By Sabrina Parent
During this e-book, guardian places jointly a heritage of representations of the 1944 mutiny in Senegal. Combining firsthand research of the works and their intertextual interactions in addition an exterior viewpoint, mum or dad engages with heritage, literature, movie, poetics, and politics and highlights the significance of remembering the earlier.
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Additional info for Cultural Representations of Massacre: Reinterpretations of the Mutiny of Senegal
In 2003, the Raffarin government decided that the former servicemen’s war pensions should not be indexed like those of French veterans: their indexation should depend on the cost of living of the country where the ex-servicemen live. In September 2006, following the release of Rachid Bouchareb’s movie Indigènes, which told the story of Maghrebi soldiers’ involvement in World War II, the minister in charge of veterans, Hamioui Mekachera, stated that former servicemen should enjoy, like their fellow French veterans, not only purchasing power parity but parity in Euros.
The poet pays tribute to the men who sacrificed themselves in many different ways, through battles, imprisonment, injuries, suffering, and death. “Africa, became black host,”4 writes Senghor in the poem titled “Au Gouverneur Éboué” (“Governor Éboué”). For Senghor, the sacrifice of black soldiers was meaningful in that it contributed to the advent of a new world that would not be based on the opposition of black and white races but on their collaboration on the basis of the white people’s acknowledgement of the value and contribution of black civilization.
Having mastered the theatrical skills taught at William Ponty, Keita opposed the didactic and conservative role that Béart assigned to African theater. The Guinean artist moved forward and decided to create something unique: dance performances including the traditional art of musical composition and the oral art of storytelling (sung poetry). Performances were also politically oriented and denounced the uses and abuses of colonialism. In 1947, along with Facelli Kanté and Soba Dieli, Keita created the famous Ballets africains (African ballets), which “performed African songs and dances from Senegal to Congo, Fodeba Keita’s Thiaroye 49 with special emphasis on the Mandika folklore of Guinea and Casamance” (Kaba 202).