{"id":10041,"date":"2024-12-01T14:03:45","date_gmt":"2024-12-01T14:03:45","guid":{"rendered":"https:\/\/www.globalafricasciences.org\/actualites\/les-futurs-africains-de-nnedi-okorafor-sankofa-et-les-echos-du-panafricanisme\/"},"modified":"2025-09-25T10:44:23","modified_gmt":"2025-09-25T10:44:23","slug":"les-futurs-africains-de-nnedi-okorafor-sankofa-et-les-echos-du-panafricanisme","status":"publish","type":"post","link":"https:\/\/www.globalafricasciences.org\/fr\/les-futurs-africains-de-nnedi-okorafor-sankofa-et-les-echos-du-panafricanisme\/","title":{"rendered":"Les futurs africains de Nnedi Okorafor, Sankofa et les \u00e9chos du panafricanisme"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"10041\" class=\"elementor elementor-10041\" data-elementor-post-type=\"post\">\n\t\t\t\t<div data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-element elementor-element-036a802 e-con-full e-flex wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no e-con e-parent\" data-id=\"036a802\" data-element_type=\"container\" data-e-type=\"container\" data-settings=\"{&quot;background_background&quot;:&quot;classic&quot;}\">\n\t\t<div data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-element elementor-element-d1d7910 e-con-full e-flex wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no e-con e-child\" data-id=\"d1d7910\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-7c21c9f elementor-widget elementor-widget-heading\" data-id=\"7c21c9f\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">Num\u00e9ro 03 - Analyses critiques<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-62d8bc1 elementor-author-box--link-yes ignoretoc elementor-author-box--avatar-yes elementor-author-box--name-yes elementor-widget elementor-widget-author-box\" data-id=\"62d8bc1\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"author-box.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-author-box\">\n\t\t\t\t\t\t\t<a href=\"https:\/\/www.globalafricasciences.org\/fr\/author\/elizabeth-abena-osei-fr\/\" class=\"elementor-author-box__avatar\">\n\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Elizabeth-Abena-Osei--scaled.jpg\" alt=\"Image de Elizabeth Abena Osei\" loading=\"lazy\">\n\t\t\t\t<\/a>\n\t\t\t\n\t\t\t<div class=\"elementor-author-box__text\">\n\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.globalafricasciences.org\/fr\/author\/elizabeth-abena-osei-fr\/\">\n\t\t\t\t\t\t<h4 class=\"elementor-author-box__name\">\n\t\t\t\t\t\t\tElizabeth Abena Osei\t\t\t\t\t\t<\/h4>\n\t\t\t\t\t<\/a>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t<a class=\"elementor-author-box__button elementor-button elementor-size-xs\" href=\"https:\/\/www.globalafricasciences.org\/fr\/author\/elizabeth-abena-osei-fr\/\">\n\t\t\t\t\t\tTous les articles de l'auteur\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-88c0ad5 ignoretoc elementor-widget elementor-widget-author-box\" data-id=\"88c0ad5\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"author-box.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-author-box\">\n\t\t\t\t\t\t\t<a href=\"\/authors\/kwabena-opoku-agyemang\" class=\"elementor-author-box__avatar\">\n\t\t\t\t\t<img decoding=\"async\" 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class=\"elementor-button-wrapper\">\n\t\t\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/doi.org\/10.57832\/mgva-mp13\" target=\"_blank\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t<span class=\"elementor-button-icon\">\n\t\t\t\t<i aria-hidden=\"true\" class=\"fas fa-file-pdf\"><\/i>\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">T\u00c9L\u00c9CHARGER EN PDF<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-element elementor-element-2724b9e e-con-full e-flex wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no e-con e-child\" data-id=\"2724b9e\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-f03e25c elementor-widget elementor-widget-heading\" data-id=\"f03e25c\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\"><a href=\"\/Num\u00e9ro\/Panafricanisme,%20recherche%20africaine%20et%20enjeux%20globaux%20\">03.2023<br>Panafricanisme, recherche africaine et enjeux globaux<\/a><\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-b2b07a4 elementor-widget elementor-widget-text-editor\" data-id=\"b2b07a4\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><strong>Publi\u00e9 le : 20 septembre 2023<\/strong><br><strong>ISSN: 3020-0458<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-38d84bf elementor-align-center 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data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-element elementor-element-3c8215e e-con-full e-flex wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no e-con e-child\" data-id=\"3c8215e\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-fa2f8e7 elementor-widget elementor-widget-eael-adv-tabs\" data-id=\"fa2f8e7\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"eael-adv-tabs.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t        <div data-scroll-on-click=\"no\" data-scroll-speed=\"300\" id=\"eael-advance-tabs-fa2f8e7\" class=\"eael-advance-tabs eael-tabs-horizontal eael-tab-auto-active  responsive-vertical-layout\" data-tabid=\"fa2f8e7\">\n            <div class=\"eael-tabs-nav \">\n                <ul class=\"eael-tab-inline-icon\" role=\"tablist\">\n                                            <li id=\"abstract\" class=\"active-default eael-tab-item-trigger eael-tab-nav-item\" aria-selected=\"true\" data-tab=\"1\" role=\"tab\" tabindex=\"0\" aria-controls=\"abstract-tab\" aria-expanded=\"false\">\n                            \n                                                                <img decoding=\"async\" src=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Flag_of_the_United_States.svg\" alt=\"\">\n                                                            \n                                                            <span class=\"eael-tab-title title-after-icon\" >Abstract<\/span>                            \n                                                    <\/li>\n                                            <li id=\"rsum\" class=\"inactive eael-tab-item-trigger eael-tab-nav-item\" aria-selected=\"false\" data-tab=\"2\" role=\"tab\" tabindex=\"-1\" aria-controls=\"rsum-tab\" aria-expanded=\"false\">\n                            \n                                                                <img decoding=\"async\" src=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Flag_of_France.svg\" alt=\"\">\n                                                            \n                                                            <span class=\"eael-tab-title title-after-icon\" >R\u00e9sum\u00e9<\/span>                            \n                                                    <\/li>\n                                            <li id=\"muhtasari\" class=\"inactive eael-tab-item-trigger eael-tab-nav-item\" aria-selected=\"false\" data-tab=\"3\" role=\"tab\" tabindex=\"-1\" aria-controls=\"muhtasari-tab\" aria-expanded=\"false\">\n                            \n                                                                <img decoding=\"async\" src=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Flag_of_Kenya.svg\" alt=\"\">\n                                                            \n                                                            <span class=\"eael-tab-title title-after-icon\" >Muhtasari<\/span>                            \n                                                    <\/li>\n                                            <li id=\"\" class=\"inactive eael-tab-item-trigger eael-tab-nav-item\" aria-selected=\"false\" data-tab=\"4\" role=\"tab\" tabindex=\"-1\" aria-controls=\"-tab\" aria-expanded=\"false\">\n                            \n                                                                <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"900\" height=\"600\" viewBox=\"0 0 900 600\"><path id=\"green\" d=\"m0 600h900v-600h-900z\" fill=\"#005430\" stroke-width=\".375\"><\/path><g id=\"white\" transform=\"scale(.375)\"><g id=\"shahada\"><g transform=\"matrix(7.3042,0,0,-6.7531,1800,635.53)\"><path d=\"m0 0c-0.023 4.162-1.516 15.373-1.895 19.134-0.378 3.761-0.759 7.173-0.667 7.972 0.09 0.771 1.187-1.072 1.767-1.221 0.3 0.065 0.166 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>\u0645\u0644\u062e\u0635<\/span>                            \n                                                    <\/li>\n                    \n                                  <\/ul>\n            <\/div>\n            \n            <div class=\"eael-tabs-content\">\n\t\t        \n                    <div id=\"abstract-tab\" class=\"clearfix eael-tab-content-item active-default\" data-title-link=\"abstract-tab\">\n\t\t\t\t        <p>Nnedi Okorafor\u2019s prolific writing embraces African speculative futures by delving into traditional African philosophies, lifestyles, experiences, and modes of being that cut across diverse African identities. We argue that Okorafor consistently imagines PanAfricanist tropes by appropriating a medley of African cultural motifs into her texts. This is particularly true in her reappropriation of the Akan philosophical concept of Sankofa founded on the necessity to be grounded in the past to better engage with the future. Through the ensuing tradition-modernity dialectic, Okorafor presents modes of progress that imagines an Africa that moves away from Eurocentric notion of the continent. We will, in this essay, focus on Okorafor\u2019s novels <em>Zahrah the Windseeker<\/em> (2005), <em>Binti<\/em> (2015), and <em>Remote Control<\/em> (2021), set in Nigeria, Namibia, and Ghana respectively. Using these different spaces, Okorafor\u2019s work exudes Pan-Africanism by projecting various African cultures that promote identity in physical, social, and spiritual terms. Equally importantly, the different aspects of African culture that are employed in Okorafor\u2019s texts relate with each other in ways that elide and disregard hegemonic representations. This decolonial set of relationships underlines the value of representing African identity in the futuristic imaginations that characterize these purposively selected novels.       <\/p>\n<p>The three texts employ a wide selection of African cultural material that not only fuels character concerns, but also enhances thematic engagement with setting and other literary elements. This article examines how Okorafor achieves these literary aims by using Sankofa as her inspiration. Employing the concept of Sankofa to these ends further advances the course of decolonization by reclaiming history, culture, and power to decenter black speculative fiction from the generic conventions of white hegemonic science fiction. This exploration thus becomes a source of innovation for African-futures, thereby fitting directly into Okorafor\u2019s coinage of the term Africanfuturism: a breakaway from Afrofuturism.    <\/p>\n<h5>Keywords <\/h5>\n<p>Fiction sp\u00e9culative, futurisme africain, culture, Okorafor, panafricanisme, Sankofa<\/p>\n                    <\/div>\n\t\t        \n                    <div id=\"rsum-tab\" class=\"clearfix eael-tab-content-item inactive\" data-title-link=\"rsum-tab\">\n\t\t\t\t        <p>Les \u00e9crits prolifiques de Nnedi Okorafor \u00e9voquent des perspectives sp\u00e9culatives africaines en se plongeant dans les philosophies, les modes de vie, les exp\u00e9riences et les modes d\u2019\u00eatre traditionnels africains qui transcendent les diverses identit\u00e9s africaines. Nous avan\u00e7ons qu\u2019Okorafor imagine syst\u00e9matiquement des tropes panafricanistes en s\u2019appropriant un m\u00e9lange de th\u00e8mes culturels africains. Ceci est particuli\u00e8rement vrai dans sa r\u00e9appropriation du concept philosophique akan de Sankofa fond\u00e9 sur la n\u00e9cessit\u00e9 d\u2019\u00eatre ancr\u00e9 dans le pass\u00e9 pour mieux s\u2019engager dans l\u2019avenir. \u00c0 travers la dialectique tradition-modernit\u00e9, Okorafor pr\u00e9sente une pens\u00e9e progressiste, imaginant une Afrique \u00e9loign\u00e9e de la notion eurocentrique du continent. Dans cet article, nous nous concentrerons sur trois romans d\u2019Okorafor : Zahrah the Windseeker (2005), Binti (2015) et Remote Control (2021), qui se d\u00e9roulent respectivement au Nigeria, en Namibie et au Ghana. Par ces diff\u00e9rents pays, l\u2019\u0153uvre d\u2019Okorafor \u00e9voque le panafricanisme en pr\u00e9sentant diverses cultures africaines qui valorisent les identit\u00e9s physique, sociale et spirituelle. Tout aussi importants, les diff\u00e9rents aspects de la culture africaine dans les textes d\u2019Okorafor sont li\u00e9s les uns aux autres, ignorant les repr\u00e9sentations h\u00e9g\u00e9moniques. Cet \u00e9tat d\u00e9colonial des relations souligne la valeur de la repr\u00e9sentation de l\u2019identit\u00e9 africaine dans les imaginations futuristes qui caract\u00e9risent ces romans s\u00e9lectionn\u00e9s \u00e0 dessein.       <\/p>\n<p>Les trois textes utilisent une large s\u00e9lection de ressources culturelles africaines qui non seulement renforcent les pr\u00e9occupations des personnages, mais aussi l\u2019engagement th\u00e9matique avec le cadre et d\u2019autres aspects litt\u00e9raires. Cet article examine la mani\u00e8re dont Okorafor atteint ces objectifs litt\u00e9raires en s\u2019inspirant de Sankofa. L\u2019utilisation du concept de Sankofa \u00e0 ces fins fait \u00e9voluer le cours de la d\u00e9colonisation en r\u00e9cup\u00e9rant l\u2019histoire, la culture et le pouvoir pour d\u00e9centrer la fiction sp\u00e9culative noire des conventions de la science-fiction h\u00e9g\u00e9monique blanche. Cette exploration devient donc une source d\u2019innovation pour les futurs africains, s\u2019inscrivant ainsi directement dans le terme de \u00ab futurisme africain \u00bb invent\u00e9 par Okorafor : une rupture avec l\u2019afrofuturisme.   <\/p>\n<p><strong>Mots-cl\u00e9s<\/strong><br \/>Fiction sp\u00e9culative, futurisme africain, culture, Okorafor, panafricanisme, Sankofa<\/p>\n                    <\/div>\n\t\t        \n                    <div id=\"muhtasari-tab\" class=\"clearfix eael-tab-content-item inactive\" data-title-link=\"muhtasari-tab\">\n\t\t\t\t        <p>Maandishi ya muda mrefu ya Nnedi Okorafor huamsha mitazamo ya kubashiri ya Kiafrika kwa kujiingiza katika falsafa, mtindo wa maisha, Uzoefu wa Kiafrika na njia za kuwa za jadi zinazopitisha vitambulisho tofauti vya Kiafrika. Tunasema kwamba Okorafor anafikiria kimfumo mitego ya pan-Afrika kwa kupitisha mchanganyiko wa mada za kitamaduni za Kiafrika. Hii ni kweli hasa katika utumiaji wake wa dhana ya falsafa ya Akan ya Sankofa kulingana na hitaji la kuwekwa zamani ili kujihusisha vyema katika siku zijazo. Kupitia lahaja ya kisasa ya kitamaduni, Okorafor inatoa wazo la maendeleo, akifikiria Afrika mbali na wazo la Eurocentric la bara hilo. Katika nakala hii, tutazingatia riwaya tatu za Okorafor: Zahrah the Windseeker (2005), Binti (2015) na Udhibiti wa Kijijini (2021), ambayo hufanyika mtawaliwa nchini Nigeria, nchini Namibia na Ghana. Kupitia nchi hizi tofauti, kazi ya Okorafor inaleta pan-Afrika kwa kuwasilisha tamaduni mbali mbali za Kiafrika ambazo zinathamini vitambulisho vya mwili, kijamii na kiroho. Vile vile muhimu, nyanja tofauti za tamaduni ya Kiafrika katika maandishi ya Okorafor zinaunganishwa na kila mmoja, na kupuuza uwakilishi wa hegemonic. Hali hii ya uhusiano wa kidini inasisitiza thamani ya uwakilishi wa kitambulisho cha Kiafrika katika fikira za baadaye ambazo zinaonyesha riwaya hizi zilizochaguliwa kwa kusudi.       <\/p>\n<p>Maandishi haya matatu hutumia uteuzi mpana wa rasilimali za kitamaduni za Kiafrika ambazo hazitekelezi tu wasiwasi wa wahusika, lakini pia ushiriki wa mada na mfumo na mambo mengine ya fasihi. Nakala hii inachunguza jinsi Okorafor anafanikisha malengo haya ya fasihi kwa kuchora msukumo kutoka Sankofa. Matumizi ya dhana ya Sankofa kwa madhumuni haya yanaibuka mwendo wa decolonization kwa kupata historia, utamaduni na nguvu ya kuvuruga hadithi nyeusi za uwongo kutoka kwa mikusanyiko nyeupe ya hadithi ya sayansi ya hegemonic. Uchunguzi huu kwa hivyo unakuwa chanzo cha uvumbuzi kwa Waafrika wa baadaye, na hivyo kuanguka moja kwa moja ndani ya muda wa \u00ab futari ya Kiafrika \u00bb iliyoundwa na Okorafor: mapumziko na Afrofuturism.   <\/p>\n<h5>Maneno muhimu<\/h5>\n<p>Hadithi za mapema, futari ya Kiafrika, utamaduni, Okorafor, pan-Afrikanism, Sankofa. <\/p>\n                    <\/div>\n\t\t        \n                    <div id=\"-tab\" class=\"clearfix eael-tab-content-item inactive\" data-title-link=\"-tab\">\n\t\t\t\t        <p>\u062a\u064e\u0633\u062a\u062d\u0652\u0636\u0650\u0631 \u0627\u0644\u0643\u062a\u0627\u0628\u0627\u062a \u0627\u0644\u0648\u0641\u064a\u0631\u0629 \u00ab\u00a0\u0644\u0650\u0646\u064a\u062f\u064a \u0623\u064f\u0648\u0643\u0648\u0631\u0627\u0641\u0648\u0631\u00a0\u00bb \u0627\u0644\u0645\u0646\u0652\u0638\u0648\u0631\u0627\u062a \u0627\u0644\u062a\u0651\u0623\u0645\u0644\u064a\u0651\u0629 \u0627\u0644\u0623\u0641\u0652\u0631\u064a\u0642\u064a\u0651\u064e\u0629 \u060c 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<\/div>\n        <\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f7eb203 elementor-widget elementor-widget-heading\" data-id=\"f7eb203\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Introduction<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-ff89d56 elementor-widget elementor-widget-text-editor\" data-id=\"ff89d56\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Dans une interview accord\u00e9e au <i>New York Times<\/i>, l\u2019\u00e9crivaine nig\u00e9roam\u00e9ricaine Nnedi Okorafor se souvient d\u2019une visite au Nigeria, au d\u00e9but des ann\u00e9es 1990, au cours de laquelle elle a interrog\u00e9 son oncle sur le nsibidi, une \u00e9criture symbolique sacr\u00e9e utilis\u00e9e depuis des si\u00e8cles par les Efik, les Ejagham, les Ibibio et les Igbo du sud-est du Nigeria et du sud-ouest du Cameroun. Malgr\u00e9 le refus cat\u00e9gorique de son a\u00een\u00e9 d\u2019en discuter, Okorafor a finalement appris cette \u00e9criture et l\u2019a int\u00e9gr\u00e9e \u00e0 son \u0153uvre. Nous consid\u00e9rons que cet acte refl\u00e8te et fonde l\u2019art litt\u00e9raire d\u2019Okorafor : elle consid\u00e8re l\u2019histoire des cultures africaines comme un r\u00e9ceptacle dans lequel puiser son inspiration, ind\u00e9pendamment du fait qu\u2019elle soit controvers\u00e9e ou ignor\u00e9e. L\u2019int\u00e9gration du pass\u00e9 africain dans ses \u00e9crits futuristes est caract\u00e9ristique du concept philosophique akan connu sous le nom de \u00ab Sankofa \u00bb, qui consid\u00e8re l\u2019histoire comme une source d\u2019inspiration et d\u2019orientation. Sankofa se traduit de l\u2019akan par \u00ab retour \u00bb (san), \u00ab aller \u00bb (k\u0254) et \u00ab prendre \u00bb (fa). Il s\u2019agit de l\u2019un des nombreux symboles Adinkra propres aux Akan du Ghana et de la C\u00f4te d\u2019Ivoire.<br>L\u2019oiseau de Sankofa est pr\u00e9sent dans le folklore oral et se retrouve dans le proverbe akan : s\u025b wo wirefina wo sank\u0254fa a, yenkyi, qui encourage un retour au pass\u00e9 pour y puiser des concepts et des le\u00e7ons pr\u00e9cieux1 . Historiquement, le Sankofa se rattache \u00e0 la litt\u00e9rature orale telle que les proverbes et le folklore, m\u00eame s\u2019il s\u2019applique \u00e0 d\u2019autres textes litt\u00e9raires2 . Okorafor adapte les principes du Sankofa pour valoriser le pass\u00e9 et pr\u00e9senter ainsi un discours avant-gardiste r\u00e9pondant aux concepts erron\u00e9s qui ont d\u00e9fini le continent.       <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-0dccd67 elementor-widget elementor-widget-text-editor\" data-id=\"0dccd67\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>En utilisant ce concept comme mod\u00e8le, Okorafor explore syst\u00e9matiquement les th\u00e8mes panafricanistes en s\u2019appropriant un m\u00e9lange de th\u00e8mes culturels identitaires africains. Elle int\u00e8gre les particularit\u00e9s historiques africaines tout en reconnaissant le r\u00f4le jou\u00e9 par la technologie moderne de mani\u00e8re \u00e0 d\u00e9passer la dialectique d\u2019une Afrique \u00ab traditionnelle \u00bb et un Occident \u00ab moderne \u00bb. Cette affirmation permet d\u2019imaginer une pr\u00e9sence panafricaine dans la sph\u00e8re mondiale, qui va au-del\u00e0 du mod\u00e8le binaire fond\u00e9 sur une pr\u00e9sentation historique des cultures traditionnelles africaines comme manifestations primitives et sous-humaines du sentiment subliminal d\u2019appartenance \u00e0 la race blanche.  <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-bcdc599 elementor-widget elementor-widget-text-editor\" data-id=\"bcdc599\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Dans cette optique, une lecture attentive des romans<i> Zahrah the Windseeker<\/i> (2005), <i>Binti <\/i>(2015) et <i>Remote Control <\/i>(2021) nous permet d\u2019explorer la fa\u00e7on dont les personnages d\u2019Okorafor reprennent \u00e0 leur compte les \u00e9chos du pass\u00e9 africain. Ce pass\u00e9 est \u00e9clectique, et la capacit\u00e9 \u00e0 traverser l\u2019espace, le temps et les cultures pour englober le continent, sa diaspora et les imaginaires sp\u00e9culatifs met en \u00e9vidence la vision du panafricanisme d\u2019<i>Okorafor<\/i>, inscrit dans un contexte <i>afrofuturiste<\/i>. Cette vision se retrouve dans l\u2019ensemble de son \u0153uvre, comme nous le verrons.<br><br>Les trois romans \u00e9tudi\u00e9s montrent \u00e0 quel point l\u2019\u0153uvre d\u2019<i>Okorafor <\/i>est fondamentalement panafricaine. Le choix de situer ses romans dans diff\u00e9rents pays africains est une position politique forte qui va \u00e0 l\u2019encontre de la limitation traditionnelle de l\u2019identit\u00e9 de l\u2019auteure \u00e0 des fronti\u00e8res ethniques ou nationales. Ces lieux servent donc de catalyseur \u00e0 l\u2019\u00e9tude de sa vision du panafricanisme.     <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1920d45 elementor-widget elementor-widget-heading\" data-id=\"1920d45\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Le panafricanisme et le<br>potentiel de la fiction spe\u0301culative<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-031e919 elementor-widget elementor-widget-text-editor\" data-id=\"031e919\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>M\u00eame s\u2019il existe des d\u00e9finitions contradictoires du panafricanisme, au c\u0153ur de chaque tentative se trouve le d\u00e9sir de mettre en lumi\u00e8re la collaboration entre les peuples, les nations et les cultures d\u2019Afrique, au-del\u00e0 des fronti\u00e8res. Ces trois param\u00e8tres sont importants pour cet article et d\u00e9terminent le sens de la philosophie panafricaine d\u2019Okorafor. L\u2019utilisation de diff\u00e9rents pays africains est \u00e9galement r\u00e9v\u00e9latrice \u00e0 cet \u00e9gard, m\u00eame si nous reconnaissons les implications restrictives qui d\u00e9coulent de l\u2019utilisation de l\u2019\u00ab \u00c9tat-nation africain moderne \u00bb comme base d\u2019identification du panafricanisme. Il faut rappeler que l\u2019\u00c9tat-nation est une cr\u00e9ation moderne de la conf\u00e9rence de Berlin de 1884-1885 qui a violemment regroup\u00e9 des royaumes et des \u00c9tats disparates au moyen de fronti\u00e8res artificielles, tout en en d\u00e9sint\u00e9grant d\u2019autres. En d\u2019autres termes, les pays africains tels que nous les connaissons sont en grande partie n\u00e9s de la violence coloniale, et leurs fronti\u00e8res sont artificielles par essence. Ainsi, comprendre le panafricanisme comme une simple transition entre ces pays est limitatif. Comme le soulignent Obadele Kambon et Roland Mireku Yeboah (2019, p. 569), le panafricanisme s\u2019articule autour de l\u2019adoption des identit\u00e9s et des normes africaines au-del\u00e0 des fronti\u00e8res culturelles. Autrement dit, le panafricanisme peut exister \u00e0 l\u2019int\u00e9rieur d\u2019un ensemble de fronti\u00e8res artificielles, \u00e0 condition qu\u2019il soit fait r\u00e9f\u00e9rence \u00e0 plus d\u2019une culture ou d\u2019un groupe ethnique. La nature g\u00e9n\u00e9rale du panafricanisme est comprise diff\u00e9remment dans d\u2019autres contextes qui ne tiennent pas toujours compte des liens avec la fiction sp\u00e9culative. Ainsi, lorsqu\u2019en 1996 l\u2019universitaire Horace Campbell s\u2019est projet\u00e9 dans le xxie si\u00e8cle, ses pr\u00e9occupations concernant l\u2019avenir du panafricanisme \u00e9taient fond\u00e9es sur sa \u00ab dimension large \u00bb et englobaient des questions sociales, politiques et culturelles (\u00abPan African Renewal in The 21st Century\u00bb, pp. 84-85). Ce vaste champ d\u2019application explique probablement pourquoi il n\u2019a pas suffisamment pris en compte le r\u00f4le de l\u2019expression cr\u00e9ative, et encore moins celui de la fiction sp\u00e9culative3 .        <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-c5a0575 elementor-widget elementor-widget-text-editor\" data-id=\"c5a0575\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Si d\u2019autres recherches ont \u00e9pous\u00e9 la d\u00e9marche de Campbell, les travaux portant sur les arts cr\u00e9atifs ont \u00e9galement retenu l\u2019attention. La recherche sur la relation plus large entre l\u2019expression cr\u00e9ative et le panafricanisme comprend des travaux sur des \u00e9v\u00e9nements tels que le Festival panafricain du th\u00e9\u00e2tre et des arts (Panafest) et l\u2019Ann\u00e9e du retour organis\u00e9s au Ghana, et le Festival panafricain du film et de la t\u00e9l\u00e9vision de Ouagadougou (Fespaco) qui s\u2019est d\u00e9roul\u00e9 au Burkina Faso, ainsi que des recherches universitaires sur les visions du panafricanisme chez des \u00e9crivains africains modernes tels que Chinua Achebe, Ayi Kwei Armah, Ama Ata Aidoo, Ousmane Semb\u00e8ne et Ngugi Wa Thiongo\u2019O. Ces recherches ont abord\u00e9 des th\u00e8mes dans lesquels les id\u00e9aux panafricains \u00e9taient pr\u00e9sents, ce qui est coh\u00e9rent avec la recherche dans la litt\u00e9rature africaine moderne4 .<br>Tout retour sur la fiction sp\u00e9culative noire est malheureusement incomplet, malgr\u00e9 la tendance de ce courant litt\u00e9raire \u00e0 traverser les cultures et les coutumes de mani\u00e8re radicale. Les \u00e9tudes associ\u00e9es \u00e0 des auteurs de fiction sp\u00e9culative comme Okorafor sont g\u00e9n\u00e9ralement d\u00e9pourvues de liens avec le panafricanisme, une lacune que cet article cherche \u00e0 combler. Certaines recherches consid\u00e8rent l\u2019identit\u00e9 dans son \u0153uvre en relation avec d\u2019autres sujets tels que l\u2019environnement et le changement climatique (Death, 2022, p. 241), le genre (Hashemi et al., 2022, p. 85 ; Lindow, <i>2023<\/i>, p. 25 ; Oku, 2021 p. 79), la moralit\u00e9 (Lindow, 2017, p. 47), l\u2019homosexualit\u00e9 (Ncube, 2020, p. 72), le corps (Eze, 2016, p. 76), et l\u2019imp\u00e9rialisme (O\u2019Connell, 2016, p. 292). En mettant l\u2019accent sur le panafricanisme et l\u2019histoire, nous contribuons \u00e0 ce champ de connaissances en examinant l\u2019importance de la tradition dans le renforcement de l\u2019unit\u00e9 africaine dans les romans d\u2019Okorafor.        <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-3b226d7 elementor-widget elementor-widget-heading\" data-id=\"3b226d7\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Visions panafricaines dans <i>Zahrah the Windseeker, Binti et Remote Control<\/i><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-88e025c elementor-widget elementor-widget-text-editor\" data-id=\"88e025c\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><i>Zahrah the Windseeker<\/i> est le premier roman d&rsquo;Okorafor. Il met en sc\u00e8ne Zahrah, qui vit dans le sud-ouest du Nigeria, sous la forme fictive du royaume d&rsquo;Ooni, et constitue sa premi\u00e8re exploration des \u00e9l\u00e9ments africains. Zahrah est une jeune fille de 13 ans qui peut voler et dont les cheveux sont naturellement attach\u00e9s par des lianes. Dans ce roman, Zahrah se lance dans une aventure pour trouver un rem\u00e8de pour sa meilleure amie Dari, qui a \u00e9t\u00e9 mordue par un serpent venimeux. Elle obtient l&rsquo;antidote &#8211; un \u0153uf d&rsquo;elgort non f\u00e9cond\u00e9 &#8211; ce qui permet \u00e0 la vie de reprendre son cours normal apr\u00e8s avoir gu\u00e9ri Dari. Les exp\u00e9riences de Zahrah font d&rsquo;elle une chercheuse de vent meilleure et plus mature.      <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f090e39 elementor-widget elementor-widget-text-editor\" data-id=\"f090e39\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Binti (2015) est une histoire de passage \u00e0 l\u2019\u00e2ge adulte qui pr\u00e9sente une jeune Binti, Ekeopara Zuzu Dambu Kaipka, du Namib (situ\u00e9 le long de la c\u00f4te namibienne), dot\u00e9e d\u2019une intelligence et d\u2019une volont\u00e9 d\u2019explorer le potentiel de ses prouesses technologiques. Binti est une Himba de premi\u00e8re g\u00e9n\u00e9ration, un groupe ethnique indig\u00e8ne sur le continent, et a \u00e9t\u00e9 accept\u00e9e dans la prestigieuse institution acad\u00e9mique intergalactique : l\u2019universit\u00e9 d\u2019Oomza. Au fil de l\u2019histoire, les lecteurs voient Binti embrasser une nouvelle vie et s\u2019efforcer de surmonter divers obstacles. Finalement, elle parvient \u00e0 instaurer la paix entre les Khoush et les Meduse au sein de l\u2019universit\u00e9 d\u2019Oomza.   <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-c4a3d3e elementor-widget elementor-widget-text-editor\" data-id=\"c4a3d3e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Le dernier ouvrage que nous explorons ici est Remote Control (2021). Il retrace la vie d\u2019une jeune fille n\u00e9e Fatima \u2013 qui s\u2019appellera plus tard Sankofa \u2013, dans la ville de Wulugu, au nord du Ghana. \u00c0 l\u2019\u00e2ge de 4 ans, l\u2019amour de Fatima pour la nature l\u2019am\u00e8ne \u00e0 fusionner avec un \u00e9l\u00e9ment r\u00e9siduel d\u2019une pluie de m\u00e9t\u00e9ores. L\u2019intrigue s\u2019articule autour de la qu\u00eate de Fatima de d\u00e9couvrir le but de sa vie, tout en manipulant l\u2019\u00e9trange pouvoir qui cherche \u00e0 la contr\u00f4ler. Cette aventure l\u2019entra\u00eene de Wulugu jusqu\u2019au Sud ; un voyage qui ne s\u2019ach\u00e8ve que lorsqu\u2019elle est parvenue \u00e0 ramener l\u2019\u00e9l\u00e9ment \u00e0 ses origines. Remote Control soul\u00e8ve des questions th\u00e9matiques centr\u00e9es sur l\u2019exploitation des communaut\u00e9s rurales par les dirigeants politiques et les entreprises internationales, sur la solidarit\u00e9 f\u00e9minine, sur la perte et le deuil qui y est associ\u00e9.     <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e975543 elementor-widget elementor-widget-text-editor\" data-id=\"e975543\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Chacun de ces trois textes appartient au genre de la fiction sp\u00e9culative noire, qui met l\u2019accent sur les concepts et les th\u00e8mes afrocentristes sur fond de technologie, de fantaisie, de r\u00e9alisme magique et de science-fiction. Dans ce qui suit, l\u2019article examinera trois m\u00e9thodes par lesquelles Okorafor utilise des \u00e9l\u00e9ments culturels en relation avec l\u2019identit\u00e9 physique, l\u2019identit\u00e9 sociale et l\u2019identit\u00e9 spirituelle pour exprimer et orienter sa vision du panafricanisme. Pour exprimer le panafricanisme comme repr\u00e9sentant \u00ab l\u2019ensemble du patrimoine historique, culturel, spirituel, artistique, scientifique et philosophique des Africains \u00bb (Epochi-Olise &amp; Monye, 2021), il est important que les trois textes soient examin\u00e9s comme une collection de l\u2019ensemble de l\u2019\u0153uvre d\u2019Okorafor. Le sentiment panafricain partag\u00e9 dans le journal Echo de l\u2019Union africaine selon lequel \u00ab les Africains ne partagent pas seulement une histoire commune, mais un destin commun \u00bb devient une voie par laquelle Okorafor, d\u2019origine Igbo\/nig\u00e9riane, reconna\u00eet ce destin futuriste des Africains et, en cons\u00e9quence, r\u00e9unit diverses identit\u00e9s ou repr\u00e9sentations dans le contexte d\u2019h\u00e9ritages coloniaux partag\u00e9s afin de repr\u00e9senter ce destin. L\u2019\u00e9tendue du contenu de ces trois textes suppose implicitement que nous proc\u00e9derons \u00e0 une s\u00e9lection cibl\u00e9e plut\u00f4t qu\u2019\u00e0 un examen exhaustif de la question.    <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e96ba0e elementor-widget elementor-widget-heading\" data-id=\"e96ba0e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Identit\u00e9 physique : cheveux et corps<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-7842be8 elementor-widget elementor-widget-text-editor\" data-id=\"7842be8\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Dans les trois textes, l\u2019auteure se focalise sur les cheveux en tant que rep\u00e8re identitaire et culturel qui rappelle la r\u00e9sistance aux normes occidentales impos\u00e9es, tout en indiquant de nouvelles voies \u00e0 suivre pour les femmes noires. La signification des cheveux pour les Africains d\u00e9passe le cadre de la simple beaut\u00e9. Johnson et Bankhead observent que pendant des si\u00e8cles, les cheveux, tant pour les femmes que pour les hommes africains, ont \u00e9t\u00e9 intimement li\u00e9s \u00e0 l\u2019identit\u00e9 culturelle, \u00e0 la spiritualit\u00e9, \u00e0 la formation du caract\u00e8re et aux crit\u00e8res de beaut\u00e9, et faisaient partie int\u00e9grante du langage et du syst\u00e8me de communication propres \u00e0 la vie des Africains (2014, p. 87). Avec l\u2019arriv\u00e9e des colonisateurs europ\u00e9ens qui ignoraient tout des cheveux africains (que ce soit \u00e0 propos de leur signification, ou de leur entretien), de nouvelles pratiques capillaires ont \u00e9t\u00e9 impos\u00e9es aux Noirs. Cela s\u2019est poursuivi lorsque l\u2019esclavage a forc\u00e9 des millions de personnes \u00e0 traverser l\u2019Atlantique. Ce voyage vers l\u2019Ouest durait environ trois mois, les cheveux des Africains s\u2019emm\u00ealaient et se densifiaient en raison du manque de soins \u00e0 bord des navires. Les esclavagistes ont alors d\u00e9cid\u00e9 de raser leurs cheveux afin d\u2019\u00e9liminer le fardeau des soins capillaires et d\u2019augmenter la productivit\u00e9.      <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-9d811b1 elementor-widget elementor-widget-text-editor\" data-id=\"9d811b1\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>L\u2019effet de la maltraitance des cheveux africains a involontairement conduit \u00e0 un sentiment de m\u00e9pris envers les cheveux cr\u00e9pus, en les comparant aux cheveux europ\u00e9ens longs, soyeux et lisses consid\u00e9r\u00e9s, eux, comme beaux et s\u00e9duisants. Il fallait \u00ab dompter \u00bb ces cheveux noirs par divers moyens et leur donner une apparence aussi europ\u00e9enne que possible. Par le biais de l\u2019\u00e9ducation et de la religion, les normes de beaut\u00e9 europ\u00e9ennes ont continu\u00e9 \u00e0 \u00eatre impos\u00e9es aux indig\u00e8nes africains. Elles sont devenues, et le sont encore \u00e0 certains \u00e9gards, une marque du niveau de \u00ab civilisation \u00bb.   <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f454d44 elementor-widget elementor-widget-text-editor\" data-id=\"f454d44\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Ainsi, en portant leurs cheveux avec des coiffures traditionnelles, les personnages d\u2019Okorafor se r\u00e9approprient le pass\u00e9 avec force en montrant que les cheveux constituent une partie \u00e9motionnelle, symbolique et indissociable de leur identit\u00e9. Toutes trois adoptent le mouvement naturel des cheveux et deviennent les symboles des anciennes normes de beaut\u00e9 africaines du Nigeria, de la Namibie et du Ghana. La description des cheveux par Okorafor, en plus de rejoindre les pr\u00e9occupations similaires d\u2019\u00e9crivains contemporains tels que Chimamanda Adichie, est donc lue comme un rejet des normes de beaut\u00e9 occidentales actuelles et du racisme autour des types de cheveux noirs et africains.  <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-ea58ad0 elementor-widget elementor-widget-text-editor\" data-id=\"ea58ad0\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>La politique des cheveux est un engagement fondamentalement panafricain que l\u2019auteure utilise pour marquer l\u2019identit\u00e9 physique des trois personnages, pour rappeler le pass\u00e9 et pour transcender les cultures de mani\u00e8re r\u00e9solument panafricaine. Alors que les personnages des deux premiers romans ont des dreadlocks, Sankofa est chauve. Ces deux choix renvoient au pass\u00e9, o\u00f9 les femmes africaines du continent avaient coutume d\u2019arborer l\u2019une ou l\u2019autre coiffure6 . Ils ouvrent \u00e0 nouveau la voie \u00e0 la r\u00e9ticence \u00e0 accepter le pass\u00e9 africain, r\u00e9ticence contre laquelle Okorafor se bat \u00e0 travers ses personnages.   <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-0f69412 elementor-widget elementor-widget-text-editor\" data-id=\"0f69412\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Zahrah a une identit\u00e9 unique car, contrairement aux autres enfants de Kirki du royaume d\u2019Ooni, elle est n\u00e9e avec des dreadlocks, synonymes de pouvoirs sp\u00e9ciaux et d\u2019esprit rebelle. Binti porte \u00e9galement d\u2019\u00e9paisses dreadlocks que sa tante appelle \u00ab ododo \u00bb, en r\u00e9f\u00e9rence \u00e0 l\u2019herbe sauvage et dense de l\u2019ododo (p. 11). Binti appr\u00e9cie ses cheveux \u00e9pais, \u00e9l\u00e9ment le plus visible de son identit\u00e9, et est tr\u00e8s attentive \u00e0 leur apparence. Elle s\u2019assure de leur bonne hydratation en y appliquant r\u00e9guli\u00e8rement un m\u00e9lange d\u2019argile rouge et d\u2019huiles essentielles appel\u00e9 \u00ab otjize \u00bb. De m\u00eame, Sankofa entretient ses cheveux avec du beurre de karit\u00e9.   <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f8f3245 elementor-widget elementor-widget-text-editor\" data-id=\"f8f3245\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\tL\u2019utilisation de l\u2019otjize et du beurre de karit\u00e9 est une pratique s\u00e9culaire pour pallier les conditions d\u00e9sertiques du nord de la Namibie et du nord du Ghana. Bien que ces produits soient locaux et donc adapt\u00e9s \u00e0 leur environnement, la tendance contemporaine est de privil\u00e9gier ceux venant de l\u2019\u00e9tranger. Dans les deux pays, comme dans de nombreuses r\u00e9gions d\u2019Afrique, des produits de beaut\u00e9 provenant d\u2019Am\u00e9rique du Nord, d\u2019Asie et d\u2019Europe inondent les march\u00e9s locaux, rendant les pratiques africaines \u00e0 la fois archa\u00efques, obsol\u00e8tes et sous-\u00e9valu\u00e9es. Pire, certains produits sont nocifs, notamment les cr\u00e8mes blanchissantes7 . \u00c0 une \u00e9poque o\u00f9 les alternatives \u00e9trang\u00e8res sont de plus en plus courantes, la d\u00e9cision de l\u2019auteure de privil\u00e9gier ces pratiques traditionnelles permet un retour au pass\u00e9, engendrant un potentiel d\u00e9veloppement \u00e9conomique et culturel, et renfor\u00e7ant ainsi l\u2019identit\u00e9 nationale et individuelle. Cette derni\u00e8re est plus explicitement mise en \u00e9vidence malgr\u00e9 la d\u00e9valorisation des coiffures naturelles.     \t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-2f3b570 elementor-widget elementor-widget-text-editor\" data-id=\"2f3b570\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Zahrah et Binti sont rejet\u00e9es \u00e0 cause de leurs cheveux. La raret\u00e9 des m\u00e8ches de Zahrah suscite la crainte des habitants de la ville, qui la malm\u00e8nent et la traitent de \u00ab t\u00eate de vigne \u00bb, \u00ab femme serpent \u00bb, \u00ab sorci\u00e8re des marais \u00bb et \u00ab monstre \u00bb (p. 3). Ces injures rappellent des propos que les porteurs de dreadlocks subissent, \u00e0 la fois en Afrique et dans la diaspora8 . Zahrah, qui a d\u2019abord accept\u00e9 ces surnoms vicieux et laiss\u00e9 ces mots la d\u00e9finir, parvient \u00e0 se d\u00e9faire de cette soumission soci\u00e9tale et assume ses cheveux qui, selon sa m\u00e8re, ont des qualit\u00e9s dada, notamment celle de l\u2019obliger \u00e0 garder la t\u00eate haute. De m\u00eame, Binti, seule fille Himba \u00e0 s\u2019aventurer dans l\u2019espace, avant de monter \u00e0 bord du vaisseau spatial pour l\u2019universit\u00e9 d\u2019Oomza, rencontre diff\u00e9rentes nationalit\u00e9s, tels les Khoush, qui l\u2019observent d\u2019un \u0153il condescendant, font des commentaires d\u00e9sobligeants \u00e0 son \u00e9gard et se permettent m\u00eame de lui toucher les cheveux. Au cours d\u2019une conversation, ils disent que ses cheveux sentent \u00ab la merde parce que c\u2019est de la merde \u00bb, et se demandent s\u2019ils sont vrais. Ils traitent \u00e9galement son groupe ethnique d\u2019immondes barbouilleurs (p. 16), rappelant ainsi les repr\u00e9sentations racistes du continent \u00e0 travers le prisme eurocentrique qui, traditionnellement, ne respecte pas les sp\u00e9cificit\u00e9s africaines. Malgr\u00e9 ces insultes, Binti garde son sang-froid et menace de faire la guerre s\u2019ils touchent \u00e0 ses cheveux (p. 16). L\u2019attachement profond qu\u2019elle leur porte symbolise un attachement \u00e0 sa culture et \u00e0 son h\u00e9ritage. Le traitement des cheveux est tr\u00e8s important pour les Himba. La couleur rouge-orange du m\u00e9lange symbolise la terre et le sang, l\u2019essence de la vie. Ainsi, pour les Himba, les cheveux ont un pouvoir profond et significatif. Ils sont \u00e9galement politis\u00e9s dans Binti pour mettre en lumi\u00e8re les pr\u00e9jug\u00e9s li\u00e9s \u00e0 l\u2019apparence physique.            <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-a05592b elementor-widget elementor-widget-text-editor\" data-id=\"a05592b\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Les coiffures courtes et chauves font \u00e9galement partie de la culture africaine depuis des si\u00e8cles. Dans certaines r\u00e9gions du nord du Ghana, les veuves et les enfants se rasent la t\u00eate pour faire le deuil de leur mari ou de leurs parents. Les \u00e9pouses des rois et les femmes de la royaut\u00e9 dans la culture akan ont \u00e9galement tendance \u00e0 \u00eatre chauves ou \u00e0 porter les cheveux tr\u00e8s courts. En tant qu\u2019orpheline, Sankofa utilise donc cette coiffure comme un signe de deuil, tout en expliquant pourquoi elle se d\u00e9place sans \u00eatre accompagn\u00e9e par ses parents.   <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-48ecc02 elementor-widget elementor-widget-heading\" data-id=\"48ecc02\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Identit\u00e9 sociale : nom et repr\u00e9sentation<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-49a836d elementor-widget elementor-widget-text-editor\" data-id=\"49a836d\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Les noms ont un lien culturel fort avec l\u2019identit\u00e9 africaine. Kofi Anyidoho le souligne lorsqu\u2019il relie les noms dans les romans d\u2019Ayi Kwei Armah \u00e0 la personnification. Anyidoho affirme qu\u2019Armah utilise les noms \u00e0 la fois pour leur valeur symbolique et pour ouvrir des perspectives sur les identit\u00e9s socioculturelles (1992, p. 36). Okorafor s\u2019appuie \u00e9galement sur les noms africains et l\u2019identit\u00e9 sociale, notamment la nourriture, la langue, les v\u00eatements et les relations sociales au sein de la communaut\u00e9. La combinaison de ces facteurs d\u00e9peint l\u2019h\u00e9ritage culturel et l\u2019identit\u00e9 nationale des habitants de certaines r\u00e9gions du Nigeria, du Ghana et de la Namibie, tout en faisant des allusions aux autres cultures africaines. En choisissant des noms issus de diff\u00e9rentes cultures africaines, Okorafor \u00e9tablit des parall\u00e8les entre ces cultures, et met l\u2019accent sur l\u2019identit\u00e9 qui les unit dans un cadre panafricain.     <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-8b0336b elementor-widget elementor-widget-text-editor\" data-id=\"8b0336b\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Sa capacit\u00e9 \u00e0 faire converger ces cultures disparates r\u00e9v\u00e8le des liens modernes avec des exemples anciens tels que l\u2019empire du Mali de Soundiata Keita au xiiie si\u00e8cle (qui s\u2019\u00e9tendait de la C\u00f4te d\u2019Ivoire \u00e0 la Guin\u00e9e) et le royaume Ashanti d\u2019Opoku Ware I au xviiie si\u00e8cle (dont le royaume s\u2019\u00e9tendait sur la C\u00f4te d\u2019Ivoire et le Ghana), parmi beaucoup d\u2019autres \u00c9tats-nations de type f\u00e9d\u00e9ral. En r\u00e9unissant diff\u00e9rents royaumes et \u00c9tats, les diverses cultures s\u2019influen\u00e7aient mutuellement et partageaient des similitudes \u2013 pour l\u2019ancien Mali, les noms des Bambara se traduisent en wolof et en peul, tandis que chez les Ashanti, les noms des membres de la famille royale se traduisent en gonja. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-c4c7f66 elementor-widget elementor-widget-text-editor\" data-id=\"c4c7f66\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Dans <em>Remote Control<\/em>, Okorafor pr\u00e9sente d\u00e9lib\u00e9r\u00e9ment une culture qui avance \u00e0 son propre rythme tout en conservant des \u00e9l\u00e9ments culturels importants tels que la langue, les v\u00eatements et la communaut\u00e9. Son clin d\u2019\u0153il le plus explicite au pass\u00e9 africain est peut-\u00eatre le nom de son personnage principal. Au-del\u00e0 de l\u2019\u00e9vocation \u00e9vidente du pass\u00e9, le nom \u00ab <i>Sankofa<\/i> \u00bb \u00e9voque le panafricanisme, car Fatima est originaire de Wulugu ce qui signifie qu\u2019elle est une Mamprusi ; \u00e0 ce titre, le nom akan Sankofa indique un passage d\u2019une ethnie \u00e0 une autre. M\u00eame si les deux noms (Mamprusi et Sankofa) proviennent du m\u00eame pays, il faut souligner \u00e0 nouveau que le passage d\u2019un groupe ethnique \u00e0 l\u2019autre fonctionne comme un v\u00e9ritable engouement pour les questions relatives \u00e0 l\u2019avenir de l\u2019Afrique, fond\u00e9 sur une approche africaine. Ainsi, en utilisant le nom akan de Sankofa, Okorafor montre son int\u00e9r\u00eat pour le brassage des cultures africaines. Cet int\u00e9r\u00eat se retrouve dans<i> Binti<\/i>, dont le nom est d\u2019origine swahilie, bien qu\u2019elle soit une Himba. De m\u00eame, le nom Zahrah est swahili, et le fait de vivre au Nigeria renforce le fil conducteur panafricain en termes de d\u00e9nomination. Si l\u2019acte de nommer permet \u00e0 Okorafor de cr\u00e9er une culture panafricaine transnationale, les r\u00e9cits historiques renforcent \u00e9galement le lien qu\u2019elle cr\u00e9e avec le pass\u00e9.       <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-b74d0c1 elementor-widget elementor-widget-text-editor\" data-id=\"b74d0c1\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Il est \u00e9galement important de noter que Zahrah et sa famille appartiennent au royaume d\u2019Ooni, ce qui confirme le lien avec le Nigeria. L\u2019Ooni d\u2019Ile-Ife (\u1ecc\u1ecd\u0300ni Il\u00e8-If\u1eb9\u0300) est le souverain traditionnel d\u2019Ile-Ife et le chef spirituel des Yorubas. La dynastie Ooni existait avant le r\u00e8gne d\u2019Oduduwa, dont les historiens pensent qu\u2019il a exist\u00e9 entre les viie et ixe si\u00e8cles. Ici, le retour \u00e9vident \u00e0 l\u2019histoire est une adh\u00e9sion aux principes de Sankofa, ce qui permet \u00e0 Okorafor non seulement de valoriser ce pass\u00e9, mais aussi de montrer comment une construction du pass\u00e9 peut \u00eatre fortement li\u00e9e \u00e0 des imaginaires de l\u2019avenir d\u2019une mani\u00e8re panafricaine qui privil\u00e9gie le f\u00e9minisme. Si les perspectives f\u00e9ministes peuvent aider \u00e0 repenser la compr\u00e9hension du panafricanisme, il est important de ne pas traiter la question des femmes comme une source de division (Abbas &amp; Mama, 2014, p. 5).   <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1326ecd elementor-widget elementor-widget-text-editor\" data-id=\"1326ecd\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>En cons\u00e9quence, l\u2019utilisation de l\u2019identit\u00e9 sociale pour d\u00e9finir l\u2019avenir de l\u2019Afrique dans une perspective panafricaine se manifeste \u00e9galement dans le choix des jeunes filles comme personnages principaux. Ce choix d\u2019Okorafor a deux implications majeures. Tout d\u2019abord, dans un sens contemporain, elle inscrit sa repr\u00e9sentation dans une ligne f\u00e9ministe en attribuant aux jeunes filles des niveaux \u00e9lev\u00e9s d\u2019action, car elle reconna\u00eet tacitement le r\u00f4le jou\u00e9 par les femmes au cours de l\u2019\u00e9volution du panafricanisme. Des commer\u00e7antes aux journalistes, en passant par les militantes et les politiciennes, les femmes ont jou\u00e9 un r\u00f4le cl\u00e9 dans la lutte pour l\u2019ind\u00e9pendance des Noirs sur tout le continent et au-del\u00e0 ; malheureusement, leur r\u00f4le est g\u00e9n\u00e9ralement occult\u00e9 ou rel\u00e9gu\u00e9 au second plan. M\u00eame si la recherche r\u00e9v\u00e8le peu \u00e0 peu ces figures cach\u00e9es, il reste encore beaucoup \u00e0 faire9 . Okorafor rattache donc ses h\u00e9ro\u00efnes \u00e0 ces anc\u00eatres. Alexander (2003) soutient qu\u2019en tant que mouvement, le panafricanisme a fortement insist\u00e9 sur le fait que la solidarit\u00e9 et l\u2019alliance panafricaine favoriseront l\u2019autosuffisance, en permettant notamment au potentiel de l\u2019Afrique de prosp\u00e9rer, de s\u2019autonomiser et d\u2019accomplir le destin de tous les peuples africains dans le monde, quel que soit leur sexe. Si l\u2019on examine les activit\u00e9s de femmes telles que Amy Ashwood Garvey, Muthoni waKirima, Shirley DuBois, Funmilayo Ransome-Kuti, Florence Matomela, Ardua Ankrah, Marie Kor\u00e9 et Mabel Dove, entre autres, force est de constater que l\u2019histoire du panafricanisme ne peut \u00eatre d\u00e9clar\u00e9e exhaustive (Azikiwe, 2016). En d\u00e9pit de cela, il existe peu d\u2019informations sur leurs diverses contributions au mouvement. L\u2019inclusion des filles dans les r\u00e9cits d\u2019Okorafor fait avancer la r\u00e9flexion en d\u00e9plorant leur absence.         <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-ae0ae8d elementor-widget elementor-widget-text-editor\" data-id=\"ae0ae8d\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Ensuite, l\u2019accent mis sur les personnages f\u00e9minins qui s\u2019appuient sur le pass\u00e9 met en \u00e9vidence l\u2019action des femmes dans l\u2019Afrique pr\u00e9coloniale. M\u00eame si les femmes africaines sont g\u00e9n\u00e9ralement consid\u00e9r\u00e9es comme soumises, avant leur interaction avec les valeurs et les id\u00e9aux europ\u00e9ens, elles \u00e9taient autonomes. La forte repr\u00e9sentation d\u2019Okorafor qui transpara\u00eet tout au long des romans met donc en \u00e9vidence leur impact sur le pass\u00e9, ce qui permet de repenser la pr\u00e9sence des femmes dans l\u2019espace panafricain. Cela est d\u2019autant plus vrai que <i>Zahrah the Windseeker<\/i>, par exemple, se d\u00e9roule dans l\u2019Afrique pr\u00e9coloniale. Le fait de pr\u00e9senter Zahrah comme une femme pleine d\u2019entrain permet de r\u00e9imaginer les relations sociales en donnant vie \u00e0 une histoire (en grande partie perdue).    <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-7f6ef5a elementor-widget elementor-widget-heading\" data-id=\"7f6ef5a\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Identit\u00e9 spirituelle : f\u00e9tichisme africain<br>et r\u00e9cup\u00e9ration de la mystique africaine <\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-b389c5b elementor-widget elementor-widget-text-editor\" data-id=\"b389c5b\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Cette histoire oubli\u00e9e est \u00e0 nouveau revendiqu\u00e9e par le biais d\u2019un retour \u00e0 une identit\u00e9 spirituelle africaine traditionnelle, destin\u00e9e \u00e0 valider le pass\u00e9 et, ce faisant, \u00e0 rappeler au lecteur l\u2019importance d\u2019aller de l\u2019avant avec des aspects culturels de l\u2019histoire qui ne sont pas toujours consid\u00e9r\u00e9s comme utiles. Les trois romans soulignent l\u2019essence du mysticisme africain qu\u2019Okorafor utilise pour projeter en particulier ce qu\u2019elle appelle \u00ab le f\u00e9tichisme africain \u00bb. Elle le fait en r\u00e9ponse aux retomb\u00e9es de l\u2019historiographie imp\u00e9riale et des r\u00e9cits eurocentriques qui ont pr\u00e9sent\u00e9 l\u2019Afrique comme un continent sombre, et parvient \u00e0 se rapporter au monde en termes africains avec des \u00e9tiquettes africaines. Elle reprend avec audace certaines pratiques anciennes ou abandonn\u00e9es, au risque de perp\u00e9tuer des st\u00e9r\u00e9otypes racistes. \u00c0 l\u2019instar de sa qu\u00eate de nsibidi, les romans d\u2019Okorafor d\u00e9peignent la magie, les rituels et les coutumes africaines dans toute leur splendeur.    <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-31d88fb elementor-widget elementor-widget-text-editor\" data-id=\"31d88fb\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Dans<em> Zahrah the Windseeker<\/em>, bien que le cadre soit celui d\u2019un royaume yoruba, Okorafor s\u2019appuie sur le mysticisme igbo en utilisant la for\u00eat mal\u00e9fique comme leitmotiv. Elle l\u2019appelle la \u00ab Forbidden Greeny Jungle \u00bb (la jungle verte interdite), qui sert de lieu aux \u00e9l\u00e9ments myst\u00e9rieux, aux cr\u00e9atures et aux merveilles. Elle est d\u00e9finie comme un espace interdit dont les seules entit\u00e9s sont ses p\u00e9riph\u00e9ries. Comme le dit le narrateur : \u00ab Une fois que l\u2019on a parcouru quelques kilom\u00e8tres, tout devient furieusement sauvage. Et quiconque s\u2019y aventurait avait peu de chances d\u2019en ressortir. \u00bb (p. 108). Tout comme Okorafor a ignor\u00e9 les avertissements de son a\u00een\u00e9, Zahrah et Dari sont curieuses de comprendre la jungle (p. 106).    <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-9828927 elementor-widget elementor-widget-text-editor\" data-id=\"9828927\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Forbidden Greeny Jungle est un clin d\u2019\u0153il \u00e0 la fa\u00e7on dont Chinua Achebe traite la for\u00eat mal\u00e9fique dans son ouvrage de r\u00e9f\u00e9rence <em>Things Fall Apart<\/em> (1994), o\u00f9 les habitants d\u2019Umuofia enterrent les personnes mal\u00e9fiques et maudites[10]. Le fait d\u2019\u00e9voquer Achebe permet \u00e0 Okorafor d\u2019ancrer encore plus profond\u00e9ment son \u0153uvre dans le panafricanisme, notamment en raison des principes qui ont guid\u00e9 l\u2019\u0153uvre d\u2019Achebe. Dans <em>Things Fall Apart<\/em>, la for\u00eat mal\u00e9fique est stylistiquement juxtapos\u00e9e au march\u00e9 anim\u00e9 \u2013 on pense donc qu\u2019elle est habit\u00e9e par des esprits et qu\u2019il s\u2019agit d\u2019une zone interdite. Cette croyance est ignor\u00e9e par les colonisateurs europ\u00e9ens qui y construisent une \u00e9glise. L\u2019\u00e9glise devient un point de r\u00e9f\u00e9rence qui remet en question les traditions ancestrales des habitants d\u2019Umuofia. Ce qui est implicite dans cette r\u00e9vision des codes culturels, c\u2019est l\u2019incapacit\u00e9 subs\u00e9quente de ces pr\u00e9ceptes \u00e0 mettre en garde les populations, car les sanctions punitives ont perdu de leur efficacit\u00e9. En cons\u00e9quence, l\u2019environnement, par exemple, a \u00e9t\u00e9 r\u00e9guli\u00e8rement d\u00e9truit sur tout le continent en raison de cette absence de sanction lorsque des espaces sacr\u00e9s sont profan\u00e9s. En pla\u00e7ant le rem\u00e8de contre le Dari dans la Forbidden Greeny Jungle, Okorafor renforce le r\u00f4le positif que joue ce type de mysticisme. Gr\u00e2ce au retour \u00e9ventuel de Zahrah, elle r\u00e9imagine la for\u00eat mal\u00e9fique comme un site de r\u00e9cup\u00e9ration et non comme un vecteur de perte. Ce tournant est important car, alors que les \u00e9ducateurs traditionnels ont tendance \u00e0 consid\u00e9rer que l\u2019introduction du christianisme a eu des effets positifs en Afrique, Forbidden Greeny Jungle d\u00e9cr\u00e9dibilise et minimise l\u2019implication des Europ\u00e9ens dans la remise en question des traditions spirituelles africaines[11].          Dans cette repr\u00e9sentation, on retrouve la r\u00e9cup\u00e9ration et l\u2019utilisation du mysticisme africain, des cosmologies et de la culture rituelle.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f156b73 elementor-widget elementor-widget-text-editor\" data-id=\"f156b73\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Dans <i>Binti<\/i>, le mysticisme africain se manifeste par des croyances, des coutumes et des rituels traditionnels, ainsi que par la possession de talismans de protection. Dans cette repr\u00e9sentation, on retrouve la r\u00e9cup\u00e9ration et l\u2019utilisation du mysticisme africain, des cosmologies et de la culture rituelle. Dans l\u2019espace futuriste de <i>Binti<\/i>, par exemple, les Himba ne v\u00e9n\u00e8rent pas des divinit\u00e9s coloniales telles que le J\u00e9sus chr\u00e9tien ou l\u2019Allah musulman. Au contraire, dans ce contexte, les Himba prient et louent les Sept. On ne sait pas exactement qui sont ces Sept \u2013 les Himba v\u00e9n\u00e8rent en fait la divinit\u00e9 Mukuru \u2013 mais selon Binti, l\u2019un des Sept fait jaillir la vie d\u2019une riche argile rouge imbib\u00e9e de pluie : \u00ab Cette argile \u00e9tait la m\u00e8re, otjize. J\u2019\u00e9tais de l\u2019argile maintenant. \u00bb (p. 199). Si l\u2019histoire racont\u00e9e ici n\u2019est \u00e9videmment pas l\u2019histoire originelle des Himba, le r\u00e9cit d\u2019Okorafor entre en r\u00e9sonance avec les r\u00e9cits de cr\u00e9ation de toute l\u2019Afrique, qui placent g\u00e9n\u00e9ralement les \u00e9l\u00e9ments naturels au c\u0153ur de l\u2019\u00e9dification du monde. Les Fulani, par exemple, utilisent du lait, fid\u00e8le \u00e0 leur mode de vie nomade ; chez les Akan, le pilon \u00e0 fufu occupe une place importante dans l\u2019un des r\u00e9cits initiaux ; les Fon et les Ewe mettent en sc\u00e8ne le serpent, originaire de leur r\u00e9gion ; les Zulu font \u00e9merger leur cr\u00e9ateur des roseaux, qui sont une caract\u00e9ristique de leur paysage ; et les Kono utilisent abondamment la boue dans leur r\u00e9cit[12].       La nature polyth\u00e9iste de l\u2019histoire d\u2019Okorafor est \u00e0 nouveau embl\u00e9matique de la plupart des r\u00e9cits d\u2019origine africaine.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-5761cdd elementor-widget elementor-widget-text-editor\" data-id=\"5761cdd\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Outre ces coutumes et rituels, Binti poss\u00e8de un \u00e9l\u00e9ment important du pass\u00e9 africain : un talisman. Il se pr\u00e9sente sous la forme d\u2019un ancien dispositif technologique indig\u00e8ne appel\u00e9 \u00ab edan \u00bb, qui non seulement la prot\u00e8ge du mal et des attaques fatales ext\u00e9rieures, mais l\u2019aide \u00e9galement \u00e0 communiquer directement avec les Meduse. Il fonctionne uniquement par magie et est toxique pour les Meduse. Il la sauve d\u2019une attaque sur un bateau et explique pourquoi son ami Okwu assiste \u00e0 ses s\u00e9ances avec Okpala (p. 102). Dans un post Facebook consacr\u00e9 au livre, l\u2019auteure explique que l\u2019edan a \u00e9t\u00e9 inspir\u00e9 par l\u2019id\u00e9e d\u2019un talisman yoruba ; en tant que tel, Okorafor l\u2019incorpore pour qu\u2019il fonctionne comme un GPS magique. Elle conclut : \u00ab Mon esprit s\u2019est empar\u00e9 de son histoire et l\u2019a suivie[13]. \u00bb Les talismans constituent une part importante de la culture africaine et, historiquement, ils ont \u00e9t\u00e9 utilis\u00e9s pour se prot\u00e9ger des mauvais esprits ou du mauvais \u00ab oeil \u00bb, m\u00eame s\u2019ils sont parfois consid\u00e9r\u00e9s comme diaboliques et r\u00e9trogrades[14].      <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-a81a447 elementor-widget elementor-widget-text-editor\" data-id=\"a81a447\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Dans <i>Remote Control<\/i>, le mysticisme africain n\u2019est pas aussi pr\u00e9sent que dans les deux premiers romans, car Okorafor cr\u00e9e un chevauchement entre la magie et la technologie. Parce que Sankofa obtient ses pouvoirs apr\u00e8s sa rencontre avec la m\u00e9t\u00e9orite, il est difficile de d\u00e9terminer o\u00f9 s\u2019arr\u00eate la technologie et o\u00f9 commence la spiritualit\u00e9. Ce m\u00e9lange et cette fusion permettent \u00e0 Okorafor d\u2019exp\u00e9rimenter les d\u00e9finitions de la magie et de la technologie, donnant ainsi l\u2019impression que la magie et la science commencent et finissent l\u2019une dans l\u2019autre. Il se pourrait qu\u2019Okorafor souligne l\u2019engagement quotidien avec les deux formes en montrant que la perspective d\u00e9termine ce qui est magique et ce qui est technologique. Elle \u00e9loigne l\u2019id\u00e9e du panafricanisme d\u2019une \u00e9ventuelle t\u00e9l\u00e9ologie.    <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-947852b elementor-widget elementor-widget-text-editor\" data-id=\"947852b\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Dans l\u2019ensemble, le traitement du mysticisme africain par Okorafor sert \u00e0 \u00ab envisager un avenir qui bouleverse les notions pr\u00e9con\u00e7ues de l\u2019Afrique \u00bb (Moore, 2018, p. 9). Elle les exploite et les r\u00e9\u00e9crit de mani\u00e8re \u00e0 ce qu\u2019elles d\u00e9gagent de la fiert\u00e9 sans condescendance. Okorafor ne fonde pas les progr\u00e8s technologiques sur la science telle que nous la connaissons, mais sur le mysticisme et le surnaturel inexplicable ou sur ce que les Africains, en particulier les Africains de l\u2019Ouest, appellent le \u00ab juju \u00bb (magie noire). Son utilisation du mysticisme dans l\u2019espace africain futuriste est cruciale, en particulier dans les d\u00e9bats concernant la signification des croyances sacr\u00e9es des peuples colonis\u00e9s ou marginalis\u00e9s. Alors que les valeurs sacr\u00e9es des populations marginalis\u00e9es ont souvent \u00e9t\u00e9 rel\u00e9gu\u00e9es au primitivisme et \u00e0 l\u2019archa\u00efsme, d\u2019autres formes occidentales du sacr\u00e9 ont souvent \u00e9t\u00e9 per\u00e7ues, transform\u00e9es et appropri\u00e9es comme un moyen de renforcement des capacit\u00e9s locales (Ashcroft et al., 2003, p. 212). En donnant une image positive de ces aspects de la culture africaine, Okorafor fait l\u2019\u00e9loge de l\u2019histoire, de la tradition et de l\u2019identit\u00e9.     <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-96b7b1e elementor-widget elementor-widget-heading\" data-id=\"96b7b1e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Conclusion : Panafricanisme et futurisme africain<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-59bf66f elementor-widget elementor-widget-text-editor\" data-id=\"59bf66f\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Dans cet article, nous montrons comment le concept de retour au pass\u00e9 enrichit la lecture de ces trois romans. Okorafor joue le r\u00f4le de l\u2019oiseau Sankofa qui reprend les cultures identitaires africaines anciennes de mani\u00e8re productive, dans ce futur prometteur o\u00f9 r\u00e9sident Zahrah, Binti et Sankofa. Le retour d\u2019Okorafor \u00e0 ces cultures rappelle une longue histoire d\u2019\u00e9crivains africains oppos\u00e9s au discours eurocentrique qui attaque les identit\u00e9s africaines.  <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f2e9551 elementor-widget elementor-widget-text-editor\" data-id=\"f2e9551\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Ce concept de retour, analogue \u00e0 la th\u00e9orie du Sankofa, permet \u00e0 l\u2019auteure de construire un catalogue qui privil\u00e9gie les id\u00e9aux panafricains en tant que philosophie repr\u00e9sentant l\u2019ensemble de l\u2019h\u00e9ritage historique, culturel, spirituel, artistique, scientifique et philosophique des Africains. Sa s\u00e9lection dans un large \u00e9ventail de cultures africaines pr\u00e9sente un front uni pour l\u2019Afrique. Ce retour tel qu\u2019imagin\u00e9 par Okarafor ne doit pas impliquer l\u2019absence de progr\u00e8s. Elle souhaite montrer comment la soci\u00e9t\u00e9 africaine peut \u00e9voluer dans le sens du d\u00e9veloppement.   <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f31362f elementor-widget elementor-widget-text-editor\" data-id=\"f31362f\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>L\u2019adoption du Sankofa n\u2019a pas pour but d\u2019id\u00e9aliser le pass\u00e9 avec nostalgie ; au contraire, le pass\u00e9 est compris comme m\u00e9lange de symboles culturels transcendant les cultures africaines avec un potentiel positif ou n\u00e9gatif, selon la fa\u00e7on dont ils sont per\u00e7us et utilis\u00e9s. En d\u2019autres termes, le retour au pass\u00e9 n\u00e9cessite un tri minutieux pour choisir l\u2019utile et \u00e9viter le nuisible. N\u00e9anmoins, ce tri risque de cr\u00e9er des hi\u00e9rarchies en privil\u00e9giant certains aspects du pass\u00e9. Ce n\u2019est pourtant pas le cas d\u2019Okorafor, qui s\u2019appuie sur la tradition africaine et sugg\u00e8re un respect et une consid\u00e9ration uniformes pour ce qu\u2019elle choisit de mettre en avant dans son \u0153uvre.   <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e589dd4 elementor-widget elementor-widget-text-editor\" data-id=\"e589dd4\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\tAlors que le travail d\u2019Okorafor tend \u00e0 \u00eatre rattach\u00e9 \u00e0 l\u2019afrofuturisme, un terme invent\u00e9 par Mark Dery pour tenter de d\u00e9finir la science-fiction noire, elle classe son \u0153uvre dans ce qu\u2019elle appelle le \u00ab futurisme africain[15] \u00bb. Nous lions cet acte \u00e0 ses origines afropolitaines : en tant que Nig\u00e9riane n\u00e9e aux \u00c9tats-Unis, elle tient \u00e0 conserver son identit\u00e9 africaine, en particulier dans un pays \u00ab \u00e9tranger \u00bb. Ce d\u00e9sir est li\u00e9 \u00e0 son refus cat\u00e9gorique de voir son travail identifi\u00e9 \u00e0 l\u2019afrofuturisme : selon elle, ce terme n\u2019est pas assez nuanc\u00e9 pour prendre en compte les travaux en dehors de la perception afro-am\u00e9ricaine, avec les implications limitatives qui en d\u00e9coulent pour les \u00e9crivains sp\u00e9culatifs africains[16]. Elle estime que l\u2019afrofuturisme est enracin\u00e9 dans la culture am\u00e9ricaine, ce qui l\u2019emp\u00eache d\u2019int\u00e9grer les principes de l\u2019\u00e9criture sp\u00e9culative africaine. Elle pose donc la probl\u00e9matique et d\u00e9crit les raisons de la n\u00e9cessit\u00e9 d\u2019un terme unique pour l\u2019\u00e9criture sp\u00e9culative africaine \u00e0 des fins de sp\u00e9cificit\u00e9, d\u2019interpr\u00e9tation et de contr\u00f4le. \u00c0 premi\u00e8re vue, cette opinion semble remettre en cause ses efforts en faveur du panafricanisme. Apr\u00e8s tout, le futurisme africain pourrait \u00eatre une fragmentation de l\u2019afrofuturisme. Nous pensons cependant qu\u2019en refusant d\u2019\u00eatre class\u00e9e d\u2019afrofuturiste, Okorafor ne conteste pas n\u00e9cessairement la d\u00e9finition de l\u2019afrofuturisme, mais propose un terme plus pr\u00e9cis.    \t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-b9493a2 elementor-widget elementor-widget-text-editor\" data-id=\"b9493a2\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Celui-ci permet \u00e0 Okorafor de prendre le contr\u00f4le de l\u2019\u00e9criture sp\u00e9culative africaine et de lui faire de la place : elle donne un aper\u00e7u de la mani\u00e8re dont les \u00e9critures n\u00e9cessitent des termes sp\u00e9cifiques pouvant r\u00e9pondre \u00e0 leurs identit\u00e9s complexes. En outre, Okorafor fournit des sous-cat\u00e9gories telles que le f\u00e9tichisme africain qui, selon elle, est une sous-cat\u00e9gorie de la fantasy, m\u00e9lange homog\u00e8ne des spiritualit\u00e9s et des cosmologies africaines avec le monde imaginaire. Cette qu\u00eate refl\u00e8te le rappel constant qu\u2019elle fait \u00e0 son public non africain : l\u2019Afrique n\u2019est pas un pays mais un continent h\u00e9t\u00e9rog\u00e8ne.     <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1bb6d77 elementor-widget elementor-widget-text-editor\" data-id=\"1bb6d77\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\tEn privil\u00e9giant le futurisme africain, Okorafor recentre l\u2019Afrique d\u2019une mani\u00e8re qui renforce une vision panafricaine o\u00f9 les \u0153uvres africaines ne sont pas subordonn\u00e9es \u00e0 la diaspora, mais atteignent plut\u00f4t un double objectif : rester autonomes d\u2019une part, et \u00e9largir les notions de fiction sp\u00e9culative noire d\u2019autre part. En ayant leur propre sous-genre de science-fiction, les r\u00e9cits comme le sien peuvent se rapprocher des espaces africains et promouvoir des \u0153uvres qui se concentrent sur le continent tout en \u00e9tant respectueuses de sa diaspora. \t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-element elementor-element-2d9184d e-con-full e-flex wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no e-con e-child\" data-id=\"2d9184d\" data-element_type=\"container\" data-e-type=\"container\" data-settings=\"{&quot;background_background&quot;:&quot;classic&quot;}\">\n\t\t\t\t<div class=\"elementor-element elementor-element-a7fd8c3 ignoretoc elementor-hidden-mobile elementor-widget elementor-widget-heading\" data-id=\"a7fd8c3\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Les auteurs<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-38b0172 ignoretoc elementor-hidden-mobile elementor-widget elementor-widget-link-in-bio\" data-id=\"38b0172\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"link-in-bio.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"e-link-in-bio e-link-in-bio\">\n\t\t\t<div class=\"e-link-in-bio__content\">\n\n\t\t\t\t\t\t<div class=\"e-link-in-bio__identity\">\n\t\t\t\t\t\t\t\t\t<div class=\"e-link-in-bio__identity-image e-link-in-bio__identity-image-profile has-style-circle\">\n\t\t\t\t\t\t\t<img decoding=\"async\" width=\"225\" height=\"300\" src=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Elizabeth-Abena-Osei--225x300.jpg\" class=\"e-link-in-bio__identity-image-element\" alt=\"\" srcset=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Elizabeth-Abena-Osei--225x300.jpg 225w, https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Elizabeth-Abena-Osei--768x1024.jpg 768w, https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Elizabeth-Abena-Osei--1152x1536.jpg 1152w, https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Elizabeth-Abena-Osei--1536x2048.jpg 1536w, https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Elizabeth-Abena-Osei--scaled.jpg 1920w\" sizes=\"(max-width: 225px) 100vw, 225px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<div class=\"e-link-in-bio__bio\">\n\t\t\t\t<h2 class=\"e-link-in-bio__heading\">Elizabeth Abena Osei<\/h2>\t\t\t\t\t\t\t\t\t\t\t\t<p class=\"e-link-in-bio__description\">Universit\u00e9 du Maryland<\/p>\t\t\t<\/div>\n\t\t\t\t\t<div class=\"e-link-in-bio__icons has-size-small\">\n\t\t\t\t\t\t\t<div class=\"e-link-in-bio__icon is-size-small\">\n\t\t\t\t\t<a aria-label=\"Email\" class=\"e-link-in-bio__icon-link\" href=\"mailto:lisaabeosei@gmail.com?subject=Contact%20from%20GA%20Bio\">\n\t\t\t\t\t\t<span class=\"e-link-in-bio__icon-svg\">\n\t\t\t\t\t\t\t<i aria-hidden=\"true\" class=\"fas fa-envelope\"><\/i>\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\n\t\t<div class=\"e-link-in-bio__ctas has-type-button\">\n\t\t\t\t\t\t\t<a href=\"\/authors\/elizabeth-abena-osei\" target=\"_blank\" rel=\"noopener \" class=\"e-link-in-bio__cta is-type-button has-corners-rounded\">\n\t\t\t\t\t\t\t\t\t\t<span class=\"e-link-in-bio__cta-text\">\n\t\t\t\t\t\tVoir le profil complet\t\t\t\t\t<\/span>\n\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\n\t\t\t<\/div>\n\t\t\t<div class=\"e-link-in-bio__bg\">\n\t\t\t\t<div class=\"e-link-in-bio__bg-overlay\"><\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-3a3dcd9 ignoretoc elementor-hidden-mobile elementor-widget elementor-widget-link-in-bio\" data-id=\"3a3dcd9\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"link-in-bio.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"e-link-in-bio e-link-in-bio\">\n\t\t\t<div class=\"e-link-in-bio__content\">\n\n\t\t\t\t\t\t<div class=\"e-link-in-bio__identity\">\n\t\t\t\t\t\t\t\t\t<div class=\"e-link-in-bio__identity-image e-link-in-bio__identity-image-profile has-style-circle\">\n\t\t\t\t\t\t\t<img decoding=\"async\" width=\"225\" height=\"300\" src=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/12\/Kwabena-Opoku-Agyemang--225x300.jpg\" class=\"e-link-in-bio__identity-image-element\" alt=\"\" srcset=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/12\/Kwabena-Opoku-Agyemang--225x300.jpg 225w, https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/12\/Kwabena-Opoku-Agyemang-.jpg 383w\" sizes=\"(max-width: 225px) 100vw, 225px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<div class=\"e-link-in-bio__bio\">\n\t\t\t\t<h2 class=\"e-link-in-bio__heading\">Kwabena Opoku-Agyemang<\/h2>\t\t\t\t\t\t\t\t\t\t\t\t<p class=\"e-link-in-bio__description\">Universit\u00e9 du Ghana\n\n<\/p>\t\t\t<\/div>\n\t\t\t\t\t<div class=\"e-link-in-bio__icons has-size-small\">\n\t\t\t\t\t\t\t<div class=\"e-link-in-bio__icon is-size-small\">\n\t\t\t\t\t<a aria-label=\"Email\" class=\"e-link-in-bio__icon-link\" href=\"mailto:kwabena.oa@gmail.com?subject=Contact%20from%20GA%20Bio\">\n\t\t\t\t\t\t<span class=\"e-link-in-bio__icon-svg\">\n\t\t\t\t\t\t\t<i aria-hidden=\"true\" class=\"fas fa-envelope\"><\/i>\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\n\t\t<div class=\"e-link-in-bio__ctas has-type-button\">\n\t\t\t\t\t\t\t<a href=\"http:\/\/authors\/kwabena-opoku-agyemang\" target=\"_blank\" rel=\"noopener \" class=\"e-link-in-bio__cta is-type-button has-corners-rounded\">\n\t\t\t\t\t\t\t\t\t\t<span class=\"e-link-in-bio__cta-text\">\n\t\t\t\t\t\tVoir le profil complet\t\t\t\t\t<\/span>\n\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\n\t\t\t<\/div>\n\t\t\t<div class=\"e-link-in-bio__bg\">\n\t\t\t\t<div class=\"e-link-in-bio__bg-overlay\"><\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-ca44f9b ignoretoc elementor-widget elementor-widget-heading\" data-id=\"ca44f9b\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">\u00c9galement dans ce num\u00e9ro<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-08ab0bf elementor-grid-1 elementor-grid-tablet-1 elementor-grid-mobile-1 elementor-posts--thumbnail-top elementor-posts--show-avatar elementor-card-shadow-yes elementor-posts__hover-gradient elementor-widget elementor-widget-posts\" data-id=\"08ab0bf\" data-element_type=\"widget\" data-e-type=\"widget\" data-settings=\"{&quot;posts_cards_pp_authors_columns&quot;:&quot;1&quot;,&quot;posts_cards_pp_authors_row_gap&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:27,&quot;sizes&quot;:[]},&quot;posts_cards_pp_authors_columns_tablet&quot;:&quot;1&quot;,&quot;posts_cards_pp_authors_columns_mobile&quot;:&quot;1&quot;,&quot;posts_cards_pp_authors_row_gap_laptop&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;posts_cards_pp_authors_row_gap_tablet_extra&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;posts_cards_pp_authors_row_gap_tablet&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;posts_cards_pp_authors_row_gap_mobile_extra&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;posts_cards_pp_authors_row_gap_mobile&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]}}\" data-widget_type=\"posts.posts_cards_pp_authors\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-posts-container elementor-posts elementor-posts--skin-posts_cards_pp_authors elementor-grid\" role=\"list\">\n\t\t\t\t<article class=\"elementor-post elementor-grid-item post-15271 post type-post status-publish format-standard has-post-thumbnail hentry category-revue author-global-africa\" role=\"listitem\">\n\t\t\t<div class=\"elementor-post__card\">\n\t\t\t\t<a class=\"elementor-post__thumbnail__link\" href=\"https:\/\/www.globalafricasciences.org\/fr\/numero-10-global-africa-savoirs-protecteurs-savoir-proteger\/\" tabindex=\"-1\" target=\"_blank\"><div class=\"elementor-post__thumbnail\"><img loading=\"lazy\" decoding=\"async\" width=\"1200\" height=\"1200\" src=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2025\/06\/Issue-10-\u2013-Global-AfricaProtective-Knowledges-The-Wisdom-to-Protect-.webp\" class=\"attachment-full size-full wp-image-15268\" alt=\"\" \/><\/div><\/a>\n\t\t        <div class=\"elementor-post__avatar\">\n            <img alt='' src='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa.jpg' srcset='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa.jpg' class='multiple_authors_guest_author_avatar avatar' height='128' width='128'\/>        <\/div>\n        \t\t<div class=\"elementor-post__text\">\n\t\t\t\t<h4 class=\"elementor-post__title\">\n\t\t\t<a href=\"https:\/\/www.globalafricasciences.org\/fr\/numero-10-global-africa-savoirs-protecteurs-savoir-proteger\/\" target=&quot;_blank&quot;>\n\t\t\t\tNum\u00e9ro 10 \u2013 Global Africa\u00ab Savoirs protecteurs, savoir prot\u00e9ger \u00bb\t\t\t<\/a>\n\t\t<\/h4>\n\t\t\n\t\t<a class=\"elementor-post__read-more\" href=\"https:\/\/www.globalafricasciences.org\/fr\/numero-10-global-africa-savoirs-protecteurs-savoir-proteger\/\" aria-label=\"En savoir plus sur Num\u00e9ro 10 \u2013 Global Africa\u00ab Savoirs protecteurs, savoir prot\u00e9ger \u00bb\" tabindex=\"-1\" target=\"_blank\">\n\t\t\tRead More \u00bb\t\t<\/a>\n\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-post__meta-data\">\n\t\t\t        <span class=\"elementor-post-author\">\n\t\t\tGlobal Africa\t\t<\/span>\n        \t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t<article class=\"elementor-post elementor-grid-item post-15509 post type-post status-publish format-standard has-post-thumbnail hentry category-analyses-critiques author-karine-collette-fr author-ibrahima-ba-fr\" role=\"listitem\">\n\t\t\t<div class=\"elementor-post__card\">\n\t\t\t\t<a class=\"elementor-post__thumbnail__link\" href=\"https:\/\/www.globalafricasciences.org\/fr\/terre-mere-trace-discursive-dune-emancipation-ecologique-au-nord-et-au-sud\/\" tabindex=\"-1\" target=\"_blank\"><div class=\"elementor-post__thumbnail\"><img loading=\"lazy\" decoding=\"async\" width=\"527\" height=\"752\" src=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2025\/06\/Capture-decran-2025-06-27-a-19.19.41.png\" class=\"attachment-full size-full wp-image-14990\" alt=\"\" srcset=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2025\/06\/Capture-decran-2025-06-27-a-19.19.41.png 527w, https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2025\/06\/Capture-decran-2025-06-27-a-19.19.41-210x300.png 210w\" sizes=\"(max-width: 527px) 100vw, 527px\" \/><\/div><\/a>\n\t\t        <div class=\"elementor-post__avatar\">\n            <img alt='' src='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa.jpg' srcset='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa.jpg' class='multiple_authors_guest_author_avatar avatar' height='128' width='128'\/><img alt='' src='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa.jpg' srcset='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa.jpg' class='multiple_authors_guest_author_avatar avatar' height='128' width='128'\/>        <\/div>\n        \t\t<div class=\"elementor-post__text\">\n\t\t\t\t<h4 class=\"elementor-post__title\">\n\t\t\t<a href=\"https:\/\/www.globalafricasciences.org\/fr\/terre-mere-trace-discursive-dune-emancipation-ecologique-au-nord-et-au-sud\/\" target=&quot;_blank&quot;>\n\t\t\t\tTerre-M\u00e8re : trace discursive d\u2019une \u00e9mancipation \u00e9cologique au Nord et au Sud ?\t\t\t<\/a>\n\t\t<\/h4>\n\t\t\n\t\t<a class=\"elementor-post__read-more\" href=\"https:\/\/www.globalafricasciences.org\/fr\/terre-mere-trace-discursive-dune-emancipation-ecologique-au-nord-et-au-sud\/\" aria-label=\"En savoir plus sur Terre-M\u00e8re : trace discursive d\u2019une \u00e9mancipation \u00e9cologique au Nord et au Sud ?\" tabindex=\"-1\" target=\"_blank\">\n\t\t\tRead More \u00bb\t\t<\/a>\n\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-post__meta-data\">\n\t\t\t        <span class=\"elementor-post-author\">\n\t\t\tKarine Collette, Ibrahima Ba\t\t<\/span>\n        \t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t<article class=\"elementor-post elementor-grid-item post-15517 post type-post status-publish format-standard has-post-thumbnail hentry category-champ author-cheikh-sadibou-sakho-fr author-masengesho-kamuzinzi-fr\" role=\"listitem\">\n\t\t\t<div class=\"elementor-post__card\">\n\t\t\t\t<a class=\"elementor-post__thumbnail__link\" href=\"https:\/\/www.globalafricasciences.org\/fr\/we-heal-together-un-savoir-protecteur-par-excellence-qui-sinspire-de-lheritage-africain-ou-les-responsabilites-envers-soi-et-envers-autrui-sont-indissociables\/\" tabindex=\"-1\" target=\"_blank\"><div class=\"elementor-post__thumbnail\"><img loading=\"lazy\" decoding=\"async\" width=\"527\" height=\"752\" src=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2025\/06\/Capture-decran-2025-06-27-a-19.18.04.webp\" class=\"attachment-full size-full wp-image-14982\" alt=\"\" \/><\/div><\/a>\n\t\t        <div class=\"elementor-post__avatar\">\n            <img alt='' src='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2025\/04\/Cheikh-Sadibou-Sakho-.webp' srcset='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2025\/04\/Cheikh-Sadibou-Sakho-.webp' class='multiple_authors_guest_author_avatar avatar' height='128' width='128'\/><img alt='' src='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa.jpg' srcset='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa.jpg' class='multiple_authors_guest_author_avatar avatar' height='128' width='128'\/>        <\/div>\n        \t\t<div class=\"elementor-post__text\">\n\t\t\t\t<h4 class=\"elementor-post__title\">\n\t\t\t<a href=\"https:\/\/www.globalafricasciences.org\/fr\/we-heal-together-un-savoir-protecteur-par-excellence-qui-sinspire-de-lheritage-africain-ou-les-responsabilites-envers-soi-et-envers-autrui-sont-indissociables\/\" target=&quot;_blank&quot;>\n\t\t\t\t\u00ab We Heal Together \u00bb, un savoir protecteur par excellence qui s\u2019inspire de l\u2019h\u00e9ritage africain, o\u00f9 les responsabilit\u00e9s envers soi et envers autrui sont indissociables\t\t\t<\/a>\n\t\t<\/h4>\n\t\t\n\t\t<a class=\"elementor-post__read-more\" href=\"https:\/\/www.globalafricasciences.org\/fr\/we-heal-together-un-savoir-protecteur-par-excellence-qui-sinspire-de-lheritage-africain-ou-les-responsabilites-envers-soi-et-envers-autrui-sont-indissociables\/\" aria-label=\"En savoir plus sur \u00ab We Heal Together \u00bb, un savoir protecteur par excellence qui s\u2019inspire de l\u2019h\u00e9ritage africain, o\u00f9 les responsabilit\u00e9s envers soi et envers autrui sont indissociables\" tabindex=\"-1\" target=\"_blank\">\n\t\t\tRead More \u00bb\t\t<\/a>\n\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-post__meta-data\">\n\t\t\t        <span class=\"elementor-post-author\">\n\t\t\tCheikh Sadibou Sakho, Masengesho Kamuzinzi\t\t<\/span>\n        \t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t<article class=\"elementor-post elementor-grid-item post-15523 post type-post status-publish format-standard has-post-thumbnail hentry category-analyses-critiques author-cheikh-sadibou-sakho-fr author-ndeye-laity-ndiaye-fr\" role=\"listitem\">\n\t\t\t<div class=\"elementor-post__card\">\n\t\t\t\t<a class=\"elementor-post__thumbnail__link\" href=\"https:\/\/www.globalafricasciences.org\/fr\/it-takes-a-village-reinventer-la-mise-a-labri-des-survivantes-de-violences-sexuelles-au-senegalpistes-a-partir-de-lexperience-du-centre-kullimaaroo-de-ziguinchor\/\" tabindex=\"-1\" target=\"_blank\"><div class=\"elementor-post__thumbnail\"><img loading=\"lazy\" decoding=\"async\" width=\"527\" height=\"752\" src=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2025\/06\/Capture-decran-2025-06-27-a-19.17.22.webp\" class=\"attachment-full size-full wp-image-14992\" alt=\"\" \/><\/div><\/a>\n\t\t        <div class=\"elementor-post__avatar\">\n            <img alt='' src='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2025\/04\/Cheikh-Sadibou-Sakho-.webp' srcset='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2025\/04\/Cheikh-Sadibou-Sakho-.webp' class='multiple_authors_guest_author_avatar avatar' height='128' width='128'\/><img alt='' src='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa.jpg' srcset='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa.jpg' class='multiple_authors_guest_author_avatar avatar' height='128' width='128'\/>        <\/div>\n        \t\t<div class=\"elementor-post__text\">\n\t\t\t\t<h4 class=\"elementor-post__title\">\n\t\t\t<a href=\"https:\/\/www.globalafricasciences.org\/fr\/it-takes-a-village-reinventer-la-mise-a-labri-des-survivantes-de-violences-sexuelles-au-senegalpistes-a-partir-de-lexperience-du-centre-kullimaaroo-de-ziguinchor\/\" target=&quot;_blank&quot;>\n\t\t\t\tIt Takes a Village! (R\u00e9)inventer la mise \u00e0 l\u2019abri des survivantes de violences sexuelles au S\u00e9n\u00e9gal<br>Pistes \u00e0 partir de l\u2019exp\u00e9rience du centre Kullimaaroo de Ziguinchor\t\t\t<\/a>\n\t\t<\/h4>\n\t\t\n\t\t<a class=\"elementor-post__read-more\" href=\"https:\/\/www.globalafricasciences.org\/fr\/it-takes-a-village-reinventer-la-mise-a-labri-des-survivantes-de-violences-sexuelles-au-senegalpistes-a-partir-de-lexperience-du-centre-kullimaaroo-de-ziguinchor\/\" aria-label=\"En savoir plus sur It Takes a Village! (R\u00e9)inventer la mise \u00e0 l\u2019abri des survivantes de violences sexuelles au S\u00e9n\u00e9gal&lt;br&gt;Pistes \u00e0 partir de l\u2019exp\u00e9rience du centre Kullimaaroo de Ziguinchor\" tabindex=\"-1\" target=\"_blank\">\n\t\t\tRead More \u00bb\t\t<\/a>\n\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-post__meta-data\">\n\t\t\t        <span class=\"elementor-post-author\">\n\t\t\tCheikh Sadibou Sakho, Nd\u00e8ye La\u00efty Ndiaye\t\t<\/span>\n        \t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t<\/div>\n\t\t\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-element elementor-element-e590199 e-con-full e-flex wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no e-con e-parent\" data-id=\"e590199\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-3dd1381 elementor-widget elementor-widget-eael-adv-tabs\" data-id=\"3dd1381\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"eael-adv-tabs.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t        <div data-scroll-on-click=\"no\" data-scroll-speed=\"300\" id=\"eael-advance-tabs-3dd1381\" class=\"eael-advance-tabs eael-tabs-horizontal eael-tab-auto-active  responsive-vertical-layout\" data-tabid=\"3dd1381\">\n            <div class=\"eael-tabs-nav \">\n                <ul class=\"eael-tab-inline-icon\" role=\"tablist\">\n                                            <li id=\"pour-citer-larticle-\" class=\"active-default eael-tab-item-trigger eael-tab-nav-item\" aria-selected=\"true\" data-tab=\"1\" role=\"tab\" tabindex=\"0\" aria-controls=\"pour-citer-larticle--tab\" aria-expanded=\"false\">\n                            \n                                                                <i class=\"fas fa-quote-left\"><\/i>                                                            \n                                                            <span class=\"eael-tab-title title-after-icon\" >Pour citer l&rsquo;article :<\/span>                            \n                                                    <\/li>\n                                            <li id=\"notes\" class=\"inactive eael-tab-item-trigger eael-tab-nav-item\" aria-selected=\"false\" data-tab=\"2\" role=\"tab\" tabindex=\"-1\" aria-controls=\"notes-tab\" aria-expanded=\"false\">\n                            \n                                                                <i class=\"fas fa-notes-medical\"><\/i>                                                            \n                                                            <span class=\"eael-tab-title title-after-icon\" >Notes<\/span>                            \n                                                    <\/li>\n                                            <li id=\"bibliographie\" class=\"inactive eael-tab-item-trigger eael-tab-nav-item\" aria-selected=\"false\" data-tab=\"3\" role=\"tab\" tabindex=\"-1\" aria-controls=\"bibliographie-tab\" aria-expanded=\"false\">\n                            \n                                                                <i class=\"fas fa-book\"><\/i>                                                            \n                                                            <span class=\"eael-tab-title title-after-icon\" >Bibliographie<\/span>                            \n                                                    <\/li>\n                    \n                                  <\/ul>\n            <\/div>\n            \n            <div class=\"eael-tabs-content\">\n\t\t        \n                    <div id=\"pour-citer-larticle--tab\" class=\"clearfix eael-tab-content-item active-default\" data-title-link=\"pour-citer-larticle--tab\">\n\t\t\t\t        <h5><strong>APA<\/strong><\/h5>\n<p>Osei, E. A., Opoku-Agyemang K. (2023). Les futurs africains de Nnedi Okorafor, Sankofa et les \u00e9chos du panafricanisme. Global Africa, 3, pp. 8-9   <a href=\"https:\/\/doi.org\/10.57832\/mgva-mp13\">https:\/\/doi.org\/10.57832\/mgva-mp13<\/a><\/p>\n<h5><strong>MLA<\/strong><\/h5>\n<p>Osei Elizabeth Abena and al. \u00ab\u00a0Les futurs africains de Nnedi Okorafor, Sankofa et les \u00e9chos du panafricanisme\u00a0\u00bb. Global Africa, no. 3, 2023, p. 8-9. doi.org\/10.57832\/j9te-pr03  <\/p>\n<h5><strong>DOI<\/strong><\/h5>\n<p><a href=\"https:\/\/doi.org\/10.57832\/mgva-mp13\">https:\/\/doi.org\/10.57832\/mgva-mp13<\/a><\/p>\n<p>\u00a9 2023 by author(s). This work is openly licensed via CC BY-NC 4.0 <\/p>\n                    <\/div>\n\t\t        \n                    <div id=\"notes-tab\" class=\"clearfix eael-tab-content-item inactive\" data-title-link=\"notes-tab\">\n\t\t\t\t        <ol>\n<li id=\"viewer-3c47f31240\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">[1] Voir Quarcoo (1972), Osei (2020) et Opoku-Agyemang (2017) pour plus de d\u00e9tails.<\/span><\/li>\n<li id=\"viewer-6nl6g31379\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">[2] Voir les recherches d\u2019Osei sur le cin\u00e9ma et celles d\u2019Opoku-Agyemang sur la litt\u00e9rature num\u00e9rique. <\/span><\/li>\n<li id=\"viewer-o4q1d31427\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">[3] Voir Jaji (2014), par exemple. <\/span><\/li>\n<li id=\"viewer-kk8dd31520\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">[4] Voir les recherches repr\u00e9sentatives dans Murphy (2018), Fraser (1980), Kumavie (2015), Secovnie (2007) et Orlando (2006), ainsi qu\u2019une synth\u00e8se de Temple (2020). <\/span><\/li>\n<li id=\"viewer-snskw31613\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">[5] Dada est le terme utilis\u00e9 pour d\u00e9signer une fille dont les cheveux sont naturellement attach\u00e9s avec des lianes. <\/span><\/li>\n<li id=\"viewer-unz1n31481\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">[6] Voir White &amp; White (1995, p. 49-50). <\/span><\/li>\n<li id=\"viewer-j1k0731574\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">[7] Voir De Souza (2008). <\/span><\/li>\n<li id=\"viewer-8nsi231756\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">[8] De nombreux t\u00e9moignages font \u00e9tat d\u2019une telle discrimination au Ghana, au Nigeria, au Kenya, aux \u00c9tats-Unis et au Royaume-Uni, entre autres. <\/span><\/li>\n<li id=\"viewer-dd5sz31804\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">[9] Voir Parpart (2019) et Falola &amp; Amponsah (2012). <\/span><\/li>\n<li id=\"viewer-k4moc31717\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">[10] Voir Edoro-Glines (2018) et Njoku et al. (2017).<\/span><\/li>\n<li id=\"viewer-4s8kl32869\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">[11] Au Ghana, par exemple, les \u00e9l\u00e8ves de l\u2019\u00e9cole primaire apprennent les effets positifs du colonialisme. <\/span><\/li>\n<li id=\"viewer-r8ih931677\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">[12] Kanu &amp; Ndubisi (2021) expliquent plus en d\u00e9tail. <\/span><\/li>\n<li id=\"viewer-4wub731860\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\"> <a class=\"_5VzWt lfO3I\" href=\"https:\/\/www.facebook.com\/BintiNovella\/photos\/the-edan-the-idea-for-the-edan-in-binti-came-to-me-when-a-close-friend-who-is-yo\/1628971407360987\/\" target=\"_self\" rel=\"noopener\"><u>https:\/\/www.facebook.com\/BintiNovella\/photos\/the-edan-the-idea-for-the-edan-in-binti-came-to-me-when-a-close-friend-who-is-yo\/1628971407360987\/<\/u><\/a><u> <\/u><\/span><\/li>\n<li id=\"viewer-xyck831954\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">[14] Voir Agboada (2021). <\/span><\/li>\n<li id=\"viewer-y7h2g31912\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">[15] Voir Lavender &amp; Yaszek (2020). <\/span><\/li>\n<li id=\"viewer-q2mmj32004\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">[16] Okorafor pr\u00e9sente parfois cet argument sur Twitter.<\/span><\/li>\n<\/ol>\n                    <\/div>\n\t\t        \n                    <div id=\"bibliographie-tab\" class=\"clearfix eael-tab-content-item inactive\" data-title-link=\"bibliographie-tab\">\n\t\t\t\t        <p id=\"viewer-foo\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Abbas, H., Mama, A. (2014). Pan-Africanism and Feminism. <em>Feminist Africa<\/em>, 19, pp. 1-6. <\/span><\/p>\n<p id=\"viewer-ozcay62774\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Achebe, C. (1994). <em>Things Fall Apart<\/em>. Anchor. <\/span><\/p>\n<p id=\"viewer-74ubm62778\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Agboada, E. (2021). Charms, Talisman and Amulets in Contemporary African Christianity. <em>The American Journal of Biblical Theology<\/em>, 22(11), pp. 1-23. <\/span><\/p>\n<p id=\"viewer-2mjvz62782\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Alexander, N. (2003). New Meanings of Pan-Africanism in the Era of Globalisation<em>.<\/em> Dans <em>The Fourth Annual Frantz Fanon Distinguished Lectur<\/em>e<em>, 8 October<\/em>. DePaul University.  <\/span><\/p>\n<p id=\"viewer-wrutt62790\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Anyidoho, K. (1992). Literature and African Identity: The Example of Ayi Kwei Armah. Dans Wright, D. (ed.), <em>Critical Perspectives on Ayi Kwei Armah<\/em> (pp.34-47). Three Continents Press.   <\/span><\/p>\n<p id=\"viewer-rxb9z62794\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Ashcroft, B., Griffiths, G., Tiffin, H. (2003). <em>The Empire Writes Back: Theory and Practice in Post-Colonial Literatures<\/em>. Routledge. <\/span><\/p>\n<p id=\"viewer-gl1p762798\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Azikiwe, A. (2016). <em>Pan-Africanism, gender emancipation and the meaning of socialist development: revisiting the role of women in Kwama Nkrumah\u2019s Ghana<\/em>. Createspace Independent Publishing Platform. <\/span><\/p>\n<p id=\"viewer-8do5b62802\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Campbell, H. (1996). Pan African renewal in the 21st Century. <em>African Journal of Political Science\/Revue Africaine de Science Politique<\/em>, 1(1), pp. 84-98. <\/span><\/p>\n<p id=\"viewer-5wlo562806\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Death, C. (2022). Africanfuturist Socio-Climatic Imaginaries and Nnedi Okorafor\u2019s Wild Necropolitics. <em>Antipode<\/em>, 54(1), pp. 240-258. <a class=\"_5VzWt lfO3I\" href=\"https:\/\/doi.org\/10.1111\/anti.12764\" target=\"_self\" rel=\"noopener\"><u>https:\/\/doi.org\/10.1111\/anti.12764<\/u><\/a> <\/span><\/p>\n<p id=\"viewer-8x6ae62813\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Dery, M. (1994). Black to the Future: Interviews with Samuel R. Delany, Greg Tate, and Tricia Rose. Dans Dery, M. (ed.), <em>Flame Wars: The Discourse of Cyberculture<\/em> (pp. 179-222).   Duke University Press.<\/span><\/p>\n<p id=\"viewer-p7nq962817\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">De Souza, M. M. (2008). The concept of skin bleaching in Africa and its devastating health implications. <em>Clinics in Dermatology<\/em>, 26(1), pp. 27-29. <a class=\"_5VzWt lfO3I\" href=\"https:\/\/doi.org\/10.1016\/j.clindermatol.2007.10.005\" target=\"_self\" rel=\"noopener\"><u>https:\/\/doi.org\/10.1016\/j.clindermatol.2007.10.005<\/u><\/a> <\/span><\/p>\n<p id=\"viewer-70i1s62825\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Echo, A. U. (2013). Pan-Africanism and African Renaissance. <em>African Renaissance<\/em>, 05, Mafube, Sandton. <\/span><\/p>\n<p id=\"viewer-x7qh462829\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Edoro-Glines, A. (2018). 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Nnedi Okorafor: Exploring the Empire of Girls\u2019 Moral Development. <em>Journal of the Fantastic in the Arts<\/em>, 28(1(98)), pp. 46-69. <a class=\"_5VzWt lfO3I\" href=\"https:\/\/www.jstor.org\/stable\/26390193\" target=\"_self\" rel=\"noopener\"><u>https:\/\/www.jstor.org\/stable\/26390193<\/u><\/a> <\/span><\/p>\n<p id=\"viewer-oadjc62904\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Moore, J. A. (2018). <em>Sankofa: framing afrofuturistic dialectical utopias in N. K. Jemisin\u2019s <\/em>The Fifth Season<em>, Nisi Shawl\u2019s <\/em>Everfair<em>, and Nnedi Okorafor\u2019s <\/em>Binti. The University of Alabama in Huntsville. <\/span><\/p>\n<p id=\"viewer-1za7f62912\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Murpy, D. (2018). 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Slave hair and African American Culture in the Eighteenth and Nineteenth Centuries. <em>The Journal of Southern History<\/em>, 61(1), pp. 45-76. <a class=\"_5VzWt lfO3I\" href=\"https:\/\/doi.org\/10.2307\/2211360\" target=\"_self\" rel=\"noopener\"><u>https:\/\/doi.org\/10.2307\/2211360<\/u><\/a> <\/span><\/p>\n                    <\/div>\n\t\t                    <\/div>\n        <\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-element elementor-element-5aff930 e-flex e-con-boxed wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no e-con e-parent\" data-id=\"5aff930\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-fc34b86 elementor-widget elementor-widget-off-canvas\" data-id=\"fc34b86\" data-element_type=\"widget\" data-e-type=\"widget\" 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NUM\u00c9RO PDF Abstract R\u00e9sum\u00e9 Muhtasari \u0645\u0644\u062e\u0635 Nnedi Okorafor\u2019s prolific writing embraces African speculative futures by delving into traditional African philosophies, lifestyles, experiences, and modes of being that cut across diverse African identities. We argue that Okorafor consistently imagines PanAfricanist tropes by appropriating a medley of African cultural motifs into her texts. This is particularly true in her reappropriation of the Akan philosophical concept of Sankofa founded on the necessity to be grounded in the past to better engage with the future. Through the ensuing tradition-modernity dialectic, Okorafor presents modes of progress that imagines an Africa that moves away from Eurocentric notion of the continent. We will, in this essay, focus on Okorafor\u2019s novels Zahrah the Windseeker (2005), Binti (2015), and Remote Control (2021), set in Nigeria, Namibia, and Ghana respectively. Using these different spaces, Okorafor\u2019s work exudes Pan-Africanism by projecting various African cultures that promote identity in physical, social, and spiritual terms. Equally importantly, the different aspects of African culture that are employed in Okorafor\u2019s texts relate with each other in ways that elide and disregard hegemonic representations. This decolonial set of relationships underlines the value of representing African identity in the futuristic imaginations that characterize these purposively selected novels. The three texts employ a wide selection of African cultural material that not only fuels character concerns, but also enhances thematic engagement with setting and other literary elements. This article examines how Okorafor achieves these literary aims by using Sankofa as her inspiration. Employing the concept of Sankofa to these ends further advances the course of decolonization by reclaiming history, culture, and power to decenter black speculative fiction from the generic conventions of white hegemonic science fiction. This exploration thus becomes a source of innovation for African-futures, thereby fitting directly into Okorafor\u2019s coinage of the term Africanfuturism: a breakaway from Afrofuturism. Keywords Fiction sp\u00e9culative, futurisme africain, culture, Okorafor, panafricanisme, Sankofa Les \u00e9crits prolifiques de Nnedi Okorafor \u00e9voquent des perspectives sp\u00e9culatives africaines en se plongeant dans les philosophies, les modes de vie, les exp\u00e9riences et les modes d\u2019\u00eatre traditionnels africains qui transcendent les diverses identit\u00e9s africaines. Nous avan\u00e7ons qu\u2019Okorafor imagine syst\u00e9matiquement des tropes panafricanistes en s\u2019appropriant un m\u00e9lange de th\u00e8mes culturels africains. Ceci est particuli\u00e8rement vrai dans sa r\u00e9appropriation du concept philosophique akan de Sankofa fond\u00e9 sur la n\u00e9cessit\u00e9 d\u2019\u00eatre ancr\u00e9 dans le pass\u00e9 pour mieux s\u2019engager dans l\u2019avenir. \u00c0 travers la dialectique tradition-modernit\u00e9, Okorafor pr\u00e9sente une pens\u00e9e progressiste, imaginant une Afrique \u00e9loign\u00e9e de la notion eurocentrique du continent. Dans cet article, nous nous concentrerons sur trois romans d\u2019Okorafor : Zahrah the Windseeker (2005), Binti (2015) et Remote Control (2021), qui se d\u00e9roulent respectivement au Nigeria, en Namibie et au Ghana. Par ces diff\u00e9rents pays, l\u2019\u0153uvre d\u2019Okorafor \u00e9voque le panafricanisme en pr\u00e9sentant diverses cultures africaines qui valorisent les identit\u00e9s physique, sociale et spirituelle. Tout aussi importants, les diff\u00e9rents aspects de la culture africaine dans les textes d\u2019Okorafor sont li\u00e9s les uns aux autres, ignorant les repr\u00e9sentations h\u00e9g\u00e9moniques. Cet \u00e9tat d\u00e9colonial des relations souligne la valeur de la repr\u00e9sentation de l\u2019identit\u00e9 africaine dans les imaginations futuristes qui caract\u00e9risent ces romans s\u00e9lectionn\u00e9s \u00e0 dessein. Les trois textes utilisent une large s\u00e9lection de ressources culturelles africaines qui non seulement renforcent les pr\u00e9occupations des personnages, mais aussi l\u2019engagement th\u00e9matique avec le cadre et d\u2019autres aspects litt\u00e9raires. Cet article examine la mani\u00e8re dont Okorafor atteint ces objectifs litt\u00e9raires en s\u2019inspirant de Sankofa. L\u2019utilisation du concept de Sankofa \u00e0 ces fins fait \u00e9voluer le cours de la d\u00e9colonisation en r\u00e9cup\u00e9rant l\u2019histoire, la culture et le pouvoir pour d\u00e9centrer la fiction sp\u00e9culative noire des conventions de la science-fiction h\u00e9g\u00e9monique blanche. Cette exploration devient donc une source d\u2019innovation pour les futurs africains, s\u2019inscrivant ainsi directement dans le terme de \u00ab futurisme africain \u00bb invent\u00e9 par Okorafor : une rupture avec l\u2019afrofuturisme. Mots-cl\u00e9sFiction sp\u00e9culative, futurisme africain, culture, Okorafor, panafricanisme, Sankofa Maandishi ya muda mrefu ya Nnedi Okorafor huamsha mitazamo ya kubashiri ya Kiafrika kwa kujiingiza katika falsafa, mtindo wa maisha, Uzoefu wa Kiafrika na njia za kuwa za jadi zinazopitisha vitambulisho tofauti vya Kiafrika. Tunasema kwamba Okorafor anafikiria kimfumo mitego ya pan-Afrika kwa kupitisha mchanganyiko wa mada za kitamaduni za Kiafrika. Hii ni kweli hasa katika utumiaji wake wa dhana ya falsafa ya Akan ya Sankofa kulingana na hitaji la kuwekwa zamani ili kujihusisha vyema katika siku zijazo. Kupitia lahaja ya kisasa ya kitamaduni, Okorafor inatoa wazo la maendeleo, akifikiria Afrika mbali na wazo la Eurocentric la bara hilo. Katika nakala hii, tutazingatia riwaya tatu za Okorafor: Zahrah the Windseeker (2005), Binti (2015) na Udhibiti wa Kijijini (2021), ambayo hufanyika mtawaliwa nchini Nigeria, nchini Namibia na Ghana. Kupitia nchi hizi tofauti, kazi ya Okorafor inaleta pan-Afrika kwa kuwasilisha tamaduni mbali mbali za Kiafrika ambazo zinathamini vitambulisho vya mwili, kijamii na kiroho. Vile vile muhimu, nyanja tofauti za tamaduni ya Kiafrika katika maandishi ya Okorafor zinaunganishwa na kila mmoja, na kupuuza uwakilishi wa hegemonic. Hali hii ya uhusiano wa kidini inasisitiza thamani ya uwakilishi wa kitambulisho cha Kiafrika katika fikira za baadaye ambazo zinaonyesha riwaya hizi zilizochaguliwa kwa kusudi. Maandishi haya matatu hutumia uteuzi mpana wa rasilimali za kitamaduni za Kiafrika ambazo hazitekelezi tu wasiwasi wa wahusika, lakini pia ushiriki wa mada na mfumo na mambo mengine ya fasihi. Nakala hii inachunguza jinsi Okorafor anafanikisha malengo haya ya fasihi kwa kuchora msukumo kutoka Sankofa. Matumizi ya dhana ya Sankofa kwa madhumuni haya yanaibuka mwendo wa decolonization kwa kupata historia, utamaduni na nguvu ya kuvuruga hadithi nyeusi za uwongo kutoka kwa mikusanyiko nyeupe ya hadithi ya sayansi ya hegemonic. Uchunguzi huu kwa hivyo unakuwa chanzo cha uvumbuzi kwa Waafrika wa baadaye, na hivyo kuanguka moja kwa moja ndani ya muda wa \u00ab futari ya Kiafrika \u00bb iliyoundwa na Okorafor: mapumziko na Afrofuturism. Maneno muhimu Hadithi za mapema, futari ya Kiafrika, utamaduni, Okorafor, pan-Afrikanism, Sankofa. \u062a\u064e\u0633\u062a\u062d\u0652\u0636\u0650\u0631 \u0627\u0644\u0643\u062a\u0627\u0628\u0627\u062a \u0627\u0644\u0648\u0641\u064a\u0631\u0629 &#8220;\u0644\u0650\u0646\u064a\u062f\u064a \u0623\u064f\u0648\u0643\u0648\u0631\u0627\u0641\u0648\u0631&#8221; \u0627\u0644\u0645\u0646\u0652\u0638\u0648\u0631\u0627\u062a \u0627\u0644\u062a\u0651\u0623\u0645\u0644\u064a\u0651\u0629 \u0627\u0644\u0623\u0641\u0652\u0631\u064a\u0642\u064a\u0651\u064e\u0629 \u060c \u0648\u064e\u0630\u0644\u0650\u0643 \u0639\u0628\u0631 \u0627\u0644\u062e\u0648\u0636 \u0641\u064a \u0627\u0644\u0641\u0644\u0652\u0633\u0641\u0627\u062a \u0648\u0623\u0633\u0627\u0644\u064a\u0628<\/p>\n","protected":false},"author":37,"featured_media":6559,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"elementor_header_footer","format":"standard","meta":{"footnotes":""},"categories":[200],"tags":[],"issues3":[],"post_folder":[],"ppma_author":[497,498],"class_list":["post-10041","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-analyses-critiques","author-elizabeth-abena-osei-fr","author-kwabena-opoku-agyemang-fr"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Les futurs africains de Nnedi Okorafor, Sankofa et les \u00e9chos du panafricanisme | Global Africa<\/title>\n<meta name=\"description\" content=\"Explorez les futurs africains de Nnedi Okorafor, Sankofa et les \u00e9chos du panafricanisme \u2013 une plong\u00e9e profonde dans sa narration visionnaire\" \/>\n<meta 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