No abstract

This article centres on the visual memoryscape of military figures in Senegal, which has been shaped by historical remnants, including street art, statues, and films in popular circulation. As originally envisioned, a memoryscape is based on orality and performance, but I consider the physical landscape of Dakar as a site of memory. I observe the artificial division between heroic anti-colonial warriors, represented by ceɗɗo soldiers, and victimised tirailleurs sénégalais, who are more closely associated with French colonial control. Specifically, I outline the portrayals of these figures in two films by Ousmane Sembène and statues and murals depicting the precolonial hero Lat Joor Joob and tirailleurs sénégalais. These interpretations of ceɗɗo and tirailleurs sénégalais exemplify the struggle in post-independence Senegal over national identity.

Martial race theory affected policies of military recruitment and conscription throughout the British and French empires. This ideology established a racial hierarchy based on climatic theories, physical qualities, and perceived behavioral characteristics, and colonial authorities sought to identify indigenous peoples in Asia and Africa naturally suited for military service. However, the classification of groups as inherently militaristic and their disproportionate presence in colonial forces was more often due to their acceptance of colonial authority instead of some innate fearlessness or capacity for violence.