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Tag Archives: French

sarraouna: the witch-queen of the azna

11 Monday Feb 2013

Posted by babylon crashing in Illustration and art, sonnet

≈ 1 Comment

Tags

Battle of Lougou, colonial era, Dogoua, female geneal, French, Nkomo Woman, The Azna, West Africa, witch-queen

Sarraouna

Smashed the villages. Knocked their walls to bits.
Broke the kilns and meeting houses. Sometimes

you make me wonder. You, who now commits
“crime de guerre,” wouldn’t dream of such crimes
near your beloved Paris. If I’m devout
and dire it is only in proportion
to the horrors your soldiers carried out
during your Voulet-Chanoine mission.

You called me witch-queen. No, I’m a mother

who took up arms against the men who raped
her last daughter, then sold her last sister
to the pimps of France. There are monster-shaped
men who’ll fear the witch-queen of the Azna.

I will teach you my name: Sarraouna.

* * *

What is known about Sarraouna is that she was a queen of the Azna people, who ruled in a region of West Africa during the late 19th century. Like many controversies surrounding European colonialism there appears two conflicting versions of Sarraouna. In one she is a champion of her people, standing up against an invading army that used large-scale rape and massacres as a means of subduing an indigenous population. In the other she is a “witch-queen” who stirred up anti-French sentiment during a time when France was attempting to conquer Chad and unify all French territories in West Africa.

The Azna occupied the Dallol Mawri, a broad valley in the Hausa country of the present-day Dogondoutchi district of Niger in northwest Africa. Like so many heroes of history, myths have grown about Sarraouna’s childhood. She had a Spartan upbringing with adoptive parents. At the age of eighteen she already knew how to lead men into battle, and as a tribal sorceress, she held her warriors and her enemies alike in thrall. When the Fulani of Sokoto attempted to convert her and her people to Islam, she and her warriors fought bravely to drive them back …

In January 1899, French troops — primarily [African] mercenaries — commanded by captains Voulet and Chanoine left Segou in Mali, crossed the territories of the Zarma and of the Gourma, and entered the dense vegetation of the Dallol Mawri. On April 17, 1899, they laid siege with cannon fire to the village of Lugu, which Queen Sarraouna and her fierce warriors defended valiantly, determined not to allow the invaders drive her out: “We won’t move a single inch from here … even if we must die to the last person!” But the superior French arms proved too powerful … forced to retreat … she continued to harass her enemies, so intimidating the mercenaries that many of them abandoned the French. While the French captains, watching her rituals from afar, at first dismissed them as “drunkenness” and “incoherent ramblings of a superstitious woman,” the mercenaries came to believe her to be the Nkomo Woman, the femme fetale, the Dogoua, or demon-woman. (Jackson-Laufer, 354)

Work Cited

Jackson-Laufer, Guida. Women Rulers Throughout the Ages: An Illustrated Guide (Santa Barbara, ABC-CLIO: 1999)

from the 1986 by Med Hondo, "Sarraouna"

from the 1986 by Med Hondo, “Sarraouna”

ayrivank orpheus

31 Monday Dec 2012

Posted by babylon crashing in Erotic, Poetry

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Tags

ayrivank orpheus, French, translation

Stèles
bustes
berceaux
les témoins
à l’ombre touffue
du paradis
avoir tant attendu
d’impossibles marées
Sous le vent des arbres
t’enveloppe l’ombre complice
Tous les siècles
silences
gagner la dune

L’enchevêtrement
de pierre
opéra désordonné
signes
trinité de sable
qui t’accueille
ceinte des marches
se rapprocher
boucliers
masques
proclamation
de batailles
secrètes
falaise sombre
découpée d’azur
coupoles
en suspens
blocs arcs
diffraction
de croix
Roche orangée
où courent des ruisseaux
d’herbe

Soudain
plongé
au coeur de la grotte
humide oppressante
gouttelettes d’orage
qui scandent
yeux de Shiva
brasier
délimitant la nuit
S’égarer parmi
la faille
Nul retour
le chemin de cendres

Surgir nu
faune à la flûte
tu envahis l’écran
sans mot dire
bec
incandescent
regard rivé vers
les tréfonds de la terre

Scène urbaine
chaos industriel
improvisation
cathartique
les vertiges
oubliés
basculement
d’outre Erevan

Les angles se tordent
perspectives floues
arcade molle
piliers de convulsion
déplier
chaque prisme
La coupole fuit
se déplace
lunaire
iris de pierre
fixe
duduk
sismographe
dentelle mouvante
casque
de l’orant

Feuillages opiacés
tiare du chaman
les silhouettes
se plient
aux désirs secrets
multipliant
leurs clés
suivre la paroi
telle une peau
scarifications
grotte berbère
tatouages
ors terrestres
nappes
qui serpentent
coagulation de lumière
tu scandes
l’initiation
seul le torse

Revisiter la ville
les places d’oubli
torsion domestique
du plus profond
mage
doigts notes
symétriques
L’incantation
géométrie pétrifiée
kaléidoscope
paroles de la Pythie
vents
fixer le centre
qui se dérobe
Les perspectives
se répondent
fuient
Debout dans tes ténèbres

Ithaque
Sevan
ballet panique
épuiser toutes les formes
aller au delà
danser l’impossible
murailles du jaguar
les volumes conjugués
plaine improbable
bornes floues
Capitales
rompues
rive foisonnante

Message de Circé
L’appel des noyades

Lettres décomposées
losanges ruptures
dédale océanique
qui se multiplie et disparaît
faille bleue

Boutre
en quête
tes Mers Rouges
les horizons se mêlent
boussole nue
tu te laisses guider
par ce qui n’a pas
de nom
saccades d’écume
le lac agite son voile
bref létal
paupières qui se referment
grève muette
calcinée
Les flots roses
aurores
qui brûlent sans cesse
regagner les glaces

Les routes l’île
murs
qui affleurent
tourner le regard
La nuit tombée
reprendre le ballet
bâtir l’éphémère
au centre de la scène
agonie du sens commun
d’évidence

Animal
mystique
regard perdu
dans l’immensité
appel muet
danse d’exorcisme
Libre
de ta nuit

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