Articles

On June 8, 1990, at the San Siro stadium in Milan, Italy, in front of 73,780 spectators, the Cameroon football team led by Valeri Nepomniachi brought down a giant.

Religious architecture, beyond its liturgical function, serves as a powerful vector of identity, memory, and social cohesion. It inscribes the beliefs, foundational narratives, imaginaries, spirituality, and aspirations of a community into physical space. In Cameroon, the Basilica of Mary Queen of the Apostles in Yaoundé stands out as an emblematic work that combines spirituality, heritage, and multiculturalism. This monument, built on the hill of Mvolyé, is both a tribute to the history of evangelization, an architectural manifesto of inculturation, and a collective work inscribed in the national memory. This text offers an in-depth analysis of this basilica as both an artistic and spiritual heritage, examining its origins, architectural design, symbolic dimensions, and its historical and identity significance.

Currency is much more than a mere instrument of exchange or a store of value; it also serves as a symbolic vector of national identity and a subtle means of political communication for a country’s self-determination and emergence (Desrosières, 2010). Although the issuance of the 1962 one hundred franc banknote by the Federal Central Bank was printed by the Bank of France—reflecting the newly independent state’s submission to France—it perfectly illustrates President Ahidjo’s politico-economic vision for his country. This banknote, through its iconographic choices, manufacturing techniques, and implicit message, embodies the intention to construct a national vision of the Federal Republic of Cameroon.

The Popoli collection by Artopia, which gathers a large part of the issues of the satirical newspaper Le Popoli published in 1998, constitutes an essential archive for analyzing the graphic forms of dissent in Cameroon. This article offers an iconographic, sociological, and political study of the figure of Poupoul, considered both as the embodiment of the postcolonial despot and as a critical operator within the Cameroonian socio-political field. Through the study of the character Poupoul and the media platform Le Popoli, it aims to demonstrate that they together constitute two sides of the same coin: one operating on the level of individual satire, the other on the level of structuring a critical public space. This reflection will also analyze how caricature contributes to the construction of a critical graphic memory, thereby justifying its patrimonialization and its inclusion in contemporary educational, cultural, and digital strategies.

The exhibition Constellation, presented at the Institut Français du Cameroun in Yaounde from April 10 to June 12, 2025, immerses visitors in a deeply symbolic and sensory artistic universe.

Lauriane Yougang operates within a space of multiple tensions, caught between patriarchal traditions, judicial disorders, and the urgent quest for individual freedoms.

The exhibition *Recensés oubliés* by Yvon Ngassam, presented at OTHNI, questions the perception of migrants through an artistic approach based on humanization and resilience.

It is difficult to observe the human being without noticing that they are essentially psychological. This immutable nature, very often if not always intertwined with biological and social factors, continuously shapes human activity.

On June 8, 1990, at the San Siro stadium in Milan, Italy, in front of 73,780 spectators, the Cameroon football team led by Valeri Nepomniachi brought down a giant.