2021/01/01 by Badroudine, Abdou Nouhou
Social Sciences · #African history and culture analysis #African history and culture studies #Art and religion #Art et religion #Global Maritime and Colonial Histories #censure #ensorship #music #musique #religious taboo #tabou religieux #theatre #théâtre #traditions #wahhabisme #wahhabite
paper · doi:10.26171/carnets-oi_0707
openalex publication_date 2021/01/01 · openalex created_date 2022/07/25 · openalex updated_date 2026/07/30
The play of Said Ahmed Said Tourqui (Sast) entitled Les Barbuffes, and staged at the Alliance française of Moroni in February 2016 sets out to outline the prevention against radicalization was judged blasphemous by a religious group. Contemporary Comorian musicians do not escape either the menaces of aggression. The case of the artist (singer) Nawal Mlanao is revealing of taboos, religious and traditional. It has already been the object of intimidation of wahhabites fundamentalists who reproaches her of transgressing Islamic rites. The analysis of her musical works allows us to understand the elements which reveal the religious and traditional taboos in the Comorean society. This article is intended to shed light on the role played by artistic practices and the way in which contemporary artists lift up the veil on the taboos to which the Comorean society has to face in this beginning of the 21st century. This will allow to understand the way in which these practices transgress the sacred and the prohibitions. This approach allows us to understand as well how these artistic productions become a source of provocation and falls under the censorship blow.