By Charles Juliet
Un homme mène une life en apparence toute lisse. Mais un jour, soit parce qu'une déception, un revers, un deuil..., a brisé ses défenses et détruit ses appuis, soit parce qu'il éprouve le besoin de partir à los angeles recherche de lui-même, il se trouve engagé dans une errance au terme de laquelle, bien des années plus tard, après avoir parcouru un interminable chemin, il air of secrecy le sentiment de s'être découvert, d'avoir rencontré sa vérité. Cette pièce a pour thème l'aventure de l. a. quête de soi et de l. a. radicale transformation qu'elle entraîne. Cette aventure est longue, douloureuse. Au début, elle est vécue dans l. a. confusion, l. a. détresse, une angoisse extrême. Loin de tout repère, tout chemin, l'être avance à tâtons dans des contrées inconnues, désertiques, où s'enchevêtrent l. a. peur de se perdre et le désir de conquérir un accord avec soi et le monde. Contre toute attente survient pourtant l'instant décisif du lâcher-prise. L'être renonce à tout vouloir, consent à déposer les armes. C'est alors qu'il se trouve en mesure de se laisser guider et reconstruire par des forces qui vont faire de lui un être clair, unifié, apte à se tourner vers autrui.
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Extra resources for Ecarte la nuit
I returned to the archive wondering if the racial dimensions of concert performances would be Reading Blackface in West Africa 31 similarly located on the margins, in between lines, in the silences of archived texts. Extant documentation of performances from the 1930s and 1940s is limited to occasional performance reviews in African newspapers. I culled through stacks of Ghanaian newspapers from the 1930s and 1940s, several of which are now housed at the University of Ghana’s Institute for African Studies Library.
E. C. ” Practitioners did not locate meaning in the content of performances—the semiotics of face painting or the lyrics of a song. Nor did they consider the genealogy of particular performance conventions such as blackface especially meaningful. Rather they identiﬁed the doing of performance as the aspect which should be the focus of study, for how a gesture is enacted often conveys far more meaning than what the ostensible content of the gesture may signify. Concert practitioners generally do not ﬁnd blackface the most compelling or illuminating aspect of their work.
Editorials connected racial discrimination in America with the color bar in England and the “brutal treatment of the African” locally (Gold Coast Spectator 1932c, 1932d, 1934d). This nascent diaspora consciousness in the realm of politics arose in the Gold Coast precisely when colonial Ghanaians became interested in studying and emulating American Negro artists. An editorial on the future of Gold Coast culture challenged readers to “look at all the great philosophers, the great educationists there are in Negro America.