Skip to main content Accessibility help
×
Hostname: page-component-77c89778f8-9q27g Total loading time: 0 Render date: 2024-07-17T14:04:18.796Z Has data issue: false hasContentIssue false

Moussa Diagana & The Legend of Wagadu as Seen by Sia Yatabere: Advocating anarchy in Mauritania?

from THREE PLAYS FROM WEST AFRICA

Published online by Cambridge University Press:  24 August 2019

Jane Plastow
Affiliation:
Professor of African Theatre at the University of Leeds.
Get access

Summary

Moussa Diagana

Moussa Diagana was born in 1946 in the small, relatively isolated town of M'Bout in southern Mauritania. On finishing school he first became a teacher in Nouadhibou, the country's second largest city, before going on to study in the capital, at the University of Nouakchott. Diagana was an exceptional student who progressed to Tunisia for his master's degree (1972-1976) before taking a doctorate in the sociology of development at the University of Paris 1 (1977-1980). An occasional playwright, who has been made Chevalier de l'Ordre des Arts et des Lettres de la R.publique fran.aise, Diagana from 1989 earned his living working for the United Nations Development Programme, mostly in Mali, before more recently moving to the UN Office for Project Services running programmes in the Democratic Republic of the Congo.

La Lénde du Wagadu vue par Sia Yatabéré (The Legend of Wagadu as Seen by Sia Yatabere) was Diagana's second play – his first, the unpublished Le mariage contrarié (The Thwarted Marriage) dating back to 1968. La Légende was written at a time when amateur theatre was becoming enormously popular in the Mauritanian capital. Formal drama, as opposed to rich indigenous oral and performance forms, had been first brought to Mauritania, as to so many other European colonies, via colonial schools. The first Mauritanian play was written only in the 1950s, just a few years before the country voted for independence from France in 1960. Early plays focused on promoting communism and pan-Arab nationalism but, with little state support, theatre was slow to grow. However, in the 1980s and early 1990s a new crop of enthusiastic theatre makers and audiences emerged in the capital. More than a dozen new non-professional companies were established in this period, popular plays regularly sold out, the government built a national theatre and for the first time made a limited investment in theatre training (Rubin, 1999).

This was the context in which Moussa Diagana wrote his 1988 success, staged first by the Dijon-based Franco-Mauritanian company, Theatre de l'Espour, with help from the French Cultural Institute and directed by the French actor and director Patrick La Mauff.

Type
Chapter
Information
Publisher: Boydell & Brewer
Print publication year: 2017

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×