wonderful! We had the translation, of course, but we heard and listened to an African language. We felt a people, the feelings of a language, its musicality.

On the evening of this 14th edition, what is your assessment?

The immediate outcome is above all human and intellectual. It is difficult to provide a complete summary on the spot, but the exchanges and reflections generated are very rich. The conference will be published, allowing this dynamic to continue. What matters is that Africans met, exchanged, and thought together. This positivity already exists, and it is precious. I can already claim that the outcome is largely positive, given the sustained attendance, a varied program, and rich debates around contemporary African theater.

Do you think you have achieved the objective of cultural rapprochement that the festival advocates?

Yes, to a large extent. We have succeeded in bringing African peoples together thanks to the presence of teams from Senegal, Guinea, Ivory Coast, Tunisia, Burkina Faso, Mauritania, and Algeria. This diversity within the continent shows that a united Africa is possible. We must put an end to inherited divisions and imagine an Africa that engages in dialogue, understands one another, and remains united with one another.

What does this plurality of participations represent for you?

It's an essential asset. Africa is plural. But beyond our differences, we have a historical unity through colonization, exploitation, slavery, and the plundering of our resources. This shared memory must encourage us to show solidarity. The Ivorian play about Saartjie Baartman, the Hottentot Venus, perfectly illustrated this. It forces us to face up to a painful history that Europe has long distorted. We must make people admit that it was a true story, but that Europeans, at the beginning of the century, dared to objectify a human being.

This year, the FITB has given special importance to children's stories. How important is this initiative?

The festival should not be limited to foreign troupes or indoor performances. It must enliven the entire city, and for it to be successful, it is especially important to involve children. When a child returns home, happy to have listened to an African storyteller, as was the case with your fellow Ivorian Rebecca Kompaoré, they are already bringing the festival to life for their parents, telling them about this wonderful experience. But beyond that, the aim is to educate children. Through storytelling, we reconnect young people with their oral and cultural roots, with this living and educational language that was once the evening school in our villages.

Other activities were also not lacking in attractions.

Indeed! We organized an international symposium on African languages, which met with great interest among the 45,000 students in Béjaïa. We also selected seven of the best Algerian shows of the year for the local audience. Thus, from 7 to 75 years old, everyone could find their place in this great theater celebration.

Why did you choose the theme: “Popular languages in African theatre” for this conference?

Because language is the lifeblood of identity. It carries the memory, the wounds, and the beauty of a people. Each African language is a river nourished by multiple influences. The Algerian dialectal language, for example, draws on Roman, Arabic, Amazigh, Turkish, and French influences... but it is the people who have the genius to make it a creative force. By promoting popular languages, we promote the people themselves. It is therefore quite natural that we have initiated this dialogue of languages, which, although different, carry the source and the breath of Africa.

What should we remember from this 14th edition?

A simple message: let's learn to know each other, to look each other in the eye, without the prism of others. Africa must belong to Africans. This is a deep conviction that this edition sought to resonate.

Projections already planned for the 15th edition?

We will first learn from this. The challenge remains the same: finding the financial means to maintain and develop the festival. The idea of pooling resources among Algerian theaters is gaining ground. If each theater participates in hosting troupes, we will be able to organize national tours and reduce costs. Culture thrives on ideas, but it also needs a solid economy. What is often lacking is not creativity, but political will.