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10 Senghor chose to refer to one of the possible statuses these men had before coming back to Thiaroye: most of them were indeed POWs. Preferring to refer to them as prisoners instead of fighters, which they also were at some point during the war, is a choice that contributes to perceiving them as defenseless, even as victims. It implies that France should have taken extremely good care of them, especially given the fact that they became prisoners defending France’s territory. It also has the effect of emphasizing France’s lack of gratitude and even cruelty—as if a mother had slaughtered her own children.

The company toured France for two years, then Eastern European countries, and finally the French colonies in West Africa. Before touring there, Fodeba was already famous thanks to his series of 78 RPM records of songs and stories accompanied by guitar, xylophone, and kora, a 21-string harp-lute typical of West Africa. His records and his poems “Minuit” (“Midnight”) and “Aube africaine” (“African Dawn”) would soon be censored in French West Africa by the governor of Senegal, who was under colonial supervision.

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. As Janice Spleth puts it, “the future he [Senghor] envisions is one where Africa’s role will be vastly different, where men will be equal, and Léopold Sédar Senghor’s Thiaroye 35 where values of Negritude will counterbalance the faults of the materialistic, technological civilization of the West” (Léopold Sédar Senghor 73).

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Ailes Rouges


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