A LA UNE
SENEGAL-LEGISLATIVE: These results are only shameful because false.
Abdoul Mbaye, president of the Alliance for Citizenship and Labor, head of the coalition Joyyanti, denounces the results of the legislative elections of 30 July 2017.
My dear Companions,
Nine months after the start of our party’s activities, our bodies had decided to participate in the legislative elections scheduled in 2017 although soon came.
The latter took place. They will remain as the poorest organized in Senegal for 50 years. Their results will soon be official. They will impose themselves on us. They are particularly unfavorable to us.
We know, however, that they do not reflect the will of the people, but we choose not to be in the shoes of the bad loser since our two main objectives have been achieved.
We wanted to experience the first election and better prepare the future ones. We know today the organizer of the election untrustworthy, at the same time that we have observed a particularly regrettable democratic retreat mixing incompetence and concern to refuse transparency. Rejecting any audit of the electoral register was already an admission before the time. Senegalese citizens absent from the lists despite the possession of their biometric identity cards or their receipts now know why this audit was refused by the Senegalese authorities.
Everything has gone by. Everything was cheating, mixing gravity and comedy: the purchase of consciences, those of the candidates and those of the electors; Buses allowing voters to travel to voting centers abroad only for APR activists for the first time; The fights organized in several of them; The bulletin of the outgoing majority that “the wind moved to cover the lot of bulletins of the coalition Joyyanti” to Cambérène; The blue bulletin of our coalition turned violet and thus hardly recognizable by the voters; The votes that reduced the votes in favor of our coalition when we did not have representatives in the offices without fear of final totally aberrant counts (example: 1495 votes in Dakar …), etc.
Above all, we have achieved the goal of broadly disseminating our political message through the electoral campaign. We have carried it with other coalitions of patriots and enlightened the voters on the role of the deputy and the importance in a democracy of a parliament that is not totally subject to the executive power.
These results were possible only through the remarkable commitment of our companions and militants of the Allied parties. I would like to express my deep gratitude for their commitment and congratulations on the results achieved.
It remains for us to engage the future. These results are only shameful because false. Our people did not refuse the call for a policy putting their interests before those of a political class, certainly in power, but already condemned. It’s a question of time.
Companions, let’s go back to the book where it had been interrupted: the validation of the basic committees of the ACT party which had been suspended and the setting up of its structures in place of the provisional ones that had started our project. Let us continue our effort to explain “politics differently” and awaken consciences, by giving ethics the place it must find in our society and politics. Let us continue to call unceasingly to transform Senegal into a true democracy by the balance of its institutions.
Companions remain standing! Tomorrow is near, “it will be new and it will depend on us” (Gaston Berger).
Abdoul Mbaye
President of the Alliance for Citizenship and Labor
Joyyanti coalition list head
A major figure in the fight for the recognition of former African soldiers enlisted in the French army, Aïssata Seck held the position of deputy mayor in charge of memorial policies and the fight against racism and discrimination from 2016 to 2020 in Bondy. Engaged in politics, she tirelessly pursues her work of justice and truth for the recognition of the rights of Senegalese tirailleurs through its association for the memory and history of Senegalese tirailleurs. She is currently the Director of the Foundation for the Memory of Slavery and Regional Councillor Ile-de-France.
Between personal history and intimate combat
His grandfather was one of the Africans who gave their breasts for the liberation of France before the rise of Nazi Germany. After a generation – that of her father – she takes up, in a way, the family torch: to make sure that the leading role played by the Senegalese Tirailleurs in the Great War is recognized. Born on 20 February 1980 in Meulan, Aïssata Seck is French and of Senegalese origin. His grandfather, Samba Yero N’Dom, a Senegalese tirailleur, never obtained French nationality. Years later, as if it were predestined, she decided to speak out loud for those veterans forgotten by the French Republic.
A petition that changes history
For more than ten years, Aïssata has been leading this fight: recognition of the rights of the old African Tirailleurs. In 2016, she launched a petition to ask for the naturalization of the Senegalese Tirailleurs, who lost their French nationality after the independence of Africa. This, she sees as ingratitude on the part of France. The petition immediately received over 60,000 signatures. Pushed by this wave of exceptional mobilization, France decides in April 2017 on a historic gesture by President François Hollande to grant French nationality to twenty-eight former Tirailleurs. A drop in the bucket. But a victory nonetheless.
So that France does not forget them
The year 2024 marks the 80th anniversary of the Liberation of France. And, so that this is not forgotten, Aïssata Seck “wishes to contribute to the success of the commemorations by involving a part of the French youth and a part of the Senegalese youth”. Far from stopping at this victory, Aïssata Seck also militates in many associations for a better visibility of colonial soldiers in the public space. President of the Association for the Memory and History of Senegalese Tirailleurs, in December 2023, she was appointed director of the Foundation for the Memory of Slavery. She works to ensure that the streets, schools and monuments pay tribute to these men who came from Africa, often at the cost of their lives, to defend a country that recognizes them too rarely. Indeed, Aïssata Seck refuses that the memory of these fighters is forgotten. And for this, it deserves all our consideration.
The evening of October 20, 2024, marking the political return of Pastef in Paris, was also the occasion for a vibrant tribute. Massamba Thiam, known as Neega Mass, was awarded a diploma in recognition of his artistic dedication to the Senegalese people. With this symbolic gesture, the patriots of Pastef wanted to salute the luminous influence of this artist, both in Africa and in the diaspora, as a beacon of awakened consciousness.
A well-deserved tribute
In front of a prestigious assembly, gathering the great figures of Senegalese politics, Neega Mass appeared deeply moved. This Franco-Senegalese, from the generous lands of Casamance, received this distinction with a touching humility. She recognizes her commitment to Pan-Africanism and patriotism, two ideals that run through her work as a red thread. More than a simple reward, it reaffirms the relevance of its fight, an encouragement to continue on its path towards a united Africa. Poet and activist rapper, Neega Mass expresses in his deeply committed texts a pan-African dream anchored in modernity. Spiritual heir to thinkers such as Cheikh Anta Diop, he has been a champion of awakening African and Afro-descendant consciousness since his first albums Aduna (2015) and L’Œil Invisible (2016). His words, far from being mere notes on a score, are vibrant calls to memory and responsibility, incitements to an inner revolution for African governments and peoples.
Neega Mass
The art of sublimating the verb
The magic of Neega Mass is its ability to combine entertainment and thought. His texts, rich in meaning and emotions, are interspersed with subtle puns, deep allegories and references to great African authors such as Senghor, Aimé Césaire, and Cheikh Anta Diop. The artist does not hesitate to rub shoulders with the founding myths of Africa, diving into the meanders of Egyptian, Nubian and Sudanese history. But beyond these historical anchors, it addresses contemporary geopolitical issues with a rare audacity, calling for unity of the black peoples of Africa and the Caribbean. In this interlacing of tradition and modernity, he urges his listeners to rediscover the building soul of the African genius.
An heir of the griots
Coming from the Griot caste, Neega Mass inherited an ancestral gift: that of making words speak without apparent effort. It is a spontaneous, almost mystical word that comes to him with disconcerting accuracy. In his compositions, he was able to mix traditional instruments such as the xalam, secular lute of West Africa, and the tama, this drum of royal courts, to infuse his creations a cultural depth rarely reached. This alliance of ancestral sounds and powerful political discourse gives his music a unique dimension, far beyond the borders of rap. Each piece becomes an ode to African identity, a cry of love addressed to the continent.
Neega Mass
A model of inspiration
The recognition of Pastef France is much more than a symbolic reward; it reflects the impact of Neega Mass, both artistic and political. Through his creations, he was able to build bridges between generations, cultures and sensibilities, while remaining faithful to his pan-Africanist vision. As a committed artist, he embodies the rebirth of conscious music at the frontier of entertainment and social engagement. Neega Mass, in his unwavering quest, continues to raise the colours of Africa and its diaspora, dreaming, like the giants before him, of a union of the states of Africa.
Armed with her guitar – which proved to be less heavy than a piano during her training – Coumbis Cissokho Sorra unleashes a flow of emotions on the world’s stages. Currently in Paris, she is navigating between African and Western rhythms, recording a new single financed by the “African Culture Fund” and refining her next album, which will be in the same vein as the previous one: a conscious and committed style of “galsen” rap.
From cherry to rapper
From a family of griots, the young Coumbis Sorra Cissokho has drifted towards rap, like an unforgiving river that rises from its traditional bed. While her musical family heritage predestinated her to animate deaths and births, Combis opts for a rap that skillfully mixes mandingo influences, blues and mbalax, to which she adds touches of commitment. Coumbis enters the world of music through hip-hop after spending four years at the prestigious AMV music school located at the Maison de la culture in Dakar. Noticed from the moment she entered this school by coaches like Rodolphe Coly, Edou and Boumy. Leaving this school, with a rather heavy artist background, Coumbis Sorra abandons hip-hop to dedicate himself to Word Music. Talented guitarist, she works a lot on her own compositions both on the vocals and on the instrumental part
‘Bandirabe’’, a tribute to his
In 2018, her album “Bandirabé” confirmed her talent and versatility. Behind his committed texts, we find this captivating melody drawn from his Mandingo roots. His texts thus have a singular sonority that today constitutes his musical identity. Evolving in rap, a genre dominated mostly by men, this young Casamançaise has forged a name, far beyond Senegal, thanks to the power of its flow. It is always a pleasure to listen to this artist who composes songs in the purest African musical tradition, with cascades of melancholy kora arpeggios and punchy phrases in wolof. Coumbis Cissokho Sorra has succeeded in elevating Galsen rap, incorporating a particular style: conscious rap.
A conscious rap
Since its debut in 2006, Coumbis Sorra has been known for its grooves and strong positions. His single “Mister President” is a real uppercut addressed to African leaders, denouncing bad governance. Since then, it has continued to pursue this social and political commitment. In 2012, she returns with “Kadinding Faye”, a moving tribute to street children, confirming her role as an engaged artist. Most of its titles denounce the social realities of Senegal and Africa as well as political concerns. With her single Farafina Mousso, she puts herself at the service of the women of the world.
International recognition
Coumbis made a name for itself internationally at the 3rd edition of the Festival Mondial des Arts Nègres (FESMAN) in 2012, with its striking style combining tradition and modernity. Its participation in prestigious festivals such as the Saint-Louis International Jazz Festival, the Ndakaru Festival or FIMA (International Fashion Festival in Africa) has been praised by the press. Today, we can say, she is without a shadow of a doubt one of the ambassadors of Senegalese culture, especially from Casamance, her native land. This new album, which she shapes far from her roots, is eagerly awaited.
