Exclusive Interview with Joaquim Tivoukou, "L'Étoile Panafricaine qui Éclaire le Grand & le Petit Écran" (in French)
Joaquim is a passionate Franco-Congolese actor whose talent transcends borders. Proud of his pan-African roots, he plays roles that celebrate the richness and diversity of African culture. In love with his craft, Joaquim invests himself fully in every project, bringing a depth and authenticity that touches the hearts of audiences. His joie de vivre and commitment to the arts make him an inspiring figure, ready to make Africa's voice shine on the world stage.
On pan-Africanism and identity
Jombelek: How does your African identity influence your artistic approach and the way you tell stories on stage or screen?
Joaquim: Completely. I'm originally from the Congo, so I incorporate a lot of Congolese culture into my artistic projects, whether in terms of phrasing, sapology (which has become much more democratic on the African continent, even in Europe), language (Lingala) or music (Ndombolo, Rumba...). And what's interesting is that my director Landry Amon is Ivorian, so he in turn instills his Abidjan culture into the show. On screen, it's more delicate if I'm involved as an actor.However, I can still make suggestions that might be a nod to my origins, such as the "tchip" or my phrasing, depending on how much freedom the director gives me.
Jombelek: In what way do you think humor and stagecraft can play a role in consolidating cultural identity and transmitting its values?
Joaquim: Humor is a weapon that can be used to point out social phenomena and injustices, but it can also be hurtful, depending on individual sensitivities. I've always preferred good humor to humor that denigrates. I can laugh at a particular ethnic group in the Congo, but only if in the end I'm highlighting the beauty of diversity in my country. It's a powerful tool for highlighting a culture. I've lost count of the number of humorous sketches that have enabled me to travel without taking a plane.
Jombelek: How do you view the representation of African cultures in European film and theater productions?
Joaquim: An interested view, since any film about African cultures is likely to need my acting talent. I'm thinking particularly of Maimouna Doucoure, whose film Hawa introduces us to the griot profession through the character of the grandmother, played by the great Malian singer Oumou Sangaré. Compared to ten years ago, African and West Indian cultures are much more present in French films, but in my opinion, it's still too early to say. I can't comment on the rest of Europe. And as far as theater is concerned, I don't go to see many plays, but most of the plays that represent African cultures are produced by foreign companies. There are still too few black people in the theater to believe that they don't like it, and yet in the Congo, for example, they are fond of this kind of show. Africa is so vast, so rich in history, it would be a shame to do without it.
Jombelek: How do you imagine a truly pan-African artistic landscape on a global scale? What would its pillars be?
Joaquim: Well, I've been lucky enough to work on a number of projects that were intended to be pan-African, whether in Morocco, the Central African Republic, Côte d'Ivoire or Gabon. I starred in season 2 of Eki, a Canal + Original series, and I can tell you that there were at least 10 African countries represented on the set. The best thing would be to have free movement throughout Africa, as in Europe, to facilitate collaborations like the ones I've experienced. Today we have a big festival called Fespaco, which brings together all the countries of Africa and its diaspora. It couldn't be a more pan-African festival, although I note that they've never invited me, lol. There needs to be more festivals of this scale on the continent. The pillars must be peace, solidarity and love, we need them. A big thought for our Congolese brothers in Eastern Congo who are suffering from war.
On proximity and local involvement
Jombelek: You often focus on themes that are close to viewers' everyday lives. How do you manage to maintain this connection while operating in a globalized environment? Joaquim: The themes I deal with are universal. Love, for example, is a subject that speaks to everyone on this planet. My audience travels and has an Internet connection, so they too are evolving in this globalized environment.
Jombelek: How important is your local audience in your choice of projects and in your approach to sensitive subjects?
Joaquim: My project choices are influenced by my identity as a Franco-Congolese who grew up in France. I start from my personal experience and my sensitivities. In my show, I talk about love because it's in my DNA - I'm a pure lover. I don't deal with it because it's a hype subject or because the people who come to see me perform are looking for that kind of show. Likewise, in my audiovisual projects, I'm inspired by African-American humor like the Wayans brothers, Eddie Murphy... After that, I'm open to ideas from those around me for reaching a wider audience.
Jombelek: In your opinion, how can artists use their influence to encourage the development of local communities and respect for identity?
Joaquim: By talking about these same communities in their shows and films. Festivals are good ways of developing local communities, creating jobs, meetings and, above all, raising awareness of the richness of one's community. And let's not forget the power of social networks, where artists can take a stand on a wide variety of issues.
Jombelek: To what extent does your work integrate the social and political realities of the African diasporas in Europe and elsewhere?
Joaquim: Black people are the most visible minority in France, yet we're still waiting for French cinema to be more representative. Today, I see a lot of brothers and sisters working to tell our stories, like Amandine Gay, Simon Moutaïrou and even Jimmy Laporal Trésor. In my work, I deal with sapology, a post-colonial phenomenon involving Kongo workers hired in Guadeloupe after the abolition of slavery. All my projects, whether in theater or film, involve black main characters, and this has sometimes caused me to have a few run-ins with close non-melanist friends.
On globalization and its impact
Jombelek: In a globalized world where content travels fast, how do you stay authentic while reaching an international audience?
Joaquim: It's precisely by remaining authentic that you have a better chance of reaching an international audience. Why would Americans listen to a "French Drake" when they have the original? English subtitles are enough to thumb your nose at the international market. Although my inspiration comes partly from Afro-American culture, I will always promote Congolese history, language and elegance in my art.
Jombelek: Globalization is often perceived as a threat to local cultures. How do you think artists can turn this reality into an opportunity?
Joaquim: I invite everyone to take an interest in the history of the group Kassav.
Jombelek: Have you noticed any major differences in the reception of your work, whether in Africa, Europe or other continents?
Joaquim: As far as my work on stage is concerned, I can't say for sure, as I've only performed my show in Paris. But I'd really like to be able to perform in Africa and Canada with my show Tonton Big Mac. And it's a fact that my work as an actor is much more recognized in French-speaking Africa than in France. And this can be measured by the types of (leading) roles I'm offered on the continent. I play a lawyer or a police inspector, charismatic and respectable characters.
Jombelek: Have digital technology and social networks changed the way you create and share your art with the world?
Joaquim: Definitely. Just look at the rise of self-tapes, which are increasingly replacing face-to-face castings. Over the last few years, I've worked on projects using self-tapes or video casting. It's great when the project is abroad, because you don't have to pay for tickets. And above all, there are no borders - I can apply for jobs in China or South Africa thanks to the Internet. When I was starting out as an actor, I used to see colleagues with photo books in hand, but now casting directors check out your social networks. You have to make your Instagram page attractive with beautiful visuals according to what you're looking for as a project. I had to start editing to share my videos more quickly and not be dependent on a third party. Earlier I was talking about subtitles, which have become indispensable in videos.
On your career and artistic vision
Jombelek: What was the pivotal moment in your career that made you realize your role as an artist?'artist beyond mere entertainment?
Joaquim: When I was working on my show Uncle Big Mac. I'd like to thank my director Landry Amon, who kept telling me that my show was political, when all I wanted to do was talk about a part of my life and showcase my acting talent on stage. Fortunately for me, I had convictions and ideas that were close to my heart, but I didn't use them as a source of inspiration or a driving force for my projects. The character I play, Tonton Big Mac, challenges the idyllic image most people have of love, but it's still a show that promotes love. You wouldn't believe how many people got divorced after seeing the show. In fact, I was very reluctant to do the show again. I'm not naive, I don't think my show is the main cause of all these divorces, but I'm convinced it's been a wake-up call.
Jombelek: How do you reconcile your different roles as actor, comedian and director while remaining true to your artistic line?
Joaquim: For a long time, I found it hard to wear all three hats, for fear of losing coherence in my artistic choices. I infuse my acting into my sketches on stage, and conversely I use my improvisational skills on film sets. For the moment, I perform my show on an ad hoc basis, which allows me to leave for filming with peace of mind, but I'd like to be able to find an atypical venue to perform several dates of the Tonton Big Mac show. I'm in the middle of developing a short film and that, on the other hand, is very time-consuming, so wish me luck or fuck it, it's better. But in any case, the watchword for these 3 hats is love. I'm currently starring in two TV series (Eki, Manmzel NY) in which I play characters in love.
Jombelek: If you had to give one piece of advice to young African talent hoping to break into show business, what would it be?
Joaquim: I'll give it to you when I've broken through MDR! No, seriously, you have to stay true to yourself and take responsibility for your artistic choices. I get a lot of hits on Instagram when I watch videos of new talent from the continent. They get millions of views thanks to their originality, but you have to be careful: shows and videos are two different worlds. To be good on stage, you have to get up there as many times as possible to progress, excel and break through, God willing. I met the comedian Nordine Ganso on several stages. He came from Bordeaux and did 3 or 4 stages a night. Hard work always pays off in the end. And beware of plagiarism, you have to remain dignified.
Jombelek: You've worked on a variety of projects in different formats. Is there a medium that allows you to express yourself more freely than others?
Joaquim: Definitely the stage. I have total control over what I want to express as a message, and it's quicker. I don't have to edit or wait for editing, I just declaim.
On your vision of the future
Jombelek: What should the'entertainment industry look like in 10 years to be more diversified and allow majorities and minorities alike to recognize themselves in a society that wants to be inclusive and representative of cultural diversity?
Joaquim: Kémi Séba should be appointed head of the Ministry of Culture. I'm joking of course, the image is strong and unreal, but not without meaning. For a long time, we thought there was a shortage of black scriptwriters, black directors and black producers, whereas the real shortage is in the number of black men and women who own cultural venues (theater, cinema...).
Guillaume Canet's Les petits mouchoirs for example, I loved it, I even identified with it at times, and yet there were no black actors in the film. There must be Portuguese or Breton actors in the cast, but who cares? It's about friendship. The industry needs to be able to see a black, an Arab or an Asian in these kinds of films without having to justify anything. The same goes for French comedy: there's a way to mix it up a bit more with all the talented black comedians we have in the country.
Jombelek: What projects or initiatives would you like to see emerge to support diversity and enable them to shine internationally?
Joaquim: To offer free training courses for scriptwriters, directors and producers... that's the concept behind the Kourtrajmé school.
Events like "les talents en court", where young writers can pitch their projects to producers and broadcasters. Creating partnerships with foreign festivals is what Brown Sugar is already doing with "Brown Sugar Short".
I remember that the first edition was won by the film "Pema" by Victoria Nieto, starring the talented actress Lorena Masikini. The film is currently showing on American Airlines flights.
During film shoots, there should be more mentoring so that young people wishing to enter the world of cinema can also be trained on the sets. This is what Altesse Seinzor, a Congolese director, plans to do in Congo for the shooting of his next feature film "Semence" in Congo (Brazzaville). And of course I'd like to see more serial projects like EKI, Mindset, Ewusu or feature films like Saloum, simply black and Eternal. We need to rediscover the same emulation we saw in the USA in the 70s with Blaxploitation.
Interview by Johanne Elie Ernest Ngo Mbelek alias Jombelek Paris (France), Sunday January 26, 2025.
