L'ombre de Thomas Sankara : réfractions textuelles, cinématographiques et musicales d'un révolutionnaire

In 1960, many African countries gained their independence from France. Yet, many years later, the independence that was intended to grant them the right to international sovereignty was revealed to be illusory because the former colonial power maintained control. Over the years, some African leaders risked their lives to dismantle this oppressive system. A prominent example is Thomas Sankara, a young revolutionary Burkinabe captain who ruled his country from 1983 to 1987. In addition to the relentless fight against neocolonialism, his rule was marked by a profound social transformation. Although after his assassination the authorities initially tried to eradicate all trace of his legacy, the memory of his resistance continues to reverberate through diverse art forms such as painting, cinema, literature and music. Grounded in postcolonial theory, this thesis investigates the foundations of, and methods used to restore the memory of Sankara's contributions in a tripartite study that includes narrative, cinematic and musical creations. As to the foundational motivation for these aesthetic formulations, this study argues that aesthetic representations of Sankara's past are not just acts of historical remembrance, but create a dynamic space for political, ideological and identity construction that brings to the forefront contemporary tensions in Burkina Faso and beyond. As for artistic methods, the four different works discussed attest to the plurality, diversity and dynamism of Sankara's legacy. Memories and reconfigurations shift across genres and vary according to the artists' sensitivities. In the film, for example, elusive traces of Sankara and his accomplishments constitute archival proof of his authentic, historical and verifiable self. The novel, on the other hand, offers a subjective, affective and imaginary reconstruction of Sankara, pluralizing the character and subjecting him to a variety of interpretations that are at once intimate and mythical. Music provides yet another means of reimagining Sankara, transforming him into a mobilizing and transnational figure. Each aesthetic choice determines the approach and treatment of historical symbols and details, resulting in a historical re-construction with subtle variations. Depending on the artist and art form, Sankara is revealed as an example of a living idealist, an idealist betrayed, or an idealist model that needs to be restored.