An acrobat trains on a tightrope at the facilities of "Le Cirque de l'Equateur" circus troupe in Libreville. AFP
Wiltrid Mabiala climbs to the top of a human pyramid — backwards — with the lithe agility of a cat. Six metres (20 feet) below, a thin mat offers little protection if he puts a foot wrong.
The leopard print-clad acrobat is a performer with Le Cirque de l'Equateur, which once represented Gabon at the world's biggest circus festivals, but now cannot afford even basic safety equipment.
The mats are falling apart, the safety ropes have snapped and the acrobatic nets are long gone. The small central African country's only circus troupe — and its only circus school — is facing ruin.
The oldest member of the troupe, Seraphin Abessolo, has spent nearly 30 of his 49 years with the circus.
"The circus is all about stage equipment — trampolines, juggling gear, diabolos. All of that is gone. Even though we have specialists in all those areas," he says with a sigh.
Since the beginning of the coronavirus pandemic, "nobody calls us, it's been almost nine months since we last performed".
But the circus was struggling even before the pandemic hit.
'You must control the fear'
At its home in Gabon's capital Libreville, the trees carry red signs recalling the glory days: Cirque Bouglione 1994-1995, Shanghai Festival 1998-2000, Rome Festival 2000.
"In the past we had more than 20 bookings a year," the association's president Maik Mpoungou said.
"The problems started in 2005. We had fewer and fewer contracts, circuses asked for new acts which are more difficult to implement, and our resources dwindled."
Then the culture ministry stopped paying its annual subsidy of 500,000 Central African CFA francs ($900) in 2009.
It could no long keep up with the demands of a modern circus, which have themselves recently struggled across the world due to animal welfare concerns, rising touring costs and now the pandemic.
The circus still has its home in Libreville on land that late president Omar Bongo Ondimba gave to the Saint Andre church, where the missionary and Le Cirque de l'Equateur's founder Jean-Yves Thegner had worked. Thegner died from Covid-19 in March.
A shared dream
The grounds still bounce to the rhythm of the acrobatics.
But according to the older members, the site is a shadow of its former self.
"It was once like a small village," recalls Abessolo.
"There was a small stone tunnel at the entrance and when you came out of it, you were amazed," he said. The tunnel has since caved in.
The walls are cracked and crumbling in the makeshift quarters where a dozen members of the troupe live. During the rainy season, water drips through the roof.
The circus is now pleading for help from sponsors and the authorities.
"We wrote to the minister and even the president of the Republic Ali Bongo Ondimba, but nothing worked," Mpoungou says.
"The objective of the school is to take unemployed young people and offer them training so they can become seasoned artists, so they can have contracts, travel and live from their art."
Antonio Guterres said in a video message Wednesday launching a policy briefing on "The Impact of COVID-19 in Africa” that countries on the continent have responded swiftly to the crisis, "and as of now reported cases are lower than feared,” with more than 2,500 deaths.
While countries around the world contend with the health emergency of the COVID-19 pandemic, another major fallout — poverty — is being largely ignored and this could lead to dangerous consequences.
As the UN-led Inter-Agency Task Force on Financing for Development report suggests, governments must take measures to avert debt overload and address the economic and financial havoc wrought by the pandemic.
The Mahatma Gandhi National Rural Employment Guarantee Act (MGNREGA), 2005 is a shining example of a radical and rational systemic change. It is radical because it transferred power to the poorest of the poor and enabled them to escape hunger and deprivation. It is rational because it puts money directly in the hands of those who need it most. It has proved its worth in the years it has been in existence, even enduring six years of a hostile government.
The families of the newborn were excited that their baby shared their special day with the country of their birth.
"I could have performed this profession abroad but I wanted to do it in Afghanistan because there are no female tattoo artists in the country," she said. "I believe it's not only men who can apply tattoos. Women can do it too."
An 18-metre "Gundam" robot that can walk and move its arms was unveiled in Japan on Monday amid hopes that it will help invigorate tourism hit by COVID-19.