On 8 December 2024 Global Voices tells this story:
One of Fasky’s photographs at sn exhibition showcasing his work during the Récréâtrales festival. In this photo, a young woman is weaving a traditional Burkinabe loincloth. Photo by Joel Hevi, used with permission.
Across Africa, art events serve as powerful platforms for activists seeking to raise awareness about social issues and human rights.
Zerbo Siaka, also known as Fasky, is a photographic artist from Burkina Faso operating at the intersection of artistic expression and activist movements. The artist is also the director of the association Photo’age. Through this association, he is dedicated to passing on his photographic expertise to the next generation. His exhibition at the 13th edition of the cultural festival ‘Les Récréâtrales’ — a pan-African space for writing, creation, research, and theatrical dissemination — exemplifies the positive impact art can have on society.
A long-time participant in this significant gathering, Fasky shared his perspectives with Global Voices during Les Récréâtrales, explaining how he uses his photography as a tool to foster resilience and encourage social engagement.
Fasky. Photo by Joel Hevi, used with permission.
Joel Hevi (JH): Could you tell us about what inspired your journey into photography and your role within the Photo’Age association?
Fasky (F): I am Zerbo Siaka, also known as Fasky, a photographer from Bobo-Dioulasso in Burkina Faso. My journey into photography happened by chance. Initially, I aspired to be a rapper, but my path changed when I discovered photography while accompanying some French friends who were part of an association in Burkina Faso. They gifted me a camera, and that’s when photography became my passion. Today, through Photo’Age, I share this art with the younger generation, including internally displaced children, helping them to express themselves and showcase their realities.
JH: You presented a series of portraits of women at Les Récréâtrales. What message are you hoping to share through these woman-centric pieces?
F: For four years now, I have taken part in Les Récréâtrales. During this time, I have been fortunate to build strong connections with the women I photograph, most of whom are internally displaced [due to the widespread violence caused by terrorist attacks]. The theme of my exhibition, ‘We Shall Overcome,’ reflects their resilience in the face of crisis. These are women who, despite everything, hold on to hope and fight for their dignity. Through their portraits, I invite visitors to witness their strength and vulnerability. My hope is that beyond their faces, one can see a moving and inspiring humanity.
JH: Do you hope to initiate a dialogue about gender equality? What potential impacts could arise beyond the aesthetic appeal of your work?
F: Definitely, photography is for me a political and social act. These portraits are a statement advocating for gender equality and a tribute to these strong women and their struggles. I hope to raise awareness, to showcase their strength, and to emphasize the urgency of achieving equality. If my photographs can spark a debate and motivate others to stand up for these women’s rights, they will have achieved their goal.
JH: Your photographic style conveys an intimate connection with your subjects. How do you manage to establish this trust, especially in often challenging situations?
F: Trust is at the heart of my work. The women I photograph know me; we have built relationships over time. The Terre Ceinte project allowed me to understand their lives and earn their trust. Before taking their pictures, I listen and respect their stories. This bond is reflected in their expressions in my photos — a sincerity that only patience and attentive listening can bring to life.
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