In Dakar, Senegal's capital, a traditional Irish jig fills the air-conditioned national theatre with an unfamiliar twist. The sound of the West African Fula flute brings a different cadence to the familiar tune as actors dance across the stage in peasant costumes stitched from local fabrics.
Brian Friel's Translations, one of Ireland's most celebrated modern plays, is set in 1833 and follows British soldiers sent to rural Donegal to translate Gaelic placenames into English. The encounters between villagers and soldiers explore colonial power, language, and identity.
In the play, Irish translator Owen grapples with his own sense of identity as he works alongside Lt Yolland, who believes he can love Ireland despite being a colonizer. These characters' struggles are mirrored in Senegal, where echoes of colonial rule remain and France's influence still lingers – from the local currency to French businesses lining the streets.
The play's arrival in west Africa comes at a time when renewed debates over former colonial powers' spheres of influence have been ongoing. The Dakar-based theatre company Brrr Production staged the play with a Senegalese cast, exploring the nuances and intricacies of relationships between the local and outside forces.
El Hadji Abdoulaye Sall, a professor at Cheikh Anta Diop University, explains how French was "a language of prestige" reserved for the elite during colonial times. Despite this, many Senegalese still speak Wolof as their first language.
Adama Diatta, a local activist, campaigns to change street names in Dakar, seeking to "decolonize" the country from its forced marriage to France. He recalls a bridge named after Louis Faidherbe, a 19th-century French governor who led brutal military campaigns in the region.
The love story between Yolland and Máire embodies the tangled loyalties that linger after colonial rule. Aminata Diol's portrayal of Máire holds significance as she grew up hearing stories about mulatto women who lived through similar relationships with colonizers.
Historian Breandán Mac Suibhne sees Translations as a disavowal of simple black-and-white narratives, instead offering the complexity and choice inherent in colonial situations.
Brian Friel's Translations, one of Ireland's most celebrated modern plays, is set in 1833 and follows British soldiers sent to rural Donegal to translate Gaelic placenames into English. The encounters between villagers and soldiers explore colonial power, language, and identity.
In the play, Irish translator Owen grapples with his own sense of identity as he works alongside Lt Yolland, who believes he can love Ireland despite being a colonizer. These characters' struggles are mirrored in Senegal, where echoes of colonial rule remain and France's influence still lingers – from the local currency to French businesses lining the streets.
The play's arrival in west Africa comes at a time when renewed debates over former colonial powers' spheres of influence have been ongoing. The Dakar-based theatre company Brrr Production staged the play with a Senegalese cast, exploring the nuances and intricacies of relationships between the local and outside forces.
El Hadji Abdoulaye Sall, a professor at Cheikh Anta Diop University, explains how French was "a language of prestige" reserved for the elite during colonial times. Despite this, many Senegalese still speak Wolof as their first language.
Adama Diatta, a local activist, campaigns to change street names in Dakar, seeking to "decolonize" the country from its forced marriage to France. He recalls a bridge named after Louis Faidherbe, a 19th-century French governor who led brutal military campaigns in the region.
The love story between Yolland and Máire embodies the tangled loyalties that linger after colonial rule. Aminata Diol's portrayal of Máire holds significance as she grew up hearing stories about mulatto women who lived through similar relationships with colonizers.
Historian Breandán Mac Suibhne sees Translations as a disavowal of simple black-and-white narratives, instead offering the complexity and choice inherent in colonial situations.
. The use of traditional Irish music with the West African Fula flute adds a unique layer of cultural fusion to the performance. I think it's great that Brrr Production staged the play with a local cast, allowing the nuances of colonial power dynamics to be explored in a way that resonates with their experiences.
. It's also thought-provoking to consider how French language and culture continue to shape Senegal, even after colonial rule has ended. The campaign to change street names in Dakar is a great example of this, highlighting the need for decolonization efforts.
. Historian Breandán Mac Suibhne's take on the play as a nuanced exploration of colonial situations is also insightful. Overall, this production feels like an important step towards understanding the ongoing legacies of colonialism in West Africa 
. The way they reimagined Brian Friel's Translations with a Senegalese cast is genius, you know? 
It's like the story of colonial power and identity is still super relevant today 
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. It's crazy how much French influence is still around, from currency to businesses 
. But at the same time, it's also amazing that many Senegalese still speak Wolof as their first language 
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. Aminata Diol's portrayal of Máire is really powerful, you know? It's like she's bringing these stories to life for a whole new audience 
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️. There are so many complexities and nuances involved 
. This play is like, totally giving us a more realistic view of the past 
... I mean, who knew that Irish history could be connected to Senegal like that? It's crazy how the Fula flute mixed with the traditional jig created a new vibe for the play. The costumes looked amazing too 
, especially the peasant clothes made from local fabrics. 
... like having a currency and businesses named after old colonizers. It's all about finding new perspectives and understanding our complicated histories.
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Anyway, it's interesting how the French influence is still super evident even after all these years - like, what's up with using the Euro as their currency? 
back home... But seriously, it's crazy to see how this play is being reimagined for a Senegalese audience. The way they're weaving together Irish and West African cultures is like nothing I've ever seen before 
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! It's so cool that the play's exploring the complexities of colonial power & identity – it's like they're bringing the past to life with a new rhythm 
