Where is Burkina Faso?

Burkina Faso (formerly Upper Volta) is a landlocked Sahel country that shares borders with six nations. It lies between the Sahara desert and the Gulf of Guinea, south of the loop of the Niger River, mostly between latitudes 9° and 15°N (a small area is north of 15°), and longitudes 6°W and 3°E. The land is green in the south, with forests and fruit trees, and desert in the north. Most of central Burkina Faso lies on a savanna plateau, above sea level, with fields, brush, and scattered trees. Burkina Faso's game preserves—the most important of which are Arly, Nazinga, and W National Park—contain lions, elephants, hippopotamus, monkeys, common warthogs, and antelopes. Previously the endangered painted hunting dog, "Lycaon pictus" occurred in Burkina Faso, but, although the last sightings were made in Arli National Park, the species is considered extirpated from Burkina Faso. Tourism is not well developed.

Geography of Burkina Faso

Burkina Faso has a total area of 274,200 km, of which 273,800 km is land and 400 km water. Comparatively, it is slightly larger than New Zealand and Colorado. Its borders total 3,611 km: Benin 386 km, Ivory Coast 545 km, Ghana 602 km, Mali 1,325 km, Niger 622 km, and Togo 131 km. It has no coastline or maritime claims.

This is a list of the extreme points of Burkina Faso, the points that are farther north, south, east or west than any other location.It is made up of two major types of countryside. The larger part of the country is covered by a peneplain, which forms a gently undulating landscape with, in some areas, a few isolated hills, the last vestiges of a Precambrian massif. The southwest of the country, on the other hand, forms a sandstone massif, where the highest peak, Ténakourou, is found at an elevation of. The massif is bordered by sheer cliffs up to high. The average altitude of Burkina Faso is and the difference between the highest and lowest terrain is no greater than. Burkina Faso is therefore a relatively flat country. Its elevation extremes are a lowest point at the Mouhoun (Black Volta) River (200 m) and highest point at Tena Kourou (749 m).

The country is divided into 13 administrative regions. These regions encompass 45 provinces and 351 departments.

The country owes its former name of Upper Volta to three rivers which cross it: the Black Volta (or Mouhoun), the White Volta (Nakambé) and the Red Volta (Nazinon). The Black Volta is one of the country's only two rivers which flow year-round, the other being the Komoé, which flows to the southwest. The basin of the Niger River also drains 27% of the country's surface.

The Niger's tributaries – the Béli, the Gorouol, the Goudébo and the Dargol – are seasonal streams and flow for only four to six months a year. They still, however, can cause large floods. The country also contains numerous lakes – the principal ones are Tingrela, Bam and Dem. The country contains large ponds, as well, such as Oursi, Béli, Yomboli and Markoye. Water shortages are often a problem, especially in the north of the country.

Burkina Faso has a primarily tropical climate with two very distinct seasons. In the rainy season, the country receives between 600 and 900 millimetres (23.6 and 35.4 in) of rainfall; in the dry season, the harmattan – a hot dry wind from the Sahara – blows. The rainy season lasts approximately four months, May/June to September, and is shorter in the north of the country. Three climatic zones can be defined: the Sahel, the Sudan-Sahel, and the Sudan-Guinea. The Sahel in the north typically receives less than [13] of rainfall per year and has high temperatures,.

A relatively dry tropical savanna, the Sahel extends beyond the borders of Burkina Faso, from the Horn of Africa to the Atlantic Ocean, and borders the Sahara to its north and the fertile region of the Sudan to the South. Situated between 11°3' and 13°5' north latitude, the Sudan-Sahel region is a transitional zone with regards to rainfall and temperature. Further to the south, the Sudan-Guinea zone receives more than [13] of rain each year and has cooler average temperatures.

Burkina Faso's natural resources include manganese, limestone, marble, phosphates, pumice, salt and small deposits of gold. 21.93% of its land is arable, and 0.26% has permanent crops as of 2012. As of 2003, 250 km were irrigated. Its total renewable water resources as of 2011 were 12.5 m, with a total freshwater withdrawal of 0.72 km/yr (46% domestic, 3% industrial, 51% agricultural; this amounts to a per-capita withdrawal of 54.99 m/yr.

Burkina Faso's fauna and flora are protected in two national parks and several reserves: see List of national parks in Africa, Nature reserves of Burkina Faso.

Recurring droughts and floods are a significant natural hazard. Current environmental issues include: recent droughts and desertification severely affecting agricultural activities, population distribution, and the economy; overgrazing; soil degradation; deforestation.

Burkina Faso is party to the following international environmental agreements: Biodiversity, Climate Change, Desertification, Endangered Species, Hazardous Wastes, Marine Life Conservation, Ozone Layer Protection, Wetlands. It has signed, but not ratified, the Law of the Sea and the Nuclear Test Ban.

Burkina Faso is a small, landlocked country north of Ghana and south of Mali and Niger. Economically, it is one of the four or five poorest countries in the world. Culturally, it is extremely rich. In part this is because so few people from Burkina have become Muslim or Christian. Many of the ancient artistic traditions for which Africa is so well known have been preserved in Burkina Faso because so many people continue to honor the ancestral spirits, and the spirits of nature. In great part they honor the spirits through the use of masks and carved figures. Many of the countries to the north of Burkina Faso had become predominantly Muslim, while many of the countries to the south of Burkina Faso are heavily Christian. In contrast many of the people of Burkina Faso continue to offer prayers and sacrifices to the spirits of nature and to the spirits of their ancestors. The result is that they continue to use the sorts of art that we see in museums in Europe and America.

African art

African art describes the modern and historical paintings, sculptures, installations, and other visual culture from native or indigenous Africans and the African continent. The definition may also include the art of the native African, African diasporas, such as African American, Caribbean and other American art. Despite this diversity, there are some unifying artistic themes when considering the totality of the visual culture from the continent of Africa.

Masquerade, metalwork, sculpture, architecture, fiber art, and dance are important art forms across Africa and may be included in the study of African art. The term "African art" does not usually include the art of the North African areas along the Mediterranean coast, as such areas had long been part of different traditions. For more than a millennium, the art of such areas had formed part of Islamic art, although with many particular characteristics. The art of Ethiopia, with a long Christian tradition, is also different from that of most of Africa, where traditional African religion (with Islam in the north) was dominant until relatively recently. African art includes ancient art, Muslim art of North and West Africa, the Christian art of East Africa, and the ritualistic art of these and other regions. Most African sculpture was historically in wood and other natural materials that have not survived from earlier than, at most, a few centuries ago; older pottery figures can be found from a number of areas. Masks are important elements in the art of many peoples, along with human figures, often highly stylized. There is a vast variety of styles, often varying within the same context of origin depending on the use of the object, but wide regional trends are apparent; sculpture is most common among "groups of settled cultivators in the areas drained by the Niger and Congo rivers" in West Africa. Direct images of deities are relatively infrequent, but masks in particular are or were often made for religious ceremonies; today many are made for tourists as "airport art". Since the late 19th century there has been an increasing amount of African art in Western collections, the finest pieces of which are now prominently displayed.

African mask art has had an important influence on European Modernist art, which was inspired by their lack of concern for naturalistic depiction.

West African cultures developed bronze casting for reliefs, like the famous Benin Bronzes, to decorate palaces and for highly naturalistic royal heads from around the Bini town of Benin City, Edo State, in terracotta as well as metal, from the 12th–14th centuries. Akan goldweights are a form of small metal sculptures produced over the period 1400–1900; some apparently represent proverbs, contributing a narrative element rare in African sculpture; and royal regalia included impressive gold sculptured elements. Many West African figures are used in religious rituals and are often coated with materials placed on them for ceremonial offerings. The Mande-speaking peoples of the same region make pieces from wood with broad, flat surfaces and arms and legs shaped like cylinders. In Central Africa, however, the main distinguishing characteristics include heart-shaped faces that are curved inward and display patterns of circles and dots.

East Africans are known for Tinga Tinga paintings and Makonde sculptures. There is also tradition of producing textile art,. The culture from Great Zimbabwe left more impressive buildings than sculpture, but the eight soapstone Zimbabwe Birds appear to have had a special significance and were presumably mounted on monoliths. Modern Zimbabwean sculptors in soapstone have achieved considerable international success. Southern Africa's oldest known clay figures date from 400 to 600 AD and have cylindrical heads with a mixture of human and animal features.The study of African art until recently focused on the traditional art of certain well-known groups on the continent, with a particular emphasis on traditional sculpture, masks and other visual culture from non-Islamic West Africa, Central Africa, and Southern Africa with a particular emphasis on the 19th and 20th centuries. Recently, however, there has been a movement among African art historians and other scholars to include the visual culture of other regions and time periods. The notion is that by including all African cultures and their visual culture over time in "African art", there will be a greater understanding of the continent's visual aesthetics across time. Finally, the arts of the people of the African diaspora, in Brazil, the Caribbean and the southeastern United States, have also begun to be included in the study of African art.

African art takes many forms and is made from many different materials. Most African artworks are wood sculptures, probably because wood is a very widespread material. Jewellery is a popular art form and is used to indicate rank, affiliation with a group, or purely for aesthetics. African jewelry is made from such diverse materials as Tiger's eye stone, haematite, sisal, coconut shell, beads and ebony wood. Sculptures can be wooden, ceramic or carved out of stone like the famous Shona sculptures, and decorated or sculpted pottery comes from many regions. Various forms of textiles are made including chitenge, mud cloth and kente cloth. Mosaics made of butterfly wings or colored sand are popular in west Africa.

The Traditional African religions had been influential in African art. The very nature of African art stem from their themes of religious symbolism, functionalism and utilitarianism. In the various Traditional African beliefs, Africans draw from their artistic traditions as sources of inspiration. "These images have religio-metaphysical themes, which serve as the focal point of power, which links the African’s physical world to his beliefs on his essence and existence. Indeed the African art reflect images of ancestral spirits, and pantheons of indigenous gods and goddesses."

The origins of African art lie long before recorded history. African rock art in the Sahara in Niger preserves 6000-year-old carvings. Along with sub-Saharan Africa, the western cultural arts, ancient Egyptian paintings and artifacts, and indigenous southern crafts also contributed greatly to African art. Often depicting the abundance of surrounding nature, the art was often abstract interpretations of animals, plant life, or natural designs and shapes. The Nubian Kingdom of Kush in modern Sudan was in close and often hostile contact with Egypt, and produced monumental sculpture mostly derivative of styles that did not lead to the north. In West Africa, the earliest known sculptures are from the Nok culture which thrived between 500 BC and 500 AD in modern Nigeria, with clay figures typically with elongated bodies and angular shapes.

More complex methods of producing art were developed in sub-Saharan Africa around the 10th century, some of the most notable advancements include the bronzework of Igbo Ukwu and the terracottas and metalworks of Ile Ife Bronze and brass castings, often ornamented with ivory and precious stones, became highly prestigious in much of West Africa, sometimes being limited to the work of court artisans and identified with royalty, as with the Benin Bronzes.

During and after the 19th and 20th century colonial period, Westerners long characterized African art as "primitive." The term carries with it negative connotations of underdevelopment and poverty. Colonization during the nineteenth century set up a Western understanding hinged on the belief that African art lacked technical ability due to its low socioeconomic status.

At the start of the twentieth century, art historians like Carl Einstein, Michał Sobeski and Leo Frobenius published important works about the thematic, giving to African art the status of aesthetic object, not only of ethnographic object. At the same time, artists like Paul Gauguin, Pablo Picasso, Georges Braque, André Derain, Henri Matisse, Joseph Csaky, and Amedeo Modigliani became aware of, and inspired by, African art, amongst other art forms. In a situation where the established avant-garde was straining against the constraints imposed by serving the world of appearances, African art demonstrated the power of supremely well-organized forms; produced not only by responding to the faculty of sight, but also and often primarily, the faculty of imagination, emotion and mystical and religious experience. These artists saw in African art a formal perfection and sophistication unified with phenomenal expressive power. The study of and response to African art, by artists at the beginning of the twentieth century facilitated an explosion of interest in the abstraction, organisation and reorganisation of forms, and the exploration of emotional and psychological areas hitherto unseen in Western art. By these means, the status of visual art was changed. Art ceased to be merely and primarily aesthetic, but became also a true medium for philosophic and intellectual discourse, and hence more truly and profoundly aesthetic than ever before.

European architecture was strongly influenced by African art. Pioneers like Antonio Sant'Elia, Le Corbusier, Pier Luigi Nervi, Theo van Doesburg and Erich Mendelsohn were also sculptors and painters. During the 1950s, European architects transformed buildings into big-scale sculptures, replacing unnecessary decoration (so criticized by Adolf Loos), by integrating textured murals and large bas-reliefs in walls. During the 1960s, African art influenced Brutalism, both in language and symbolism, particularly in the late Le Corbusier, Oscar Niemeyer and Paul Rudolph. The powerful work of John Lautner reminds of artifacts from the Yoruba; the sensual projects of Patricio Pouchulu honour the bare wooden sculptures of the Dogon and Baoulé. Unlike Europe, African art never established boundaries between body art, painting, sculpture and architecture; thanks to this, Western architects can now extend towards different art expressions.

Traditional art describes the most popular and studied forms of African art which are typically found in museum collections.

Wooden masks, which might either be of human, animal or mythical creatures, are one of the most commonly found forms of art in western Africa. In their original contexts, ceremonial masks are used for celebrations, initiations, crop harvesting, and war preparation. The masks are worn by a chosen or initiated dancer. During the mask ceremony the dancer goes into deep trance, and during this state of mind he "communicates" with his ancestors. The masks can be worn in three different ways: vertically covering the face: as helmets, encasing the entire head, and as crest, resting upon the head, which was commonly covered by material as part of the disguise. African masks often represent a spirit and it is strongly believed that the spirit of the ancestors possesses the wearer. Most African masks are made with wood, and can be decorated with: Ivory, animal hair, plant fibers (such as raffia), pigments (like kaolin), stones, and semi-precious gems also are included in the masks.

Statues, usually of wood or ivory, are often inlaid with cowrie shells, metal studs and nails. Decorative clothing is also commonplace and comprises another large part of African art. Among the most complex of African textiles is the colorful, strip-woven Kente cloth of Ghana. Boldly patterned mudcloth is another well known technique.

Africa is home to a thriving contemporary art fine art culture. This has been understudied until recently, due to scholars' and art collectors' emphasis on traditional art. Notable modern artists include El Anatsui, Marlene Dumas, William Kentridge, Karel Nel, Kendell Geers, Yinka Shonibare, Zerihun Yetmgeta, Odhiambo Siangla, Elias Jengo, Olu Oguibe, Lubaina Himid, and Bili Bidjocka, Henry Tayali. Art bienniales are held in Dakar, Senegal, and Johannesburg, South Africa. Many contemporary African artists are represented in museum collections, and their art may sell for high prices at art auctions. Despite this, many contemporary African artists tend to have a difficult time finding a market for their work. Many contemporary African arts borrow heavily from traditional predecessors. Ironically, this emphasis on abstraction is seen by Westerners as an imitation of European and American Cubist and totemic artists, such as Pablo Picasso, Amedeo Modigliani and Henri Matisse, who, in the early twentieth century, were heavily influenced by traditional African art. This period was critical to the evolution of Western modernism in visual arts, symbolized by Picasso's breakthrough painting "Les Demoiselles d'Avignon".

Today Fathi Hassan is considered a major early representative of contemporary black African art. Contemporary African art was pioneered in the 1950s and 1960s in South Africa by artists like Irma Stern, Cyril Fradan, Walter Battiss and through galleries like the Goodman Gallery in Johannesburg. More recently European galleries like the October Gallery in London and collectors such as Jean Pigozzi, Artur Walther and Gianni Baiocchi in Rome have helped expand the interest in the subject. Numerous exhibitions at the Museum for African Art in New York and the African Pavilion at the 2007 Venice Biennale, which showcased the Sindika Dokolo African Collection of Contemporary Art, have gone a long way to countering many of the myths and prejudices that haunt Contemporary African Art. The appointment of Nigerian Okwui Enwezor as artistic director of Documenta 11 and his African centred vision of art propelled the careers of countless African artists onto the international stage.

A wide range of more-or-less traditional forms of art, or adaptations of traditional style to contemporary taste are made for sale to tourists and others, including so-called "airport art". A number of vigorous popular traditions assimilate Western influences into African styles such as the elaborate fantasy coffins in shapes such as airplanes, cars or animals of West African cities, and the banners of clubs.

Another notable contemporary African artist is Amir Nour who is a Sudanese artist currently residing in Chicago. In the 1960s he created a metal sculpture called "Grazing at Shendi (1969)" which consists of geometric shapes that connect with his memory of his homeland. The sculpture resembles grazing sheep in the distance. He valued discovering art within the society of the artist, including culture, tradition, and background.

Akan art is an art form that originated among the Akan people. Akan art is known for vibrant artistic traditions, including textiles, sculpture, Akan goldweights, as well as gold and silver jewelry. The Akan people are known for their strong connection between visual and verbal expressions and a distinctive blending of art and philosophy. Akan culture values gold above all other metals, so the artwork and jewelry made of gold reflects a great deal of value, whether it be made for appearance, artistic expression, or more practical trading purposes.

The Nok culture is an early Iron Age population whose material remains are named after the Ham village of Nok in Kaduna State of Nigeria, where their famous terracotta sculptures were first discovered in 1928. The Nok Culture appeared in northern Nigeria around 1500 BC and vanished under unknown circumstances around 500 AD, thus having lasted approximately 2,000 years.

The function of Nok terracotta sculptures remains unknown. For the most part, the terracotta is preserved in the form of scattered fragments. That is why Nok art is best known today only for the heads, both male and female, whose hairstyles are particularly detailed and refined. The statues are in fragments because the discoveries are usually made from alluvial mud, in terrain made by the erosion of water. The terracotta statues found there are hidden, rolled, polished, and broken. Rarely are works of great size conserved intact making them highly valued on the international art market. The terracotta figures are hollow, coil built, nearly life sized human heads and bodies that are depicted with highly stylized features, abundant jewelry, and varied postures.

Little is known of the original function of the pieces, but theories include ancestor portrayal, grave markers, and charms to prevent crop failure, infertility, and illness. Also, based on the dome-shaped bases found on several figures, they could have been used as finials for the roofs of ancient structures. Margaret Young-Sanchez, Associate Curator of Art of the Americas, Africa, and Oceania in The Cleveland Museum of Art, explains that most Nok ceramics were shaped by hand from coarse-grained clay and subtractively sculpted in a manner that suggests an influence from wood carving. After some drying, the sculptures were covered with slip and burnished to produce a smooth, glossy surface. The figures are hollow, with several openings to facilitate thorough drying and firing. The firing process most likely resembled that used today in Nigeria, in which the pieces are covered with grass, twigs, and leaves and burned for several hours.

As a result of natural erosion and deposition, Nok terracottas were scattered at various depths throughout the Sahel grasslands, causing difficulty in the dating and classification of the mysterious artifacts. Luckily, two archaeological sites, Samun Dukiya and Taruga, were found containing Nok art that had remained unmoved. Radiocarbon and thermo-luminescence tests narrowed the sculptures’ age down to between 2,000 and 2,500 years ago, making them some of the oldest in Western Africa. Many further dates were retrieved in the course of new archaeological excavations, extending the beginnings of the Nok tradition even further back in time.

Because of the similarities between the two sites, archaeologist Graham Connah believes that "Nok artwork represents a style that was adopted by a range of iron-using farming societies of varying cultures, rather than being the diagnostic feature of a particular human group as has often been claimed."

Benin art is the art from the Kingdom of Benin or Edo Empire (1440–1897), a pre-colonial African state located in what is now known as the South-South region of Nigeria. The Benin Bronzes are a group of more than a thousand metal plaques and sculptures that decorated the royal palace of the Kingdom of Benin in what is now modern-day Nigeria. Collectively, the objects form the best known examples of Benin art, created from the thirteenth century onwards, by the Edo people, which also included other sculptures in brass or bronze, including some famous portrait heads and smaller pieces.

In 1897 most of the plaques and other objects were taken by the British during a punitive expedition to the area as imperial control was being consolidated in Southern Nigeria. Two hundred of the pieces were taken to the British Museum, London, while the rest were purchased by other European museums. Today, a large number are held by the British Museum. Other notable collections are in Germany and the United States.

The Igbo produce a wide variety of art including traditional figures, masks, artifacts and textiles, plus works in metals such as bronze. Artworks form the Igbo have been found from as early as 9th century with the bronze artifacts found at Igbo Ukwu. Their masks are similar with the Fang ones, being white and black in about same parts.

Yoruba art is best known for the heads from Ife, made of ceramic, brass and other materials. Much of their art is associated with the royal courts. They also produced elaborate masks and doors, full of details and painted in bright colors, such as blue, yellow, red and white.

The primary ethnic groups in Mali are the Bambara (also known as Bamana) and the Dogon. Smaller ethnic groups consist of the Marka, and the Bozo fisherman of the Niger River. Ancient civilizations flourished in areas like Djene and Timbuktu, where a great variety of ancient bronze and terra-cotta figures have been unearthed.

Djenné-Djenno is famous for its figurines which depict humans and animals including snakes and horses. They are made of terracotta, a material that has been used in West Africa for some ten thousand years.

The Bambara people () adapted many artistic traditions and began to create display pieces. Before money was the main drive of creation of their artworks they used their abilities solely as a sacred craft for display of spiritual pride, religious beliefs and display of customs. Example artworks include the Bamanan'tomo mask. Other statues were created for people such as hunters and farmers so others could leave offerings after long farming seasons or group hunts. The stylistic variations in Bambara art are extreme sculptures, masks and headdresses display either stylized or realistic features, and either weathered or encrusted patinas. Until quite recently, the function of Bambara pieces was shrouded in mystery, but in the last twenty years field studies have revealed that certain types of figures and headdresses were associated with a number of the societies that structure Bambara life. During the 1970s a group of approximately twenty figures, masks and TjiWara headdresses belonging to the so-called 'Segou style' were identified. The style is distinct and recognizable by its typical flat faces, arrow-shaped noses, all-over body triangular scarifications and, on the figures, splayed hands.

There are three major and one minor type of Bambara mask. The first type, used by the N'tomo society, has a typical comb-like structure above the face, is worn during dances and may be covered with cowrie shells. The second type of mask, associated with the Komo society, has a spherical head with two antelope horns on the top and an enlarged, flattened mouth. They are used during dances, but some have a thick encrusted patina acquired during other ceremonies in which libations are poured over them.

The third type has connections with the Nama society and is carved in the form of an articulated bird's head, while the fourth, minor type, represents a stylized animal head and is used by the Kore society. Other Bambara masks are known to exist, but unlike those described above, they cannot be linked to specific societies or ceremonies. Bambara carvers have established a reputation for the zoomorphic headdresses worn by Tji-Wara society members. Although they are all different, they all display a highly abstract body, often incorporating a zig-zag motif, which represents the sun's course from east to west, and a head with two large horns. Bambara members of the Tji-Wara society wear the headdress while dancing in their fields at sowing time, hoping to increase the crop yield.

Bambara statuettes are primarily used during the annual ceremonies of the Guan society. During these ceremonies, a group of up to seven figures, measuring from 80 to 130 cm in height, are removed from their sanctuaries by the elder members of the society. The sculptures are washed, re-oiled and sacrifices are offered to them at their shrines. These figures – some of which date from between the 14th and 16th centuries – usually display a typical crested coiffure, often adorned with a talisman.

Two of these figures were ascribed great significance: a seated or standing maternity figure called Guandousou – known in the West as 'Bambara Queen' – and a male figure called Guantigui, who usually appears holding a knife. The two figures were surrounded by Guannyeni attendant figures standing or seated in various positions, holding a vessel, or a musical instrument, or their breasts. During the 1970s, numerous fakes from Bamako which were based on these sculptures entered the market. They were produced in Bamako.

Other Bambara figures, called Dyonyeni, are thought to be associated with either the southern Dyo society or the Kwore society. These female or hermaphrodite figures usually appear with geometric features such as large conical breasts and measure between 40 and 85 cm in height. The blacksmith members of the Dyo society used them during dances to celebrate the end of their initiation ceremonies. They were handled, held by dancers and placed in the middle of the ceremonial circle.

Among the corpus of Bambara figures, Boh sculptures are perhaps the best known. These statues represent a highly stylized animal or human figure, and are made of wood which is repeatedly covered in thick layers of earth impregnated with sacrificial materials such as millet, chicken or goat blood, kola nuts and alcoholic drinks. They were employed by the Kono and the Komo societies and served as receptacles for spiritual forces, and could in turn be used for apotropaic purposes.

Each special creative trait a person obtained was seen as a different way to please higher spirits.

Dogon art is primarily sculpture. Dogon art revolves around religious values, ideals, and freedoms (Laude, 19). Dogon sculptures are not made to be seen publicly, and are commonly hidden from the public eye within the houses of families, sanctuaries, or kept with the Hogon (Laude, 20). The importance of secrecy is due to the symbolic meaning behind the pieces and the process by which they are made.

Themes found throughout Dogon sculpture consist of figures with raised arms, superimposed bearded figures, horsemen, stools with caryatids, women with children, figures covering their faces, women grinding pearl millet, women bearing vessels on their heads, donkeys bearing cups, musicians, dogs, quadruped-shaped troughs or benches, figures bending from the waist, mirror-images, aproned figures, and standing figures (Laude, 46–52). Signs of other contacts and origins are evident in Dogon art. The Dogon people were not the first inhabitants of the cliffs of Bandiagara. Influence from Tellem art is evident in Dogon art because of its rectilinear designs (Laude, 24).

Dogon art is extremely versatile, although common stylistic characteristics – such as a tendency towards stylization – are apparent on the statues. Their art deals with the myths whose complex ensemble regulates the life of the individual. The sculptures are preserved in innumerable sites of worship, personal or family altars, altars for rain, altars to protect hunters, in market. As a general characterization of Dogon statues, one could say that they render the human body in a simplified way, reducing it to its essentials. Some are extremely elongated with emphasis on geometric forms. The subjective impression is one of immobility with a mysterious sense of a solemn gravity and serene majesty, although conveying at the same time a latent movement. Dogon sculpture recreates the hermaphroditic silhouettes of the Tellem, featuring raised arms and a thick patina made of blood and millet beer. The four Nommo couples, the mythical ancestors born of the god Amma, ornament stools, pillars or men's meeting houses, door locks, and granary doors. The primordial couple is represented sitting on a stool, the base of which depicts the earth while the upper surface represents the sky; the two are interconnected by the Nommo. The seated female figures, their hands on their abdomen, are linked to the fertility cult, incarnating the first ancestor who died in childbirth, and are the object of offerings of food and sacrifices by women who are expecting a child.

Kneeling statues of protective spirits are placed at the head of the dead to absorb their spiritual strength and to be their intermediaries with the world of the dead, into which they accompany the deceased before once again being placed on the shrines of the ancestors. Horsemen are remainders of the fact that, according to myth, the horse was the first animal present on earth. The Dogon style has evolved into a kind of cubism: ovoid head, squared shoulders, tapered extremities, pointed breasts, forearms, and thighs on a parallel plane, hairdos stylized by three or four incised lines. Dogon sculptures serve as a physical medium in initiations and as an explanation of the world. They serve to transmit an understanding to the initiated, who will decipher the statue according to the level of their knowledge. Carved animal figures, such as dogs and ostriches, are placed on village foundation altars to commemorate sacrificed animals, while granary doors, stools and house posts are also adorned with figures and symbols.

There are nearly eighty styles of masks, but their basic characteristic is great boldness in the use of geometric shapes, independent of the various animals they are supposed to represent. The structure of a large number of masks is based on the interplay of vertical and horizontal lines and shapes. Another large group has triangular, conic shapes. All masks have large geometric eyes and stylized features. The masks are often polychrome, but on many the color is lost; after the ceremonies they were left on the ground and quickly deteriorated because of termites and other conditions. The Dogon continue an ancient masquerading tradition, which commemorates the origin of death. According to their myths, death came into the world as a result of primeval man's transgressions against the divine order. Dama memorial ceremonies are held to accompany the dead into the ancestral realm and restore order to the universe. The performance of masqueraders – sometimes as many as 400 – at these ceremonies is considered absolutely necessary. In the case of the dama, the timing, types of masks involved, and other ritual elements are often specific to one or two villages and may not resemble those seen in locations only several kilometres distant. The masks also appear during baga-bundo rites performed by small numbers of masqueraders before the burial of a male Dogon. Dogon masks evoke the form of animals associated with their mythology, yet their significance is only understood by the highest ranking cult members whose role is to explain the meaning of each mask to a captivated audience.

One of the principal obstacles to understanding the art of Burkina Faso, including that of the Bwa,  has been a confusion between the styles of the Bwa, "gurunsi", and Mossi,  and a confusion of the Bwa people  with their neighbors to the west the Bobo people.  This confusion was the result of the use by French colonial officers of Jula  interpreters at the turn of the century.  these interpreters considered the two peoples to be the same and so referred to the Bobo as "Bobo-Fing" and to the Bwa as "Bobo-Oule."   In fact these two peoples are not related at all. Their languages are quite different, their social systems are quite different,  and certainly their art is quite different. In terms of artistic styles the confusion stems from the fact that the Bwa, "gurunsi'" and Mossi  make masks that are covered with red white and black geometric graphic patterns.  This is simply the style of the Voltaic or Gur peoples,  and also includes the Dogon and other peoples who speak Voltaic languages.

The Fang people make masks and basketry, carvings, and sculptures. Fang art is characterized by organized clarity and distinct lines and shapes. Bieri, boxes to hold the remains of ancestors, are carved with protective figures. Masks are worn in ceremonies and for hunting. The faces are painted white with black features. Myene art centers around Myene rituals for death. Female ancestors are represented by white painted masks worn by the male relatives. The Bekota use brass and copper to cover their carvings. They use baskets to hold ancestral remains. Tourism is rare in Gabon, and unlike in other African countries, art is not spurred on by commerce.

The Baoulé, the Senoufo and the Dan peoples are skilled at carving wood and each culture produces wooden masks in wide variety. The Ivorian people use masks to represent animals in caricature to depict deities, or to represent the souls of the departed.

As the masks are held to be of great spiritual power, it is considered a taboo for anyone other than specially trained persons or chosen ones to wear or possess certain masks. These ceremonial masks are each thought to have a soul, or life force, and wearing these masks is thought to transform the wearer into the entity the mask represents.

Ivory Coast also has modern painters and illustrators. Gilbert G. Groud criticizes the ancient beliefs in black magic, as held with the spiritual masks mentioned above, in his illustrated book "Magie Noire".

Kenyan art has changed much in the post colonial years. Painters emerged in the 1950s after training in Makerere University College; they include such artists as Elimo Njau Elizabeth Karuga and Asaph Ngethe Macua. The 1970s saw the self-taught African painters mostly inspired by the demand for original African paintings. These include the Ancient Soi, and Moses Gichuiri. Kenyatta University also produced artists but more so taught in western art styles of painting. Among these include John Dianga and Moses Gichuiri. Others include the late Dr. Sylvester Maina, Stephen Mayienga and others.
The 1980s produced many contemporary artists. From Teachers Training colleges came Stephen Mbatia, Rix Butama, Shake Makelele, and Meube to name but a few. From the University of Nairobi School of Fine Art and Design came the following artists: Bulinya Martins and Sarah Shiundu. The two by virtue of having learned many basic techniques in design are highly innovative both in style, use of color and execution. Unlike most contemporary Kenyan artist they paint using oils, acrylics and watercolors and/or combination.
Pure abstract art is rare in Kenya. Most artists paint semi-abstract with distorted human figures. The initial paintings by Bulinya Martins were a combination of cubism and original African abstractions. The late Mainga's abstractions were 2D and highly embellished on leather. As for material, the use of Acrylics and oil is more frequent than watercolors. Oil paint is by far the preferred medium today and it lasts much longer.
The art items in Kenya include sisal baskets, elephant hair bracelets, Maasai bead jewelry, musical instruments, silver and gold jewelry, soapstone sculptures, wooden carvings, tribal masks, Maasai figurines, paintings, prints and sculptures. These art items are available in the arts and craft markets and shops throughout the main tourist centers of Kenya.

Cloth in Kenya also represents interesting art, with batik cloth, kangas (women's wraparound skirts) with patterns and even Kenyan proverbs printed on them and kikois (type of sarong for men) that come in many different colors and textiles. Kenya offers African jewelry containing cowry shells, and soapstone carvings from Western Kenya, carved by the Gusii and Abagusii ethnic groups in Kisii stone.

The Eskenazi Museum of Art at Indiana University has a large collection of traditional art objects from Kenya including jewelry, containers, weapons, walking sticks, headrests, stools, utensils, and other objects available online.

Ethiopian art from the 4th century until the 20th can be divided into two broad groupings. First comes a distinctive tradition of Christian art, mostly for churches, in forms including painting, crosses, icons, illuminated manuscripts, and other metalwork such as crowns. Secondly there are popular arts and crafts such as textiles, basketry and jewellery, in which Ethiopian traditions are closer to those of other peoples in the region. Its history goes back almost three thousand years to the kingdom of D'mt. The Ethiopian Orthodox Tewahedo Church has been the predominant religion in Ethiopia for over 1500 years, for most of this period in a very close relation, or union, with the Coptic Christianity of Egypt, so that Coptic art has been the main formative influence on Ethiopian church art.
Prehistoric rock art comparable to that of other African sites survives in a number of places, and until the arrival of Christianity stone stelae, often carved with simple reliefs, were erected as grave-markers and for other purposes in many regions; Tiya is one important site. The "pre-Axumite" Iron Age culture of about the 5th century BCE to the 1st century CE was influenced by the Kingdom of Kush to the north, and settlers from Arabia, and produced cities with simple temples in stone, such as the ruined one at Yeha, which is impressive for its date in the 4th or 5th century BCE.

The powerful Kingdom of Aksum emerged in the 1st century BCE and dominated Ethiopia until the 10th century, having become very largely Christian from the 4th century. Although some buildings and large, pre-Christian stelae exist, there appears to be no surviving Ethiopian Christian art from the Axumite period. However the earliest works remaining show a clear continuity with Coptic art of earlier periods. There was considerable destruction of churches and their contents in the 16th century when the country was invaded by Muslim neighbours. The revival of art after this was influenced by Catholic European art in both iconography and elements of style, but retained its Ethiopian character. In the 20th century, Western artists and architects began to be commissioned by the government, and to train local students, and more fully Westernized art was produced alongside continuations of traditional church art.

Church paintings in Ethiopia were likely produced as far back as the introduction of Christianity in the 4th century AD, although the earliest surviving examples come from the church of Debre Selam Mikael in the Tigray Region, dated to the 11th century AD. However, the 7th-century AD followers of the Islamic prophet Muhammad who fled to Axum in temporary exile mentioned that the original Church of Our Lady Mary of Zion was decorated with paintings. Other early paintings include those from the rock-hewn churches of Lalibela, dated to the 12th century AD, and in nearby Geneta Maryam, dated to the 13th century AD. However, paintings in illuminated manuscripts predate the earliest surviving church paintings; for instance, the Ethiopian Garima Gospels of the 4th–6th centuries AD contain illuminated scenes imitating the contemporary Byzantine style.

Ethiopian painting, on walls, in books, and in icons, is highly distinctive, though the style and iconography are closely related to the simplified Coptic version of Late Antique and Byzantine Christian art. From the 16th century, Roman Catholic church art and European art in general began to exert some influence. However, Ethiopian art is highly conservative and retained much of its distinct character until modern times. The production of illuminated manuscripts for use continued up to the present day.

Another important form of Ethiopian art, also related to Coptic styles, are crosses made from wood and metal. They are usually copper alloy or brass, plated (at least originally) with gold or silver. The heads are typically flat cast plates with elaborate and complex openwork decoration. The cross motif emerges from the decoration, with the whole design often forming a rotated square or circular shape, though the designs are highly varied and inventive. Many incorporate curved motifs rising from the base, which are called the "arms of Adam". Except in recent Western-influenced examples, they usually have no "corpus", or figure of Christ, and the design often incorporates numerous smaller crosses. Engraved figurative imagery has sometimes been added. Crosses are mostly either processional crosses, with the metal head mounted on a long wooden staff, carried in religious processions and during the liturgy, or hand crosses, with a shorter metal handle in the same casting as the head. Smaller crosses worn as jewellery are also common.

Ethiopia has great ethnic and linguistic diversity, and styles in secular traditional crafts vary greatly in different parts of the country. There are a range of traditions in textiles, many with woven geometric decoration, although many types are also usually plain. Ethiopian church practices make a great deal of use of colourful textiles, and the more elaborate types are widely used as church vestments and as hangings, curtains and wrappings in churches, although they have now largely been supplanted by Western fabrics. Examples of both types can be seen in the picture at the top of the article. Icons may normally be veiled with a semi-transparent or opaque cloth; very thin chiffon-type cotton cloth is a speciality of Ethiopia, though usually with no pattern.

Colourful basketry with a coiled construction is common in rural Ethiopia. The products have many uses, such as storing grains, seeds and food and being used as tables and bowls. The Muslim city of Harar is well known for its high quality basketry, and many craft products of the Muslim minority relate to wider Islamic decorative traditions.

Tinga Tinga art has roots in decorating hut walls in central and south Tanzania. It was first in 1968 when Edward Said Tingatinga started to paint on wooden sheets with enamel colours when Tinga Tinga art became known. The art of the Makonde must be subdivided into different areas. The Makonde are known as master carvers throughout East Africa, and their statuary that can be found being sold in tourist markets and in museums alike. They traditionally carve household objects, figures and masks. Since the 1950s years the socalled Modern Makonde Art has been developed. An essential step was the turning to abstract figures, mostly spirits (Shetani) that play a special role. Makonde are also part of the important contemporary artists of Africa today. An outstanding position is taken by George Lilanga.

The Kuba Kingdom (also rendered as the Kingdom of the Bakuba, Songora or Bushongo) was a pre-colonial kingdom in Central Africa. The Kuba Kingdom flourished between the 17th and 19th centuries in the region bordered by the Sankuru, Lulua, and Kasai rivers in the south-east of the modern-day Democratic Republic of the Congo. A great deal of the art was created for the courts of chiefs and kings and was profusely decorated, incorporating cowrie shells and animal skins (especially leopard) as symbols of wealth, prestige and power. Masks are also important to the Kuba. They are used both in the rituals of the court and in the initiation of boys into adulthood, as well as at funerals.

The Kingdom of Luba or Luba Empire (1585–1889) was a pre-colonial Central African state that arose in the marshy grasslands of the Upemba Depression in what is now southern Democratic Republic of Congo. Today, the Luba people or baLuba are an ethno-linguistic group indigenous to the south-central region of the Democratic Republic of the Congo. Majority of them live in this country, residing mainly in its Katanga, Kasai, and Maniema provinces.

As in the Kuba Kingdom, the Luba Kingdom held the arts in high esteem. A carver held relatively high status, which was displayed by an adze (axe) that he carried over his shoulder. Luba art was not very uniform because of the vast territory which the kingdom controlled. However, some characteristics are common. The important role of woman in the creation myths and political society resulted in many objects of prestige being decorated with female figures.

The Sao civilisation flourished in Middle Africa from circa the sixth century BC to as late as the sixteenth century AD, and lived by the Chari River around Lake Chad in territory that later became part of Cameroon and Chad. Their most important artworks are the terraotta figurines. These figurines represent humans and animals. Other kinds of artifacts show that the Saos were skilled workers in bronze, copper, and iron.

In the northern part of Botswana, women in the villages of Etsha and Gumare are noted for their skill at crafting baskets from Mokola Palm and local dyes. The baskets are generally woven into three types: large, lidded baskets used for storage large, open baskets for carrying objects on the head or for winnowing threshed grain, and smaller plates for winnowing pounded grain. The artistry of these baskets is being steadily enhanced through color use and improved designs as they are increasingly produced for commercial use.

The oldest evidence ancient paintings from both Botswana and South Africa. Depictions of hunting, both animal and human figures were made by the San people dating before civilization over 20,000 years old within the Kalahari desert.

Kingdom of Mapungubwe (1075–1220) was a pre-colonial state in Southern Africa located at the confluence of the Shashe and Limpopo rivers, south of Great Zimbabwe. The most famous Mapungubwe artwork is a tiny golden rhino, known as the golden rhinoceros of Mapungubwe. In other graves from Mapengubwe were found objects made of iron, gold, copper, ceramic and glass beads.

Persisting for 3,000 years and thirty dynasties, the "official" art of Ancient Egypt was centred on the state religion of the time. The art ranged from stone carvings of both massive statues and small statuettes, to wall art that depicted both history and mythology. In 2600 BC the maturity of Egyptian carving reached a peak it did not reach again for another 1,500 years during the reign of Rameses II.

A lot of the art possesses a certain stiffness, with figures poised upright and rigid in a regal fashion. Bodily proportions also appear to be mathematically derived, giving rise to a sense of fantastic perfection in the figures depicted. This most likely was used to reinforce the godliness of the ruling caste.
Modern African art website - Change African Art website

Burkina Faso (, ; ) is a landlocked country in West Africa. It covers an area of around and is surrounded by six countries: Mali to the north; Niger to the east; Benin to the southeast; Togo and Ghana to the south; and Ivory Coast to the southwest. The July 2018 population estimate by the United Nations was 19,751,651. Burkina Faso is a francophone country, with French as the official language of government and business. Roughly 40% of the population speaks the Mossi language. Formerly called the Republic of Upper Volta (1958–1984), the country was renamed "Burkina Faso" on 4 August 1984 by then-President Thomas Sankara. Its citizens are known as "Burkinabé" ( ). Its capital is Ouagadougou.

Burkina Faso

The Republic of Upper Volta was established on 11 December 1958 as a self-governing colony within the French Community, and on 5 August 1960 it gained full independence, with Maurice Yaméogo as President. After protests by students and labour unions, Yaméogo was deposed in the 1966 coup d'état, led by Sangoulé Lamizana, who became President. His rule coincided with the Sahel drought and famine, and facing problems from the country's traditionally powerful trade unions he was deposed in the 1980 coup d'état, led by Saye Zerbo. Encountering resistance from trade unions again, Zerbo's government was overthrown in the 1982 coup d'état, led by Jean-Baptiste Ouédraogo. The leader of the leftist faction of Ouédraogo's government, Thomas Sankara, became Prime Minister but was later imprisoned. Efforts to free him led to the popularly-supported 1983 coup d'état, in which he became President. Sankara renamed the country Burkina Faso and launched an ambitious socioeconomic programme which included a nationwide literacy campaign, land redistribution to peasants, railway and road construction and the outlawing of female genital mutilation, forced marriages and polygamy. Sankara was overthrown and killed in the 1987 coup d'état led by Blaise Compaoré – deteriorating relations with former coloniser France and its ally the Ivory Coast were the reason given for the coup.

In 1987, Blaise Compaoré became President and, after an alleged 1989 coup attempt, was later elected in 1991 and 1998, elections which were boycotted by the opposition and received a considerably low turnout, as well as in 2005. He remained head of state until he was ousted from power by the popular youth upheaval of 31 October 2014, after which he exiled to the Ivory Coast. Michel Kafando subsequently became the transitional President of the country. On 16 September 2015, a military coup d'état against the Kafando government was carried out by the Regiment of Presidential Security, the former presidential guard of Compaoré. On 24 September 2015, after pressure from the African Union, ECOWAS and the armed forces, the military junta agreed to step down, and Michel Kafando was reinstated as Acting President. In the general election held on 29 November 2015, Roch Marc Christian Kaboré won in the first round with 53.5% of the vote and was sworn in as President on 29 December 2015.

The 2018 CIA World Factbook provides this summary of the issues facing Burkina Faso. "The country experienced terrorist attacks in its capital in 2016, 2017 and 2018, and continues to mobilize resources to counter terrorist threats". In 2018, several governments were warning their citizens not to travel into the northern part of the country and into several provinces in the East Region. The CIA report also states that "Burkina Faso's high population growth, recurring drought, pervasive and perennial food insecurity, and limited natural resources result in poor economic prospects for the majority of its citizens". The report is optimistic in some aspects, particularly concerning activities being done with assistance by the International Monetary Fund. "A new three-year IMF program (2018–2020), approved in 2018, will allow the government to reduce the budget deficit and preserve critical spending on social services and priority public investments".

Formerly called the Republic of Upper Volta, the country was renamed "Burkina Faso" on 4 August 1984 by then-President Thomas Sankara. The words "Burkina" and "Faso" both stem from different languages spoken in the country: "Burkina" comes from Mossi and means "upright", showing how the people are proud of their integrity, while "Faso" comes from the Dyula language and means "fatherland" (lit. "father's house"). The "bè" suffix added onto "Burkina" to form the demonym "Burkinabè" comes from the Fula language and means "men or women". The CIA summarizes the etymology as "name translates as "Land of the Honest (Incorruptible) Men".

The French colony of Upper Volta was named for its location on the upper courses of the Volta River (the Black, Red and White Volta).

The northwestern part of present-day Burkina Faso was populated by hunter-gatherers from 14000 BC to 5000 BC. Their tools, including scrapers, chisels and arrowheads, were discovered in 1973 through archaeological excavations. Agricultural settlements were established between 3600 and 2600 BC. The Bura culture was an Iron-Age civilization centred in the southwest portion of modern-day Niger and in the southeast part of contemporary Burkina Faso. Iron industry, in smelting and forging for tools and weapons, had developed in Sub-Saharan Africa by 1200 BC. From the 3rd to the 13th centuries AD, the Iron Age Bura culture existed in the territory of present-day southeastern Burkina Faso and southwestern Niger. Various ethnic groups of present-day Burkina Faso, such as the Mossi, Fula and Dyula, arrived in successive waves between the 8th and 15th centuries. From the 11th century, the Mossi people established several separate kingdoms. In the 1890s, during the European Scramble for Africa, the territory of Burkina Faso was invaded by France, and colonial control was established following a war of conquest between 1896 and 1904. The territory was made part of French West Africa in 1904, and the colony of French Upper Volta was established on 1 March 1919. The colony was named for its location on the upper courses of the Volta River (the Black, Red and White Volta).

Historians began to debate about the exact dates when Burkina Faso's many ethnic groups arrived to the area. The Proto-Mossi arrived in the far Eastern part of what is today Burkina Faso sometime between the 8th and 11th centuries, the Samo arrived around the 15th century, the Dogon lived in Burkina Faso's north and northwest regions until sometime in the 15th or 16th centuries, and many of the other ethnic groups that make up the country's population arrived in the region during this time.

During the Middle Ages the Mossi established several separate kingdoms including those of Tenkodogo, Yatenga, Zandoma, and Ouagadougou. Sometime between 1328 and 1338 Mossi warriors raided Timbuktu but the Mossi were defeated by Sonni Ali of Songhai at the Battle of Kobi in Mali in 1483.

During the early 16th century the Songhai conducted many slave raids into what is today Burkina Faso. During the 18th century the Gwiriko Empire was established at Bobo Dioulasso and ethnic groups such as the Dyan, Lobi, and Birifor settled along the Black Volta.

Starting in the early 1890s a series of British, French and German military officers made attempts to claim parts of what is today Burkina Faso. At times these colonialists and their armies fought the local peoples; at times they forged alliances with them and made treaties. The colonialist officers and their home governments also made treaties amongst themselves. Through a complex series of events what is Burkina Faso eventually became a French protectorate in 1896.

The eastern and western regions, where a standoff against the forces of the powerful ruler Samori Ture complicated the situation, came under French occupation in 1897. By 1898, the majority of the territory corresponding to Burkina Faso was nominally conquered; however, French control of many parts remained uncertain.

The Franco-British Convention of 14 June 1898 created the country's modern borders. In the French territory, a war of conquest against local communities and political powers continued for about five years. In 1904, the largely pacified territories of the Volta basin were integrated into the Upper Senegal and Niger colony of French West Africa as part of the reorganization of the French West African colonial empire. The colony had its capital in Bamako.

The language of colonial administration and schooling became French. The public education system started from humble origins. Advanced education was provided for many years during the colonial period in Dakar.

Draftees from the territory participated in the European fronts of World War I in the battalions of the Senegalese Rifles. Between 1915 and 1916, the districts in the western part of what is now Burkina Faso and the bordering eastern fringe of Mali became the stage of one of the most important armed oppositions to colonial government: the Volta-Bani War.

The French government finally suppressed the movement but only after suffering defeats. It also had to organize its largest expeditionary force of its colonial history to send into the country to suppress the insurrection. Armed opposition wracked the Sahelian north when the Tuareg and allied groups of the Dori region ended their truce with the government.
French Upper Volta was established on 1 March 1919. The French feared a recurrence of armed uprising and had related economic considerations. To bolster its administration, the colonial government separated the present territory of Burkina Faso from Upper Senegal and Niger.

The new colony was named "Haute Volta," and François Charles Alexis Édouard Hesling became its first governor. Hesling initiated an ambitious road-making program to improve infrastructure and promoted the growth of cotton for export. The cotton policy – based on coercion – failed, and revenue generated by the colony stagnated. The colony was dismantled on 5 September 1932, being split between the French colonies of Ivory Coast, French Sudan and Niger. Ivory Coast received the largest share, which contained most of the population as well as the cities of Ouagadougou and Bobo-Dioulasso.

France reversed this change during the period of intense anti-colonial agitation that followed the end of World War II. On 4 September 1947, it revived the colony of Upper Volta, with its previous boundaries, as a part of the French Union. The French designated its colonies as departments of metropolitan France on the European continent.

On 11 December 1958 the colony achieved self-government as the Republic of Upper Volta; it joined the Franco-African Community. A revision in the organization of French Overseas Territories had begun with the passage of the Basic Law (Loi Cadre) of 23 July 1956. This act was followed by reorganization measures approved by the French parliament early in 1957 to ensure a large degree of self-government for individual territories. Upper Volta became an autonomous republic in the French community on 11 December 1958. Full independence from France was received in 1960.

The Republic of Upper Volta () was established on 11 December 1958 as a self-governing colony within the French Community. The name "Upper Volta" related to the nation's location along the upper reaches of the Volta River. The river's three tributaries are called the Black, White and Red Volta. These were expressed in the three colors of the former national flag.

Before attaining autonomy, it had been French Upper Volta and part of the French Union. On 5 August 1960, it attained full independence from France. The first president, Maurice Yaméogo, was the leader of the Voltaic Democratic Union (UDV). The 1960 constitution provided for election by universal suffrage of a president and a national assembly for five-year terms. Soon after coming to power, Yaméogo banned all political parties other than the UDV. The government lasted until 1966. After much unrest, including mass demonstrations and strikes by students, labor unions, and civil servants, the military intervened.

The 1966 military coup deposed Yaméogo, suspended the constitution, dissolved the National Assembly, and placed Lt. Col. Sangoulé Lamizana at the head of a government of senior army officers. The army remained in power for four years. On 14 June 1976, the Voltans ratified a new constitution that established a four-year transition period toward complete civilian rule. Lamizana remained in power throughout the 1970s as president of military or mixed civil-military governments. Lamizana's rule coincided with the beginning of the Sahel drought and famine which had a devastating impact on Upper Volta and neighboring countries. After conflict over the 1976 constitution, a new constitution was written and approved in 1977. Lamizana was re-elected by open elections in 1978.

Lamizana's government faced problems with the country's traditionally powerful trade unions, and on 25 November 1980, Col. Saye Zerbo overthrew President Lamizana in a bloodless coup. Colonel Zerbo established the Military Committee of Recovery for National Progress as the supreme governmental authority, thus eradicating the 1977 constitution.

Colonel Zerbo also encountered resistance from trade unions and was overthrown two years later by Maj. Dr. Jean-Baptiste Ouédraogo and the Council of Popular Salvation (CSP) in the 1982 Upper Voltan coup d'état. The CSP continued to ban political parties and organizations, yet promised a transition to civilian rule and a new constitution.

Infighting developed between the right and left factions of the CSP. The leader of the leftists, Capt. Thomas Sankara, was appointed prime minister in January 1983, but subsequently arrested. Efforts to free him, directed by Capt. Blaise Compaoré, resulted in a military coup d'état on 4 August 1983.

The coup brought Sankara to power and his government began to implement a series of revolutionary programs which included mass-vaccinations, infrastructure improvements, the expansion of women's rights, encouragement of domestic agricultural consumption and anti-desertification projects.

On 4 August 1984, on President Sankara's initiative, the country's name was changed from Upper Volta to Burkina Faso or "land of the honest men"; (the literal translation is "land of the upright men".)
Sankara's government formed the National Council for the Revolution (CNR), with Sankara as its president, and established popular Committees for the Defense of the Revolution (CDRs). The Pioneers of the Revolution youth programme was also established.

Sankara launched an ambitious socioeconomic programme for change, one of the largest ever undertaken on the African continent. His foreign policies were centred on anti-imperialism, his government denying all foreign aid, pushing for odious debt reduction, nationalising all land and mineral wealth and averting the power and influence of the International Monetary Fund (IMF) and World Bank. His domestic policies included a nationwide literacy campaign, land redistribution to peasants, railway and road construction and the outlawing of female genital mutilation, forced marriages and polygamy.

Sankara pushed for agrarian self-sufficiency and promoted public health by vaccinating 2,500,000 children against meningitis, yellow fever, and measles. His national agenda also included planting over 10,000,000 trees to halt the growing desertification of the Sahel. Sankara called on every village to build a medical dispensary and had over 350 communities build schools with their own labour.

On 15 October 1987, Sankara, along with twelve other officials, was killed in a coup d'état organized by Blaise Compaoré, Sankara's former colleague and Burkina Faso's president until October 2014. After the coup and although Sankara was known to be dead, some CDRs mounted an armed resistance to the army for several days. A majority of Burkinabé citizens hold that France's foreign ministry, the Quai d'Orsay, was behind Compaoré in organizing the coup.

Deterioration in relations with neighbouring countries was one of the reasons given by Compaoré for the coup. Compaoré argued that Sankara had jeopardised foreign relations with the former colonial power France and neighbouring Ivory Coast. Following the coup Compaoré immediately reversed the nationalizations, overturned nearly all of Sankara's policies, returned the country back into the IMF fold, and ultimately spurned most of Sankara's legacy. Following an alleged coup attempt in 1989, limited democratic reforms were introduced in 1990 by Compaoré. Under the new constitution, Compaoré was re-elected without opposition in 1991. In 1998 Compaoré won election in a landslide. In 2004, 13 people were tried for plotting a coup against President Compaoré and the coup's alleged mastermind was sentenced to life imprisonment., Burkina Faso remains one of the least developed countries in the world.

Compaoré's government had played the role of negotiator in several West-African disputes including the 2010–11 Ivorian crisis, the Inter-Togolese Dialogue, and the 2012 Malian Crisis.

Between February and April 2011, the death of a schoolboy provoked protests throughout the country, coupled with a military mutiny and a magistrates' strike.

Starting on 28 October 2014 protesters began to march and demonstrate in Ouagadougou against President Blaise Compaoré who appeared ready to amend the constitution and extend his 27-year rule. On 30 October, some protesters set fire to the parliament and took over the national TV headquarters. Ouagadougou International Airport was closed and MPs suspended the vote on changing the constitution to allow Compaoré to stand for re-election in 2015. Later in the day, the military dissolved all government institutions and set a curfew.

On 31 October 2014, President Compaoré, facing mounting pressure, resigned after 27 years in office. Lt. Col. Isaac Zida said that he would lead the country during its transitional period before the planned 2015 presidential election but there were concerns over his close ties to the former president. In November 2014 opposition parties, civil society groups and religious leaders adopted a plan for a transitional authority to guide Burkina Faso to elections. Under the plan Michel Kafando was made the transitional President of Burkina Faso and Lt. Col. Zida became the acting Prime Minister and Defense Minister.

In September 2015, the Regiment of Presidential Security (RSP) seized the country's president and prime minister, and declared the National Council for Democracy the new national government. However, on 22 September 2015, the coup leader, Gilbert Diendéré, apologized and promised to restore the civilian government. On 23 September 2015, the prime minister and interim president were restored to power.

General elections were held in Burkina Faso on 29 November 2015. Roch Marc Christian Kaboré won the election in the first round with 53.5% of the vote, defeating businessman Zéphirin Diabré who took 29.7%. Kaboré was sworn in as President on 29 December 2015.

With French help, Blaise Compaoré seized power in a coup d'état in 1987. He overthrew his long-time friend and ally Thomas Sankara, who was killed in the coup.

The constitution of 2 June 1991 established a semi-presidential government: its parliament could be dissolved by the President of the Republic, who was to be elected for a term of seven years. In 2000, the constitution was amended to reduce the presidential term to five years and set term limits to two, preventing successive re-election. The amendment took effect during the 2005 elections. If passed beforehand, it would have prevented Compaoré from being reelected.

Other presidential candidates challenged the election results. But in October 2005, the constitutional council ruled that, because Compaoré was the sitting president in 2000, the amendment would not apply to him until the end of his second term in office. This cleared the way for his candidacy in the 2005 election. On 13 November 2005, Compaoré was reelected in a landslide, because of a divided political opposition.

In the 2010 Presidential elections, President Compaoré was re-elected. Only 1.6 million Burkinabés voted, out of a total population 10 times that size.

The 2011 Burkinabè protests were a series of popular protests that called for the resignation of Compaoré, democratic reforms, higher wages for troops and public servants and economic freedom. As a result, governors were replaced and wages for public servants were raised.

The parliament consisted of one chamber known as the National Assembly which had 111 seats with members elected to serve five-year terms. There was also a constitutional chamber, composed of ten members, and an economic and social council whose roles were purely consultative. The 1991 constitution created a bicameral parliament but the upper house (Chamber of Representatives) was abolished in 2002.

The Compaoré administration had worked to decentralize power by devolving some of its powers to regions and municipal authorities. But the widespread distrust of politicians and lack of political involvement by many residents complicated this process. Critics described this as a hybrid decentralisation.

Political freedoms are severely restricted in Burkina Faso. Human rights organizations had criticised the Compaoré administration for numerous acts of state-sponsored violence against journalists and other politically active members of society.

In mid-September 2015 the Kafando government, along with the rest of the post-October 2014 political order, was temporarily overthrown in a coup attempt by the Regiment of Presidential Security (RSP). They installed Gilbert Diendéré as chairman of the new National Council for Democracy. On 23 September 2015, the prime minister and interim president were restored to power. The national elections were subsequently rescheduled for 29 November.

Kaboré won the election in the first round of voting, receiving 53.5% of the vote against 29.7% for the second place candidate, Zephirin Diabré. He was sworn in as President on 29 December 2015. The BBC described the president as a "French-educated banker... [who] sees himself as a social democrat, and has pledged to reduce youth unemployment, improve education and healthcare, and make health provision for children under six free of charge".

The prime minister is head of government and is appointed by the president with the approval of the National Assembly. He is responsible for recommending a cabinet for appointment by the president. Paul Kaba Thieba was appointed PM in early 2016.

According to a World Bank Report in late 2018, the political climate was stable; the government was facing "social discontent marked by major strikes and protests, organized by unions in several economic sectors, to demand salary increases and social benefits... and increasingly frequent jihadist attacks". The next elections would be held in 2020.

In 2015, Kaboré promised to revise the 1991 constitution. The revision was completed in 2018. One condition prevents any individual from serving as president for more than ten years either consecutively or intermittently and provides a method for impeaching a president. A referendum on the constitution for the Fifth Republic was scheduled for March 24, 2019.

Certain rights are also enshrined in the revised wording: access to drinking water, to decent housing and a recognition of the right to civil disobedience, for example. The referendum was required because the opposition parties in Parliament refused to sanction the proposed text.

Burkina Faso is a member of the African Union, G5 Sahel, Community of Sahel-Saharan States, La Francophonie, Organisation of Islamic Cooperation, Economic Community of West African States, and United Nations.

The army consists of some 6,000 men in voluntary service, augmented by a part-time national People's Militia composed of civilians between 25 and 35 years of age who are trained in both military and civil duties. According to "Jane's Sentinel Country Risk Assessment", Burkina Faso's Army is undermanned for its force structure and poorly equipped, but has wheeled light-armour vehicles, and may have developed useful combat expertise through interventions in Liberia and elsewhere in Africa.

In terms of training and equipment, the regular Army is believed to be neglected in relation to the élite Regiment of Presidential Security ( – RSP). Reports have emerged in recent years of disputes over pay and conditions. There is an air force with some 19 operational aircraft, but no navy, as the country is landlocked. Military expenses constitute approximately 1.2% of the nation's GDP.

In April 2011, there was an army mutiny; the president named new chiefs of staff, and a curfew was imposed in Ouagadougou.

Burkina Faso employs numerous police and security forces, generally modeled after organizations used by French police. France continues to provide significant support and training to police forces. The "Gendarmerie Nationale" is organized along military lines, with most police services delivered at the brigade level. The Gendarmerie operates under the authority of the Minister of Defence, and its members are employed chiefly in the rural areas and along borders.

There is a municipal police force controlled by the Ministry of Territorial Administration; a national police force controlled by the Ministry of Security; and an autonomous Regiment of Presidential Security ("Régiment de la Sécurité Présidentielle", or RSP), a 'palace guard' devoted to the protection of the President of the Republic. Both the gendarmerie and the national police are subdivided into both administrative and judicial police functions; the former are detailed to protect public order and provide security, the latter are charged with criminal investigations.

All foreigners and citizens are required to carry photo ID passports, or other forms of identification or risk a fine, and police spot identity checks are commonplace for persons traveling by auto, bush-taxi, or bus.

Burkina Faso lies mostly between latitudes 9° and 15°N (a small area is north of 15°), and longitudes 6°W and 3°E.

It is made up of two major types of countryside. The larger part of the country is covered by a peneplain, which forms a gently undulating landscape with, in some areas, a few isolated hills, the last vestiges of a Precambrian massif. The southwest of the country, on the other hand, forms a sandstone massif, where the highest peak, Ténakourou, is found at an elevation of. The massif is bordered by sheer cliffs up to high. The average altitude of Burkina Faso is and the difference between the highest and lowest terrain is no greater than. Burkina Faso is therefore a relatively flat country.

The country owes its former name of Upper Volta to three rivers which cross it: the Black Volta (or "Mouhoun"), the White Volta ("Nakambé") and the Red Volta ("Nazinon"). The Black Volta is one of the country's only two rivers which flow year-round, the other being the Komoé, which flows to the southwest. The basin of the Niger River also drains 27% of the country's surface.

The Niger's tributaries – the Béli, Gorouol, Goudébo, and Dargol – are seasonal streams and flow for only four to six months a year. They still can flood and overflow, however. The country also contains numerous lakes – the principal ones are Tingrela, Bam, and Dem. The country contains large ponds, as well, such as Oursi, Béli, Yomboli, and Markoye. Water shortages are often a problem, especially in the north of the country.

The country is divided into 13 administrative regions. These regions encompass 45 provinces and 301 departments. Each region is administered by a governor.

Burkina Faso has a primarily tropical climate with two very distinct seasons. In the rainy season, the country receives between of rainfall; in the dry season, the harmattan – a hot dry wind from the Sahara – blows. The rainy season lasts approximately four months, May/June through September, and is shorter in the north of the country. Three climatic zones can be defined: the Sahel, the Sudan-Sahel, and the Sudan-Guinea. The Sahel in the north typically receives less than of rainfall per year and has high temperatures,.

A relatively dry tropical savanna, the Sahel extends beyond the borders of Burkina Faso, from the Horn of Africa to the Atlantic Ocean, and borders the Sahara to its north and the fertile region of the Sudan to the South. Situated between 11°3' and 13°5' north latitude, the Sudan-Sahel region is a transitional zone with regards to rainfall and temperature. Further to the south, the Sudan-Guinea zone receives more than of rain each year and has cooler average temperatures.

Burkina Faso's natural resources include gold, manganese, limestone, marble, phosphates, pumice, and salt.

Burkina Faso has a larger number of elephants than many countries in West Africa. Lions, leopards and buffalo can also be found here, including the dwarf or red buffalo, a smaller reddish-brown animal which looks like a fierce kind of short-legged cow. Other large predators live in Burkina Faso, such as the cheetah, the caracal or African lynx, the spotted hyena and the African wild dog, one of the continent's most endangered species.

Burkina Faso's fauna and flora are protected in four national parks:

and several reserves: see List of national parks in Africa and Nature reserves of Burkina Faso.

The value of Burkina Faso's exports fell from $2.77 billion in 2011 to $754 million in 2012. Agriculture represents 32% of its gross domestic product and occupies 80% of the working population. It consists mostly of rearing livestock. Especially in the south and southwest, the people grow crops of sorghum, pearl millet, maize (corn), peanuts, rice and cotton, with surpluses to be sold. A large part of the economic activity of the country is funded by international aid.

The top five export commodities in 2017 were as follows, in order of importance: gems, precious metals, US$1.9 billion (78.5% of total exports), cotton, $198.7 million (8.3%), ores, slag, ash, $137.6 million (5.8%), fruits, nuts: $76.6 million (3.2%) and oil seeds: $59.5 million (2.5%).

A December 2018 report from the World Bank indicates that in 2017, economic growth increased to 6.4% in 2017 (vs. 5.9% in 2016) primarily due to gold production and increased investment in infrastructure. The increase in consumption linked to growth of the wage bill also supported economic growth. Inflation remained low, 0.4% that year but the public deficit grew to 7.7% of GDP (vs. 3.5% in 2016). The government was continuing to get financial aid and loans to finance the debt. To finance the public deficit, the Government combined concessional aid and borrowing on the regional market. The World Bank said that the economic outlook remained favorable in the short and medium term, although that could be negatively impacted. Risks included high oil prices (imports), lower prices of gold and cotton (exports) as well as terrorist threat and labour strikes.

Burkina Faso is part of the West African Monetary and Economic Union (UMEOA) and has adopted the CFA franc. This is issued by the Central Bank of the West African States (BCEAO), situated in Dakar, Senegal. The BCEAO manages the monetary and reserve policy of the member states, and provides regulation and oversight of financial sector and banking activity. A legal framework regarding licensing, bank activities, organizational and capital requirements, inspections and sanctions (all applicable to all countries of the Union) is in place, having been reformed significantly in 1999. Microfinance institutions are governed by a separate law, which regulates microfinance activities in all WAEMU countries. The insurance sector is regulated through the Inter-African Conference on Insurance Markets (CIMA).

In 2018, tourism was almost non-existent in large parts of the country. The U.S. government (and others) warn their citizens not to travel into large parts of Burkina Fasino: "The northern Sahel border region shared with Mali and Niger due to crime and terrorism. The provinces of Kmoandjari, Tapoa, Kompienga, and Gourma in East Region due to crime and terrorism".

The 2018 CIA World Factbook provides this updated summary. "Burkina Faso is a poor, landlocked country that depends on adequate rainfall. Irregular patterns of rainfall, poor soil, and the lack of adequate communications and other infrastructure contribute to the economy’s vulnerability to external shocks. About 80% of the population is engaged in subsistence farming and cotton is the main cash crop. The country has few natural resources and a weak industrial base. Cotton and gold are Burkina Faso’s key exports...The country has seen an upswing in gold exploration, production, and exports.

While the end of the political crisis has allowed Burkina Faso’s economy to resume positive growth, the country’s fragile security situation could put these gains at risk. Political insecurity in neighboring Mali, unreliable energy supplies, and poor transportation links pose long-term challenges." The report also highlights the 2018-2020 International Monetary Fund program, including the government's plan to "reduce the budget deficit and preserve critical spending on social services and priority public investments".

A 2018 report by the African Development Bank Group discussed a macroeconomic evolution: "higher investment and continued spending on social services and security that will add to the budget deficit". This group's prediction for 2018 indicated that the budget deficit would be reduced to 4.8% of GDP in 2018 and to 2.9% in 2019. Public debt associated with the National Economic and Social Development Plan was estimated at 36.9% of GDP in 2017.

Burkina Faso is a member of the Organization for the Harmonization of Business Law in Africa (OHADA). The country also belongs to the United Nations, International Monetary Fund, World Bank, and World Trade Organization.

There is mining of copper, iron, manganese, gold, cassiterite (tin ore), and phosphates. These operations provide employment and generate international aid. Gold production increased 32% in 2011 at six gold mine sites, making Burkina Faso the fourth-largest gold producer in Africa, after South Africa, Mali and Ghana.

A 2018 report indicated that the country expected record 55 tonnes of gold in that year, a two-thirds increase over 2013. According to Oumarou Idani, there is a more important issue. "We have to diversify production. We mostly only produce gold, but we have huge potential in manganese, zinc, lead, copper, nickel and limestone".

According to the Global Hunger Index, a multidimensional tool used to measure and track a country's hunger levels, Burkina Faso ranked 65 out of 78 countries in 2013. It is estimated that there are currently over 1.5 million children who are at risk of food insecurity in Burkina Faso, with around 350,000 children who are in need of emergency medical assistance. However, only about a third of these children will actually receive adequate medical attention. Only 11.4 percent of children under the age of two receive the daily recommended number of meals. Stunted growth as a result of food insecurity is a severe problem in Burkina Faso, affecting at least a third of the population from 2008 to 2012. Additionally, stunted children, on average, tend to complete less school than children with normal growth development, further contributing to the low levels of education of the Burkina Faso population.

The European Commission expects that approximately 500,000 children under age 5 in Burkina Faso will suffer from acute malnutrition in 2015, including around 149,000 who will suffer from its most life-threatening form. Rates of micronutrient deficiencies are also high. According to the Demographic and Health Survey (DHS 2010), 49 percent of women and 88 percent of children under the age of five suffer from anemia. Forty percent of infant deaths can be attributed to malnutrition, and in turn, these infant mortality rates have decreased Burkina Faso's total work force by 13.6 percent, demonstrating how food security affects more aspects of life beyond health.

These high rates of food insecurity and the accompanying effects are even more prevalent in rural populations compared to urban ones, as access to health services in rural areas is much more limited and awareness and education of children's nutritional needs is lower.

An October 2018 report by USAid stated that droughts and floods remained problematic, and that "violence and insecurity are disrupting markets, trade and livelihoods activities in some of Burkina Faso’s northern and eastern areas". The report estimated that over 954,300 people needed food security support, and that, according to UNICEF, an "estimated 187,200 children under 5 years of age will experience severe acute malnutrition". Agencies providing assistance at the time included USAID’s Office of Food for Peace (FFP) working with the UN World Food Programme, the NGO Oxfam Intermón and ACDI/VOCA.

The United Nation's World Food Programme has worked on programs that are geared towards increasing food security in Burkina Faso.
The Protracted Relief and Recovery Operation 200509 (PRRO) was formed to respond to the high levels of malnutrition in Burkina Faso, following the food and nutrition crisis in 2012. The efforts of this project are mostly geared towards the treatment and prevention of malnutrition and include take home rations for the caretakers of those children who are being treated for malnutrition. Additionally, the activities of this operation contribute to families' abilities to withstand future food crises. Better nutrition among the two most vulnerable groups, young children and pregnant women, prepares them to be able to respond better in times when food security is compromised, such as in droughts.

The Country Programme (CP) has two parts: food and nutritional assistance to people with HIV/AIDS, and a school feeding program for all primary schools in the Sahel region. The HIV/AIDS nutrition program aims to better the nutritional recovery of those who are living with HIV/AIDS and to protect at-risk children and orphans from malnutrition and food security. As part of the school feeding component, the Country Programme's goals are to increase enrollment and attendance in schools in the Sahel region, where enrollment rates are below the national average. Furthermore, the program aims at improving gender parity rates in these schools, by providing girls with high attendance in the last two years of primary school with take-home rations of cereals as an incentive to households, encouraging them to send their girls to school.

The WFP concluded the formation of a subsequently approved plan in August 2018 "to support the Government’s vision of 'a democratic, unified and united nation, transforming the structure of its economy and achieving a strong and inclusive growth through patterns of sustainable consumption and production.' It will take important steps in WFP’s new strategic direction for strengthened national and local capacities to enable the Government and communities to own, manage, and implement food and nutrition security programmes by 2030".

The World Bank was established in 1944, and comprises five institutions whose shared goals are to end extreme poverty by 2030 and to promote shared prosperity by fostering income growth of the lower forty percent of every country. One of the main projects the World Bank is working on to reduce food insecurity in Burkina Faso is the Agricultural Productivity and Food Security Project. According to the World Bank, the objective of this project is to "improve the capacity of poor producers to increase food production and to ensure improved availability of food products in rural markets." The Agricultural Productivity and Food Security Project has three main parts. Its first component is to work towards the improvement of food production, including financing grants and providing 'voucher for work' programs for households who cannot pay their contribution in cash. The project's next component involves improving the ability of food products, particularly in rural areas. This includes supporting the marketing of food products, and aims to strengthen the capabilities of stakeholders to control the variability of food products and supplies at local and national levels. Lastly, the third component of this project focuses on institutional development and capacity building. Its goal is to reinforce the capacities of service providers and institutions who are specifically involved in project implementation. The project's activities aim to build capacities of service providers, strengthen the capacity of food producer organizations, strengthen agricultural input supply delivery methods, and manage and evaluate project activities.

The December 2018 report by the World Bank indicated that the poverty rate fell slightly between 2009 and 2014, from 46% to a still high 40.1%. The report provided this updated summary of the country's development challenges: "Burkina Faso remains vulnerable to climatic shocks related to changes in rainfall patterns and to fluctuations in the prices of its export commodities on world markets. Its economic and social development will, to some extent, be contingent on political stability in the country and the subregion, its openness to international trade, and export diversification".

Burkina Faso is faced with high levels of food insecurity. As defined by the 1996 World Food Summit, "food security exists when all people, at all times, have physical and economic access to sufficient safe and nutritious food that meets their dietary needs and food preferences for an active and healthy lifestyle." There has not been much successful improvement on this issue of food security within recent years. Burkina Faso's rapidly growing population (around 3.6% annually) continues to put a strain on the country's resources and infrastructure, which can further limit accessibility to food. Because the country is landlocked and prone to natural disasters, including drought and floods, many families struggle to protect themselves from severe hunger. While recent harvest productions have improved some, much of the population is still having a hard time overcoming the continuous food and nutrition crises of the past decade. Malnutrition is especially common in women and children, with large amounts of the population suffering from stunted growth and micronutrient deficiencies such as anemia. Food insecurity has grown to be a structural problem in Burkina Faso, only to be intensified by high food prices. All of these factors combined with high poverty levels have left Burkina Faso vulnerable to chronic high levels of food insecurity and malnutrition.

Poverty continues to be strongly linked to food insecurity. As one of the poorest countries in the world, Burkina Faso has around 43.7% of its population living under the poverty line and ranked 185 out of 188 countries on the UNDP Human Development Index in 2015. The Human Development Index is a measure of quality of life, taking into account three main areas of human development: longevity, education, and economic standard of living. These high levels of poverty found in Burkina Faso, combined with the soaring food prices of the global food crisis continue to contribute to Burkina Faso's issue of food insecurity. The global food crisis of 2007–2008 was a drastic surge in food prices that lead to high rates of hunger, malnutrition, and political and economic instability in nations across the globe. This strongly affected Burkina Faso because around 80% of Burkina's population is rural, relying on subsistence farming to make a living. For instance, when natural disasters such as floods, droughts, or locust attacks occur and cause crops to fail, farmers in Burkina Faso become dependent on grain purchases. Because of the global food crisis, local grain prices dramatically increased, limiting farmers' access to grain through market exchanges.

While services remain underdeveloped, the National Office for Water and Sanitation (ONEA), a state-owned utility company run along commercial lines, is emerging as one of the best-performing utility companies in Africa. High levels of autonomy and a skilled and dedicated management have driven ONEA's ability to improve production of and access to clean water.

Since 2000, nearly 2 million more people have access to water in the four principal urban centres in the country; the company has kept the quality of infrastructure high (less than 18% of the water is lost through leaks – one of the lowest in sub-Saharan Africa), improved financial reporting, and increased its annual revenue by an average of 12% (well above inflation). Challenges remain, including difficulties among some customers in paying for services, with the need to rely on international aid to expand its infrastructure. The state-owned, commercially run venture has helped the nation reach its Millennium Development Goal (MDG) targets in water-related areas, and has grown as a viable company.

However, access to drinking has improved over the last 28 years. According to UNICEF, access to drinking water has increased from 39 to 76% in rural areas between 1990 and 2015. In this same time span, access to drinking water increased from 75 to 97% in urban areas.

A 33-megawatt solar power plant in Zagtouli, near Ouagadougou, came online in late November, 2017. At the time of its construction, it was the largest solar power facility in West Africa.

The growth rate in Burkina Faso is high although it continues to be plagued by corruption and incursions from terrorist groups from Mali and Niger.

Transport in Burkina Faso is limited by relatively underdeveloped infrastructure.

As of June 2014 the main international airport, Ouagadougou Airport, had regularly scheduled flights to many destinations in West Africa as well as Paris, Brussels and Istanbul. The other international airport, Bobo Dioulasso Airport, has flights to Ouagadougou and Abidjan.

Rail transport in Burkina Faso consists of a single line which runs from Kaya to Abidjan in Ivory Coast via Ouagadougou, Koudougou, Bobo Dioulasso and Banfora. "Sitarail" operates a passenger train three times a week along the route.

There are 15,000 kilometres of roads in Burkina Faso, of which 2,500 kilometres are paved.

In 2009, Burkina Faso spent 0.20% of GDP on research and development (R&D), one of the lowest ratios in West Africa. There were 48 researchers (in full-time equivalents) per million inhabitants in 2010, which is more than twice the average for sub-Saharan Africa (20 per million population in 2013) and higher than the ratio for Ghana and Nigeria (39). It is, however, much lower than the ratio for Senegal (361 per million inhabitants). In Burkina Faso in 2010, 46% of researchers were working in the health sector, 16% in engineering, 13% in natural sciences, 9% in agricultural sciences, 7% in the humanities and 4% in social sciences.

In January 2011, the government created the Ministry of Scientific Research and Innovation. Up until then, management of science, technology and innovation had fallen under the Department of Secondary and Higher Education and Scientific Research. Within this ministry, the Directorate General for Research and Sector Statistics is responsible for planning. A separate body, the Directorate General of Scientific Research, Technology and Innovation, co-ordinates research. This is a departure from the pattern in many other West African countries where a single body fulfils both functions. The move signals the government's intention to make science and technology a development priority.

In 2012, Burkina Faso adopted a "National Policy for Scientific and Technical Research", the strategic objectives of which are to develop R&D and the application and commercialization of research results. The policy also makes provisions for strengthening the ministry's strategic and operational capacities. One of the key priorities is to improve food security and self-sufficiency by boosting capacity in agricultural and environmental sciences. The creation of a centre of excellence in 2014 at the International Institute of Water and Environmental Engineering in Ouagadougou within the World Bank project provides essential funding for capacity-building in these priority areas.

A dual priority is to promote innovative, effective and accessible health systems. The government wishes to develop, in parallel, applied sciences and technology and social and human sciences. To complement the national research policy, the government has prepared a "National Strategy to Popularize Technologies, Inventions and Innovations" (2012) and a "National Innovation Strategy" (2014). Other policies also incorporate science and technology, such as that on "Secondary and Higher Education and Scientific Research" (2010), the "National Policy on Food and Nutrition Security" (2014) and the "National Programme for the Rural Sector" (2011).

In 2013, Burkina Faso passed the Science, Technology and Innovation Act establishing three mechanisms for financing research and innovation, a clear indication of high-level commitment. These mechanisms are the National Fund for Education and Research, the National Fund for Research and Innovation for Development and the Forum of Scientific Research and Technological Innovation.

Burkina Faso is an ethnically integrated, secular state. Most of Burkina Faso's people are concentrated in the south and center of the country, where their density sometimes exceeds 48 persons per square kilometer (125/sq. mi.). Hundreds of thousands of Burkinabè migrate regularly to Ivory Coast and Ghana, mainly for seasonal agricultural work. These flows of workers are affected by external events; the September 2002 coup attempt in Ivory Coast and the ensuing fighting meant that hundreds of thousands of Burkinabè returned to Burkina Faso. The regional economy suffered when they were unable to work.

In 2015, most of the population belonged to "one of two West African ethnic cultural groups: the Voltaic and the Mande. Voltaic Mossi make up about 50% of the population and are descended from warriors who moved to the area from Ghana around 1100, establishing an empire that lasted over 800 years".

The total fertility rate of Burkina Faso is 5.93 children born per woman (2014 estimates), the sixth highest in the world.

In 2009 the U.S. Department of State's "Trafficking in Persons Report" reported that slavery in Burkina Faso continued to exist and that Burkinabè children were often the victims. Slavery in the Sahel states in general, is an entrenched institution with a long history that dates back to the Arab slave trade. In 2018, an estimated 82,000 people in the country were living under "modern slavery" according to the Global Slavery Index.

Burkina Faso's 17.3 million people belong to two major West African ethnic cultural groups—the Voltaic and the Mande (whose common language is Dioula). The Voltaic Mossi make up about one-half of the population. The Mossi claim descent from warriors who migrated to present-day Burkina Faso from northern Ghana around 1100 AD. They established an empire that lasted more than 800 years. Predominantly farmers, the Mossi kingdom is led by the "Mogho Naba," whose court is in Ouagadougou.

Burkina Faso is a multilingual country. An estimated 69 languages are spoken there, of which about 60 languages are indigenous. The Mossi language () is spoken by about 40% of the population, mainly in the central region around the capital, Ouagadougou, along with other, closely related Gurunsi languages scattered throughout Burkina.

In the west, Mande languages are widely spoken, the most predominant being Dyula (also known as Jula or Dioula), others including Bobo, Samo, and Marka. The Fula language (, ) is widespread, particularly in the north. The Gourmanché language is spoken in the east, while the Bissa language is spoken in the south.

The official language is French, which was introduced during the colonial period. French is the principal language of administrative, political and judicial institutions, public services, and the press. It is the only language for laws, administration and courts.

Statistics on religion in Burkina Faso are inexact because Islam and Christianity are often practiced in tandem with indigenous religious beliefs. The Government of Burkina Faso 2006 census reported that 60.5% of the population practice Islam, and that the majority of this group belong to the Sunni branch, while a small minority adheres to Shia Islam. There are also large concentrations of the Ahmadiyya Muslims.

A significant number of Sunni Muslims identify with the Tijaniyah Sufi order. The government estimated that 23.2% of the population are Christians (19% being Roman Catholics and 4.2% members of Protestant denominations); 15.3% follow traditional indigenous beliefs, 0.6% have other religions, and 0.4% have none.

In 2012, the average life expectancy was estimated at 57 for male and 59 for female. The under five mortality rate and the infant mortality rate were respectively 102 and 66 per 1000 live births. In 2014, the median age of its inhabitants is 17 and the estimated population growth rate is 3.05%.

In 2011, health expenditures was 6.5% of GDP; the maternal mortality ratio was estimated at 300 deaths per 100000 live births and the physician density at 0.05 per 1000 population in 2010. In 2012, it was estimated that the adult HIV prevalence rate (ages 15–49) was 1.0%. According to the 2011 UNAIDS Report, HIV prevalence is declining among pregnant women who attend antenatal clinics. According to a 2005 World Health Organization report, an estimated 72.5% of Burkina Faso's girls and women have had female genital mutilation, administered according to traditional rituals.

Central government spending on health was 3% in 2001., studies estimated there were as few as 10 physicians per 100,000 people. In addition, there were 41 nurses and 13 midwives per 100,000 people. Demographic and Health Surveys has completed three surveys in Burkina Faso since 1993, and had another in 2009.

A recent Dengue fever outbreak in 2016 killed 20 patients. Cases of the disease were reported from all 12 districts of Ouagadougou.

Education in Burkina Faso is divided into primary, secondary and higher education. High school costs approximately CFA 25,000 (US$50) per year, which is far above the means of most Burkinabè families. Boys receive preference in schooling; as such, girls' education and literacy rates are far lower than their male counterparts. An increase in girls' schooling has been observed because of the government's policy of making school cheaper for girls and granting them more scholarships.

To proceed from elementary to middle school, middle to high school or high school to college, national exams must be passed. Institutions of higher education include the University of Ouagadougou, The Polytechnic University of Bobo-Dioulasso, and the University of Koudougou, which is also a teacher training institution. There are some small private colleges in the capital city of Ouagadougou but these are affordable to only a small portion of the population.

There is also the International School of Ouagadougou (ISO), an American-based private school located in Ouagadougou.

The 2008 UN Development Program Report ranked Burkina Faso as the country with the lowest level of literacy in the world, despite a concerted effort to double its literacy rate from 12.8% in 1990 to 25.3% in 2008.

Literature in Burkina Faso is based on the oral tradition, which remains important. In 1934, during French occupation, Dim-Dolobsom Ouedraogo published his "Maximes, pensées et devinettes mossi" ("Maximes, Thoughts and Riddles of the Mossi"), a record of the oral history of the Mossi people.

The oral tradition continued to have an influence on Burkinabè writers in the post-independence Burkina Faso of the 1960s, such as Nazi Boni and Roger Nikiema. The 1960s saw a growth in the number of playwrights being published. Since the 1970s, literature has developed in Burkina Faso with many more writers being published.

The theatre of Burkina Faso combines traditional Burkinabè performance with the colonial influences and post-colonial efforts to educate rural people to produce a distinctive national theatre. Traditional ritual ceremonies of the many ethnic groups in Burkina Faso have long involved dancing with masks. Western-style theatre became common during colonial times, heavily influenced by French theatre. With independence came a new style of theatre inspired by forum theatre aimed at educating and entertaining Burkina Faso's rural people.

In addition to several rich traditional artistic heritages among the peoples, there is a large artist community in Burkina Faso, especially in Ouagadougou. Much of the crafts produced are for the country's growing tourist industry.

Burkina Faso also hosts the International Art and Craft Fair, Ouagadougou. It is better known by its French name as SIAO, "Le Salon International de l' Artisanat de Ouagadougou", and is one of the most important African handicraft fairs.
Typical of West African cuisine, Burkina Faso's cuisine is based on staple foods of sorghum, millet, rice, maize, peanuts, potatoes, beans, yams and okra. The most common sources of animal protein are chicken, chicken eggs and fresh water fish. A typical Burkinabè beverage is Banji or Palm Wine, which is fermented palm sap; and Zoom-kom, or "grain water" purportedly the national drink of Burkina Faso. Zoom-kom is milky-looking and whitish, having a water and cereal base, best drunk with ice cubes. In the more rural regions, in the outskirts of Burkina, you would find Dolo, which is drink made from fermented millet.

The cinema of Burkina Faso is an important part of West African and African film industry. Burkina's contribution to African cinema started with the establishment of the film festival FESPACO (Festival Panafricain du Cinéma et de la Télévision de Ouagadougou), which was launched as a film week in 1969. Many of the nation's filmmakers are known internationally and have won international prizes.

For many years the headquarters of the Federation of Panafrican Filmmakers (FEPACI) was in Ouagadougou, rescued in 1983 from a period of moribund inactivity by the enthusiastic support and funding of President Sankara. (In 2006 the Secretariat of FEPACI moved to South Africa, but the headquarters of the organization is still in Ouagadougou.) Among the best known directors from Burkina Faso are Gaston Kaboré, Idrissa Ouedraogo and Dani Kouyate. Burkina produces popular television series such as "Les Bobodiouf". The internationally known filmmakers such as Ouedraogo, Kabore, Yameogo, and Kouyate make popular television series.

Sport in Burkina Faso is widespread and includes football (soccer), basketball, cycling, rugby union, handball, tennis, boxing and martial arts. Football is very popular in Burkina Faso, played both professionally, and informally in towns and villages across the country. The national team is nicknamed "Les Etalons" ("the Stallions") in reference to the legendary horse of Princess Yennenga.

In 1998, Burkina Faso hosted the Africa Cup of Nations for which the Omnisport Stadium in Bobo-Dioulasso was built. In 2013, Burkina Faso qualified for the African Cup of Nations in South Africa, reached the final, but then lost to Nigeria by the score of 0 to 1. The country is currently ranked 53rd in the FIFA World Rankings.

Basketball is another sport which enjoys much popularity for both men and women. The country's national team had its most successful year in 2013 when it qualified for the AfroBasket, the continent's prime basketball event.

The nation's principal media outlet is its state-sponsored combined television and radio service, "Radiodiffusion-Télévision Burkina" (RTB). "RTB" broadcasts on two medium-wave (AM) and several FM frequencies. Besides RTB, there are privately owned sports, cultural, music, and religious FM radio stations. "RTB" maintains a worldwide short-wave news broadcast ("Radio Nationale Burkina") in the French language from the capital at Ouagadougou using a 100 kW transmitter on 4.815 and 5.030 MHz.

Attempts to develop an independent press and media in Burkina Faso have been intermittent. In 1998, investigative journalist Norbert Zongo, his brother Ernest, his driver, and another man were assassinated by unknown assailants, and the bodies burned. The crime was never solved. However, an independent Commission of Inquiry later concluded that Norbert Zongo was killed for political reasons because of his investigative work into the death of David Ouedraogo, a chauffeur who worked for François Compaoré, President Blaise Compaoré's brother.

In January 1999, François Compaoré was charged with the murder of David Ouedraogo, who had died as a result of torture in January 1998. The charges were later dropped by a military tribunal after an appeal. In August 2000, five members of the President's personal security guard detail ("Régiment de la Sécurité Présidentielle", or RSP) were charged with the murder of Ouedraogo. RSP members Marcel Kafando, Edmond Koama, and Ousseini Yaro, investigated as suspects in the Norbert Zongo assassination, were convicted in the Ouedraogo case and sentenced to lengthy prison terms.

Since the death of Norbert Zongo, several protests regarding the Zongo investigation and treatment of journalists have been prevented or dispersed by government police and security forces. In April 2007, popular radio reggae host Karim Sama, whose programs feature reggae songs interspersed with critical commentary on alleged government injustice and corruption, received several death threats.

Sama's personal car was later burned outside the private radio station "Ouaga FM" by unknown vandals. In response, the Committee to Protect Journalists (CPJ) wrote to President Compaoré to request his government investigate the sending of e-mailed death threats to journalists and radio commentators in Burkina Faso who were critical of the government. In December 2008, police in Ouagadougou questioned leaders of a protest march that called for a renewed investigation into the unsolved Zongo assassination. Among the marchers was Jean-Claude Meda, the president of the Association of Journalists of Burkina Faso.

Every two years, Ouagadougou hosts the Panafrican Film and Television Festival of Ouagadougou (FESPACO), the largest African cinema festival on the continent (February, odd years).

Held every two years since 1988, the International Art and Craft Fair, Ouagadougou (SIAO), is one of Africa's most important trade shows for art and handicrafts (late October-early November, even years).

Also every two years, the Symposium de sculpture sur granit de Laongo takes place on a site located about from Ouagadougou, in the province of Oubritenga.

The National Culture Week of Burkina Faso, better known by its French name La Semaine Nationale de la culture (SNC), is one of the most important cultural activities of Burkina Faso. It is a biennial event which takes place every two years in Bobo Dioulasso, the second-largest city in the country.

The Festival International des Masques et des Arts (FESTIMA), celebrating traditional masks, is held every two years in Dédougou.

Geographic and environmental causes can also play a significant role in contributing to Burkina Faso's issue of food insecurity. As the country is situated in the Sahel region, Burkina Faso experiences some of the most radical climatic variation in the world, ranging from severe flooding to extreme drought. The unpredictable climatic shock that Burkina Faso citizens often face results in strong difficulties in being able to rely on and accumulate wealth through agricultural means. Burkina Faso's climate also renders its crops vulnerable to insect attacks, including attacks from locusts and crickets, which destroy crops and further inhibit food production. Not only is most of the population of Burkina Faso dependent on agriculture as a source of income, but they also rely on the agricultural sector for food that will directly feed the household. Due to the vulnerability of agriculture, more and more families are having to look for other sources of non-farm income, and often have to travel outside of their regional zone to find work.