Jacques Sarasin

In a world of one-way traffic, where the northern countries are exporting their economic and political model worldwide, one country in Latin America has undertaken a profound reform of these models to invent a new type of governance, both pragmatic and humanistic. The country in question is Ecuador. Rafael Correa, an established economist, who came to politics as a man on a mission, was elected President in 2006. Since coming to power, he has transformed a country with archaic structures into a social, independent, ecological and participative democracy. He has given Ecuadorians genuine reason to believe that the rigid structures of the past were no longer inevitable, that ordinary citizens had their word to say, and that, at long last, their voices would be heard. This film is intended for everyone, from rich and emerging countries alike.

Travelling up and down the majestic river Congo on a disheveled boat, the young orphan Antoine Kolosoy composed his first songs on a beat up old guitar. As he gained renown, the young “Wendo,” as he was now known, was persecuted by the church and his music banned by the Belgian Colonial authorities, who feared his joyful rhythms would stir unrest. Wendo became a professional boxer for a time, but he never put down his guitar for long, and when his first album was released in 1948 he became the first superstar of Congolese Rumba.

In the 60s, his songs expressed the hopes of a newly independent nation, when all dreams seemed like they could become reality.

In the sixties, the people of Mali awoke each morning to the sound of Boubacar "KarKar" Traoré's voice on the radio, singing of independence.

Everyone in Mali remembers having danced to his hits. But since his music was only played on the radio, he didn't earn enough money to live on and he had to stop playing music to work as a tailor and a salesman to feed his family.

A few years later, he is dealt a cruel blow: his beloved wife, Pierrette dies. Disoriented, KarKar leaves for France, working in construction, and singing at weekends in the Parisian immigrant shelters that are now his home.

In Mali, everybody thinks that KarKar is dead.