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Photo by Abdi Ibrahim.

Dress: Emily Eanae | Earrings: Stylist own | Shoes: Balenciaga.

Elsa Majimbo's Over Being a Comedian - and Wants You to Be, Too

Four years after becoming a viral social media sensation, many of her fans want to know where the “old Elsa” is. But Elsa Majimbo’s not bowing to anyone else’s expectations or pressure.


Elsa Majimbo is beaming.

Standing in the doorway of an old convent, she cuts a majestic figure – draped in a dramatic black, ankle-length coat, with a gravity defying Afro and gold jewelry shimmering in the blinding New York sunlight. On location to shoot the OkayAfrica digital cover, Majimbo is quietly enjoying a small break when suddenly cries of “Elsa!” fill the air.

A gaggle of school kids has seemingly appeared from nowhere, and they're now filling up the road outside the building. The pre-teens point and jostle each other as they try to get a better view of the 22-year-old Kenyan. “Elsa’s inside!” some shriek – and who can blame them for their excitement? After all, it’s not every day that a social media sensation shows up on your neighborhood doorstep. Majimbo looks on, unfazed by all the commotion, the bemused smile on her face suggests she has become accustomed to being at the center of a frenzy. As the youngsters grow louder, the scene playing out seems surreal – a 15-time chess champion catapulted to global fame and the attention of the likes of Beyoncé and Rihanna, thanks to her lo-fi videos shot during the pandemic lockdown – now driving a group of youngsters wild in a tucked away corner of Queens. Though in listening to Majimbo’s accounting for her meteoric rise, there is no place for randomness or luck in her life story. She believes it is all the work of God. “I’ve got Gen Alpha on my side,” she says, as she waves back at the raucous crowd, with a twinkle in her eye.

When the photoshoot resumes upstairs in a spartan room, gone is Majimbo’s playful demeanor and in its place is now a penetrating, steely gaze. She moves with ease and grace; cycling through different poses without any hint of uncertainty, while a cast of lighting techs, makeup artist and hair stylist all look on. That trademark Majimbo confidence is once again on full display.

An image of Elsa Majimbo wearing a pink dress, draped across a couch.

Dress: Quine Li | Shoes: Victoria Beckham.

Photo by Adbi Ibrahim.

By now, anyone who has ever heard of Elsa Majimbo is familiar with her comic viral videos. The cheekily brazen ruminations of the-then 18-year-old brought much needed levity to millions who felt trapped in their surroundings, courtesy of Covid. Majimbo’s charm and well-timed laughter cemented her place in the hearts of many as a naturally gifted comedian. But these days, being labeled a comedian no longer works for Majimbo – as she makes plain in conversation; she now wants to be known as a model. No more eating potato chips on the bed, no more sunglasses perched awkwardly on her face. The comedy has gone. “That’s a phase of my life that was there, but I’ve left it behind,” Majimbo later explains over lunch at her Williamsburg hotel. “That was just to get me off the ground. We’re off the ground now,” she adds.

Her life has certainly ascended to dizzying heights, since the pandemic ended. The fame and fortune she openly longed for in those videos have arrived, and she is now living in Los Angeles. Her social media feed is a catalog of micro-outfits, shopping sprees and glamorous events. There have also been features in Forbes Magazine, and covers for Teen Vogue and GQ South Africa. In 2022, she signed to IMG Models and WME, and since then has appeared in campaigns for Valentino and Coach. These days her online videos showcase her applying generous amounts of body oil and perfume, while recounting an anecdote about her new fabulous life. Though the change may be jarring to some, Majimbo never hid her aspirational desires, “I told everyone, ‘Love "broke Elsa" while you can, she’s not coming back.’”


An image of Elsa Majimbo sitting on a bed wearing a black coat.

Coat: ITA The Label | Shoes: Saint Laurent | Flower anklet: Stylist's own.

Photo by Abdi Ibrahim.

Hours later, standing tall in an eye-popping royal blue gown, she completes another round of poses. When she is done, Majimbo takes a step back and claps her hands in glee. She studies the images on the photographer’s monitor, clearly liking what she sees. “I knew what I came to do, and I did it!” she gleams, before triumphantly strutting off to her next outfit change. In many ways, the location for her cover shoot – a former convent with crucifixes adorning every room and the occasional light fixture with the invocation, “Bless this house, O Lord we pray/Make it safe by night and day” – is a fitting milieu for Majimbo, the second youngest in a family of four. She makes no secret of her Christian faith and how many of the major life decisions she has made have all been predicated on her firm belief in the divine – like dropping out of school to pursue the fickle path of becoming a content creator. “I'm a testimony,” she says. “God brought me here.”

And she is going to need that faith for what lies ahead because what Majimbo is attempting to pull off in the world of modeling and high fashion is a far more difficult proposition. Countless other models have tried and failed to attain significant and lasting success in an industry renowned for its racism and misogyny. The uncertainties abound, and they include making and keeping high profile friends, as Majimbo’s very public falling out with supermodel Naomi Campbell clearly demonstrated. Although she is reticent to talk about this any further, she is outspoken about her experience navigating the world of celebrity and Black Hollywood at large. “I think for me one of the biggest shocks is white people have actually really been there for me,” she says. “White people have given me a lot of opportunities; they’ve really stuck their necks out for me. And I expected the opposite. Most of the pitfalls I’ve gotten in my career have been due to Black people, which is so disheartening. Because, I was like, ‘Oh, you know, Black Hollywood, Black Hollywood, it's all about each other.' But not everything is what it seems."

An image of Elsa Majimbo wearing a multicolored string dress with blue shoes, leaning to the side a little.

Dress: Lilach Porges | Shoes: Rochas.

Photo by Adbi Ibrahim.

There have been hurtful attacks from her fellow Kenyans. The online blows came quickly, as she garnered more and more public attention in those early days. The commentary about her took a nasty turn and she transitioned from being a charmingly irreverent dilettante to the subject of sustained misogynoir in her home country. The backlash would eventually prompt her to leave Nairobi and head to South Africa. “It was middle aged men and women coming to attack me – at the time I was 18,” she recalls. Four years on and the online criticism continues, but Majimbo is adamant that she is now totally unbothered by it all, “When I’m in Kenya everyone I meet in person: ‘Oh my God, I’m your biggest fan,’” she retorts sardonically.

In fact, she now appears to delight in taunting her critics with details of her shopping excursions and international shopping sprees, “Why would what User299780 say matter to me?” she responds to the question of whether any of the blows hit. “I don’t even look at my comments because I don’t have the time. I have parties to go to, lunches to go to, flights to catch…The comments you see online, that’s just what they are, comments.” That may be so, but she isn’t above oiling her arms and making a video to address them. Is it all part of some kind of plan to stay relevant? Remaining at the center of attention would ultimately benefit the growing bank account she is always talking about.

Despite all the flaunting and her near constant talk about having money, Majimbo says she doesn’t fear not having any. “Even when things are going to shit, I’ve never been financially insecure,” she says, crediting her parents for all the money she has amassed so far. They instilled in her a sense of financial literacy and urged her to get into the Kenyan property market. “I know no matter what happens, I'm not going broke. It's a fantastic feeling.”

An image of Elsa Majimbo in a red outfit, standing in a closet doorway.

Bodysuit: Quine Li | Shoes: Christian Dior.

Photo by Abdi Ibrahim.

In almost the same breath, her talk of earthly pursuits gives way to exhortations of religious faith. “Being spiritual has helped me stand up to people, especially those who have control and power,” she says, steadfastly. “I serve a living God, you’re not above Him.” But before long, her unflinching self-confidence returns, “No one from where I came from has been able to do what I have done, in the amount of time, [and] how I’ve done it. The only other Kenyan in Hollywood is Lupita [Nyong’o] – and even she had to do two decades of work to get where she is," she breezily proclaims. In reality, it’s only been a decade since the Oscar winner sprung into the spotlight, just shortly after graduating from Yale’s School of Drama. But who needs facts when there’s such outsized confidence at play?

Majimbo wants to be a force in the world of modeling and entertainment, which perhaps explains what some might describe as an unlikely friendship between herself and Steve Harvey, whom she refers to as her mentor. She is clearly in awe of how Harvey has successfully translated his comedy prowess into a media empire. “The way he takes ownership of his content, that's how I want to have ownership of my content,” she reflects. That goal extends to projects in front of and behind the camera, with Majimbo sharing that modeling aside, she is also exploring opportunities in production and acting, following the release of the self titled documentary short, Elsa, back in 2023. This time around she is clearly going after more, “[I don’t want] 'Oh, look at Elsa’s show,' but in reality it's not Elsa’s show, Elsa’s getting paid least on the show,” she astutely explains. “I just don't want to be in a position like that. If I say we're doing this, I'm gonna own some of it.”

There is a keen sense of cognizance that her sustained trajectory of wins is not guaranteed – perhaps Majimbo may stop short of any runway work or fail to achieve the success she envisioned in working in film and TV. But she says that as long as she remains in control, however, she will be at peace with the outcome. “If it's meant for me it will find me – if it’s not, no problem. Maybe I'll end up a lawyer,” she muses, briefly wincing at the thought. “Oh, God forbid,” she says, before once again letting out that infectious laugh.

Additional reporting by Shamira Ibrahim.

Credits:
Abdi Ibrahim - Photographer @abshoots
Tiffany Bloomfield - Executive Producer/Artist Rep @insidetheglow
Karely Pérez-Cruz - Producer @peluaproductions
Fallou Seck - 1st Photo Assistant @myowndad
Wendell Cole - 2nd Photo Assistant @wendellcole
Haren Mehta - Digital Tech @harenmehta
Tyler Okuns - Wardrobe Stylist @tyleeresosa
Rose Grace - Makeup Artist @rosegracemua
Rachel Polycarpe - Hair Artist @rachelpolycarpe

Photo courtesy of Netflix.

10 African Horror Films to Watch This Halloween

From the popular Nigerian lore of Madam Koi Koi to the long-held myth of the tokoloshe in South Africa, these African takes on the horror genre bring terror and fear to the screen.

It’s spooky season once again, and what better way is there to get into the mood than by watching a scary movie — or 10. To help you narrow down some of your choices, we've compiled a list of the creepiest African titles to help get your thrills on.

From the popular Nigerian lore of Madam Koi Koi to pandemic-adjacent eco-warnings, these 10 films should help get you through Halloween.
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Fashion + Beauty
Courtesy of Mafi Fashion Academy and Lab.

After Finding Success, Mahlet Afework is Shaping Africa’s Next Generation of Fashion Talent

The visionary behind Mafi Mafi, known for blending Ethiopian heritage with global fashion, is now establishing a fashion academy to fill the gap in quality fashion education in Ethiopia.

Mahlet Afework has spent more than the last decade building one of Ethiopia’s most sustainable fashion labels: Mafi Mafi. The award-winning brand has been celebrated for its striking designs, seamlessly blending Ethiopian heritage with ready-to-wear fashion that has been showcased on catwalks from Lagos to London.

Now, the visionary behind the label is channeling her experience into establishing one of the country's leading fashion schools. Driven by the challenges she encountered while building her label and the difficulty of finding skilled local talent, Afework is launching the Mafi Fashion Academy and Lab (MFAL) — a groundbreaking institution designed to bridge the gap in quality fashion education in Ethiopia and Africa.

“I always wanted to open a fashion academy focused on quality education, but it was originally a dream for the distant future,” she tells OkayAfrica. “However, as Mafi Mafi began to grow, both locally and internationally, the demand for skilled talent surged. It became very difficult to find the right talent in the market, which made it clear that the time to act was now.”

Mahlet Afework sits at a table with a measuring tape, scissors, and fabric in front of her.

Mahlet Afework is also the founder of Mafi Mafi fashion label.

Courtesy of Mahlet Afework.

Fashion is actually Afework’s second career, having found fame as a rapper at the age of 16. But even then, fashion was at the forefront as she had to make her own clothes to create the aesthetic for her photoshoots and videos. “While doing that, I also designed and made fashion pieces at home. It didn’t take long for me to realize I wanted to focus on fashion,” she says. She explains that she taught herself to sew by using Google. When she could, she also tried to take technical classes locally, while also searching for scholarships to attend fashion schools in Europe and North America.

But learning to sew and running a business are completely different things. “I had to learn how to be a businesswoman from scratch. I failed and picked myself up hundreds of times to find a way to sustain and grow my business in such a challenging environment.”

Afework knows her story is not unique, and she is hoping that MFAL will allow future African designers to avoid the pitfalls she had to suffer through. And she already offers upskilling and continuous learning to her 60+ employees at Mafi Mafi. “Upskilling and continuous learning have always been core values at Mafi Mafi and the academy is indeed an extension of this philosophy, aiming to formalize and broaden the scope of our educational initiatives to benefit a wider audience,” she says.

Registration for the first batch of Mafi Fashion Academy and Lab students ends on September 16 and when classes begin on October 21, the academy will offer a unique opportunity to learn from respected Italian and African instructors as well as business consultants from around the world, while being trained on cutting-edge technology and machinery. The academy is a collaboration with the Embassy of Italy, the United Nations Industrial Development Organization and the renowned Institute of Universal Art and Design in Italy. The courses range from fashion styling and fashion photography to fashion business and design.
A photo of Mahlet Afework wearing a black t-shirt and blue denim pants, surrounded by sewing machines.

Driven by the challenges she encountered while building her label and the difficulty of finding skilled local talent, Mahlet Afework is launching the Mafi Fashion Academy and Lab.

Courtesy of Mafi Fashion Academy and Lab.

According to Afework, MFAL's unique selling point lies in its holistic approach to fashion education, blending traditional techniques with modern trends. Students will benefit from hands-on workshops, industry internships and personalized mentorship, offering them unparalleled access and experience. It is a curriculum that is aimed at creating African designers that influence the global fashion conversation.

“I’ve met many incredible self-taught African designers, but to build a proper ecosystem, increase trained manpower, and boost the fashion industry in Africa, high-quality fashion education is essential,” she says. This is what MFAL aims to provide, she adds. “Our fashion academy aims to bridge self-learning with comprehensive education and empower future industry leaders.”

Film + TV
Photographer: Marquis Perkins.

Djimon Hounsou: Hollywood’s Unsung Hero

Though the film industry hasn’t always rewarded him for his immense talent, the Benin-born actor is using his career’s currency for something far more meaningful than accolades and acclaim.

When Djimon Hounsou walks into the photography studio in Brooklyn early one summer morning, sparks of anticipation run through the space. As someone who’s managed to cultivate a largely private life, it’s not often the 60-year-old actor is seen opening up about his life and his career. While he does press interviews for the latest project he’s in, Hounsou is known to be intensely private, and in an age of oversharing, it has raised the mystique around him.

But he has come alone. Having flown in from his home in Atlanta for OkayAfrica’s fall digital cover, Hounsou has forgone the usual Hollywood proclivities to bring an entourage with him, and with it, the buffer that is usually created between celebrity and everyone else. And from the moment the camera starts snapping, it’s as if the enigma around him unspools.

Hounsou’s ability to work a look is unparalleled. He is effortless, fluid—a glide of his arm here, a brush of his hand there, and then, a flash of that magnetic smile. “My old days modeling… it comes back a little bit,” Hounsou grins, surveying the shots on the monitor.

Watching him in front of the camera, the flecks of gray in his beard catching the light, it’s clear what the late Thierry Mugler was drawn to 30 years ago when he made Hounsou — then sleeping on the streets of Paris — his muse, launching a modeling career that included high-profile runway shows and Janet Jackson and Madonna music videos.

It’s what we’ve always known to be true: when Djimon Hounsou is in front of a camera, magic happens. “It’s impossible to get a bad shot,” comments photographer Marquis Perkins between scenes.

Sweater: ADSB Andersson Bell | Hat: L\u2019Enchanteur | Rings: L\u2019Enchanteur

Sweater: ADSB Andersson Bell | Hat: L’Enchanteur | Rings: L’Enchanteur

Photo by Marquis Perkins.

In film, too, Hounsou has a knack for edrtnhancing both great and not-so-great projects (Baggage Claim, anyone?). His early roles remain etched in movie history — who can forget him pleading “Give us, us free,” in the courtroom scene of Amistad, or his leap to defend himself against Leonardo DiCaprio’s mercenary in Blood Diamond? He has a quiet ferocity that commands the screen.

“Sometimes I hear comments from studios like, ‘Oh, Djimon Hounsou is too noble to play this role,’” he shares. “It’s nice to hear that the studios are thinking that.” It signifies that he has achieved one of his early ambitions: to portray characters of integrity rather than ones that perpetuate stereotypes, particularly of Africans.

Over three decades and nearly 60 films, Hollywood has relied on the stature Hounsou brings to his roles; from Gladiator to How to Train Your Dragon Two, and a host of Marvel and DC properties in between. And yet, leading man status continues to elude him. Decades later, fans are asking, where is Hounsou’s starring role? Why is he still relegated to supporting characters with limited time on screen?

His fans continue to rally: “This man is in every movie I watch and he doesn't have the credibility he deserves,” @lino.rar writes under one of Hounsou’s Instagram posts. “You are soooo underrated!!! A massive talent!!” @yesgyal writes under another. Comments like these, along with articles calling out the “big-budget purgatory” he’s been in, reflect the widespread recognition of his undervalued talent.

This persistent underappreciation frustrates him, too. Last year, Hounsou told the Guardian that he felt “cheated” by Hollywood and that he didn’t feel he’s fairly compensated for his work. When asked if he still feels that way, he replies with candor, “Not much has changed since then, so I still feel that way. I stay with the same quote that I said.”

But he’s quick to balance this with gratitude. “I've been able to sustain a career, and I think that's something to highlight and acknowledge,” he says. “Even with whatever I feel is lacking.”

“I just keep it vague in terms of the [un]fair treatment of the industry because at the end of the day, I can't blame the studios,” he says. “The studios have been quite supportive of me and have embraced me a great deal.” His unassailable self-respect is evident. “I feel a sense of great pride to have lived on three different continents and to have survived in the film industry. It’s like swimming in shark-infested waters — you may make it, you may not.”

Hat: Art Comes First | Coat: Art Comes First | Pants: Fried Rice | Jewelry: Art Comes First.

Hat: Art Comes First | Coat: Art Comes First | Pants: Fried Rice | Jewelry: Art Comes First.

Photographer: Marquis Perkins.

There’s a lot we know about how Djimon Hounsou made it. About how he grew up, the youngest of five, in Cotonou, hiding his thespian dreams from a family that wanted a more traditional academic path for him; how he left Benin as a young teenager with his brother; how he landed up homeless in the French capital; how he arrived in LA without speaking English to pursue acting. But there’s much we don’t, and will never, know about what it took to get here — the challenges he overcame, the trials that forged his character.

All of it has endowed Hounsou with a weight he brings to everything he takes on. Movie roles, yes, but anything he lends his voice to, from rhino poaching to climate change. When he speaks, you lean in — not just because he’s soft-spoken, but because you want to, need to, hear what he has to say.

Rather than focusing on what Hollywood hasn’t provided him, Hounsou directs his energy towards what he can offer the world. In 2019, he founded the Djimon Hounsou Foundation (DHF) to combat modern slavery and human trafficking, and to help Africans in the diaspora reconnect with their cultural, ancestral, and spiritual roots. “The aftermath of the Transatlantic Slave Trade is a loss of knowledge,” he explains. “If you don’t know where you come from, you don’t know where you are.”

The foundation’s mission is deeply personal for Hounsou, arising from his own quest to grasp his history, which he didn’t learn much about as a youngster. “How can Afro-descendants relate to their heritage when people like me, who were born in Africa, often feel disconnected from their roots?” he questions.

An image of Djimon Hounsou in a suit.

Suit: Marni | Shirt: A Potts | Shoes: Armando Cabral | Jewelry: Art Comes First

Photographer: Marquis Perkins.

With approximately 200 million people of African descent in the Americas — a legacy of the nearly 13 million Africans kidnapped and enslaved–Hounsou aims to help reclaim these lost connections. Without this knowledge, he believes, there is no way forward.

As he explains, “it’s kind of like a ship at sea, a beautiful ship with a beautiful motor that works perfectly fine and it can go fast. If you put it out at sea with no guidance, no captain directing it, that boat would just circle round and round, and eventually hit the shore or run out of steam and die down.” He adds: “If you don't know how to navigate yourself, it can harm you a great deal in your evolution."

It’s fitting that Hounsou uses this metaphor, as the film Amistad, about a 19th-century slave ship, even with its flaws, helped him realize the gaps in his own understanding and fueled his desire to foster reconciliation and reconnection.

In this spirit, the DHF launched Africa Reconnect, an annual series of music and sports events. The centerpiece is Run Richmond 16.19, a run/walk of either 6.19 or 16.19 kilometers, designed to highlight historical sites in Richmond, where the first slave ship is believed to have docked in 1619. This year’s event takes place on September 21. Future events will include two other locations, Liverpool in the U.K. and Ouidah, in Hounsou’s home country.

Each city features artist Stephen Broadbent’s Reconciliation Triangle, which, when connected, forms the Triangle of Hope — promoting forgiveness through acknowledgment and using reconciliation and justice to shape a new future. As Hounsou sees it, gathering at these sites to reclaim steps once taken forcibly and brutally, now willingly and joyfully, will help transform the spaces themselves.

“It’s a cultural event that lets you experience 400 years of Black history in America,” he says. “I thought, if we could do that in a place where some of our ancestors were lynched, if we come together like that regularly, we'll change the course of what took place there,” he says. At the Gate of No Return in West Africa, the aim is for participants to reverse the route of the slave trade, symbolically coming home to the roots of culture.

An image of Djimon Hounsou in a suit with a coat.

Sunglasses: Art Comes First | Shirt & Pant: Galen Cason | Coat: Art Comes First | Shoe: Armando Cabral.

Photographer: Marquis Perkins.

In working on Africa Reconnect, Hounsou found the disconnect between past and present jarring. “It’s the lack of connection that shocked me,” he says. “We can complain about Donald Trump, and the racism here in America, and the racism in Europe, but at the end of the day, all of those countries would not be self-sufficient without resources from Africa.”

“We owe it to ourselves to look to where we come from,” Hounsou continues, “and know that the continent of Africa is feeding the rest of the world.” To him, it’s empowering: “If you believe salvation only lies in the West, you’re setting yourself up for modern-day slavery.”

Hounsou is keenly aware of how narratives about Africa are evolving, especially with the global rise of Afrobeats. “I was a fan of African music long before it became popular in the West,” he notes wryly. And while he appreciates artists like Burna Boy, Wizkid and Davido, it’s the tribal music of his homeland that soothes his soul.

An image of Djimon Hounsou wrapped in a Benin flag.

Photographer: Marquis Perkins.

Though he misses Benin deeply, Hounsou hasn’t visited since 2019, but hopes to return by year’s end. In the meantime, he keeps the spirit of his homeland alive in his work. In the sequel to Netflix’s Rebel Moon, Hounsou’s General Titus sings a chant by Beninese singer and guitarist Lionel Loueke, meant to rally village warriors. “He wrote it in our dialect, Fon. It was beautiful,” says Hounsou, who performed the song in the film (remixed by Black Coffee as “Ode to Ancestors”).

Through directing and producing stories from Benin, and Africa at large, under the banner of his production company, Fanaticus, Hounsou further strengthens his ties to home. It’s also a way to deal with the limitations he faces as an “unsung hero of Hollywood,” as one Reddit user put it. “You navigate the water as it becomes rough,” he says. “Trying to keep a legacy intact is very hard in this industry. I have to oftentimes watch my back. It is treacherous. But nothing comes easy.”

His hard-won career is still without one thing, though. “It would be nice to win an Oscar,” he says. “It was nice to be nominated twice [for In America and Blood Diamond]. The third time — it seems like they forgot about me,” Hounsou adds with a sly smile.

Still, he wouldn’t change how anything has played out. He’d tell his young self today to “continue dreaming big.” For him, it all comes back to having a strong sense of self. “Nothing happens unless you can truly see and emotionally feel what you’re envisioning,” he says. “It’s all about having direction and a clear vision of what you want to achieve.” It worked for Hounsou’s early dreams, so it can only work for his future ones, too.


CREDITS:

Photographer: @marquisperkins
Writer: @nadianeo
Lighting tech: @jpierrebonnet
Stylist: @tiffanistyles for This Represents
Market editor: @coralreefin
Fashion team: Elizabeth Fonseca, Myles Colbert, Will Lewis
Groomer: @brittywhitfield

News
Photo by Uncredited/AFP via Getty Images.

Mali, Niger and Burkina Faso to Launch New Confederation Passport Despite ECOWAS’ Push for Reintegration

This new development underlines the hardline stance of the three junta-led governments with regard to their relationship with ECOWAS.

Update: This story has been updated with the most recent information as of Sept. 17, 2024 at 8:00 p.m. WAT.


The governments of Mali, Niger and Burkina Faso, under the recently-formed Alliance of Sahel States (AES), are set to launch new biometric passports to facilitate travel among the three countries, as they drift further from the Economic Community of West African States (ECOWAS).

The three West African countries, led by military regimes, see the new passport as a means of “harmonizing travel documents in our common area.” This development is despite concerns from ECOWAS that their withdrawal from the regional body could “undermine the freedom of movement and common market.”

The new passport reiterates the hardline stance of confederation with regards to its relationship with ECOWAS.

In July, ECOWAS tasked Senegalese President Bassirou Diomaye Faye with leading negotiations that might bring Mali, Niger and Burkina Faso back into the regional bloc. This was around the same time the three junta-led countries held the first summit of the new AES confederation, five months after its leaders announced they would be pulling out of ECOWAS.

“Our people have turned its back irrevocably to ECOWAS, it’s now up to us to create AES,” Niger’s head of state, Abdourahamane Tchiani, said during the summit in Niamey, capital of Niger. “[AES] is an alternative to any artificial regional grouping, by building a sovereign community of peoples.”

Adding to Tchiani’s remarks, Burkina Faso President Ibrahim Traoré stated that ECOWAS was subject to imperialism from the West, especially as the member states of the newly-formed AES have severed ties with their former colonizers, France, and is bent on not being associated with anything French-adjacent.

The formation of AES symbolically strengthens the alliance between Mali, Niger and Burkina Faso, and continues a collective coldness towards ECOWAS. All three countries experienced coups between 2021 and 2023, with the regional bloc suspending each country and imposing sanctions after every coup. Last year’s hardline stance by ECOWAS against the coup in Niger was integral in the three countries coming together for common purposes.

Chaired by Nigerian President Bola Tinubu, ECOWAS threatened Niger with military intervention if overthrown President Mohamed Bazoum wasn’t reinstated. The country’s assets in ECOWAS banks were frozen, 70 percent of its electricity, from neighboring Nigeria, was cut off, and a no-fly zone on commercial flights to and from Niger was instituted. Shortly after, Niger allied itself with Mali and Burkina Faso, who already had their gripes with ECOWAS.

In late February, ECOWAS lifted several financial and economic sanctions placed on the three countries, as well as Guinea, which had been suspended following the 2021 coup. However, coming a month after Mali, Niger and Burkina Faso announced their exit from ECOWAS, the removal of the sanctions was seen as a move to placate the three countries, which the regional bloc said were “important members of the Community.”

During the ECOWAS summit held in Nigeria's capital, Abuja, on Sunday, a day after the AES summit, ECOWAS Commission President Omar Touray reiterated the strategic importance of reintegrating the withdrawn states. A big part of that is the armed insurgency that has rocked parts of West Africa, of which thousands have been killed and millions displaced between the three countries and beyond.

“Our region is also faced with the risks of disintegration,” Touray said, adding that the suspended member states were allowed to join in on meetings related to quelling insecurity in the region.

Touray also noted that the withdrawal of Mali, Niger and Burkina Faso would have diplomatic and economic consequences, saying that ECOWAS would be forced to stop economic projects in these countries worth over $500 million. “When you get out of an agreement, certainly you don’t become part of that agreement. If it is about free trade, free movement of people, the risk of losing those concessions remains,” Touray said.

Meanwhile, officials from the AES member states have continued to double down on their ECOWAS exit. “Our heads of state were very clear in Niamey when they said the withdrawal of the three countries from ECOWAS is irrevocable and was done without delay, and from now on we must stop looking in the rear-view mirror,” Mali’s foreign minister, Abdoulaye Diop, said in an interview with state broadcaster ORTM on Monday evening.

“I don’t really think the current regimes will consider rejoining ECOWAS, which they see as connected to Western interest,” military reporter and Janes journalist Erwan de Cheriseytold Al Jazeera’s Inside Story. None of the three countries is on track for a regime change or a return to democracy. Earlier this year, Mali extended the stay of its junta for three years and Burkina Faso extended its transition period for a further five years, while Niger’s proposed return to democracy is set for 2026.

According to analysts, however, Senegal’s Faye is the best possible candidate for ECOWAS’s negotiation with the three countries. Faye’s recent, gilded entrance into office came on the back of an election that was widely regarded as credible, an important factor in a region where elections aren’t generally known to be free and fair and democratic institutions are malleable to the whims of presidents.

In fact, Togolese President Fauré Gnassingbe — the other chief facilitator appointed by ECOWAS — is set to continue his two decades in office for the foreseeable future, following a much-criticized constitutional change.

Faye is expected to do the heavy lifting and, beyond his credibility as the youngest elected African president, his pan-African stance and active measures to remove the exploitation of Western imperialism from Senegal is expected to resonate with the leaders of Mali, Niger and Burkina Faso.

“Like the other [AES] heads of state, [Faye] claims sovereignty and a break with the old order,” Seidik Abba, a Sahel specialist and president of the International Center for Reflection for Studies, told AP News.

Currently, the standoff between ECOWAS and the three withdrawn states is playing a role in the Niger-Benin oil pipeline dilemma, and Mali’s government has already hinted at the possibility of nationals of AES members needing visas to move around other West African countries, and vice versa. This is reflective of the level of diplomatic problems that could continue if a working cordiality isn’t reached soon.

According to Touray, “disintegration will not only disrupt the freedom of movement and settlement of people, but it will also worsen insecurity in the region.”

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