Postcolonialism does not exist in France
It is no longer shocking to witness the prejudice among French institutions and intelligentsia against Africa and Africans.
Racism and exclusion have always been at the heart of France’s neocolonial project in Africa. What is new, however, is the pervasive and active discursive process of making invisible, and therefore containment, of the violent reality of France’s policies and its devastating consequences for France’s racialized citizens as well as the African populations on the other side of the Mediterranean. Today it is important to consider what France has become: to slightly stretch the words of philosopher Herbert Marcuse, a one-dimensional society where repressive and exploitative forces of domination and injustice that have been at the heart of France’s national consciousness challenge any possibility of a genuine vision of change.
It is no longer shocking to witness the prejudice among French institutions and intelligentsia against Africa and Africans. The state, the media, and the academy in France actively embody the role of new agents of state neocolonialism to reject any resistance against racism and Islamophobia through complex methods of containment and abstraction.
Race blindness for instance becomes an effective tool to safeguard the neocolonialist foundation of France’s state apparatus and contain any possible threats to its national consciousness. As writer Lauren Collins observes, “There is a common belief that there cannot be racism in France because in France there is, officially, no such thing as race. The state, operating under a policy of “absolute equality,” does not collect any statistics on race or ethnicity.” By doing so, the state apparatus in France ignores its racialized and ethnic citizens and represses their rights to be fully acknowledged.
State neocolonialism in France has been impregnated in its national consciousness to the extent that its networks of domination and dehumanization have blurred the traditional distinctions that are made on the basis of color and between racialized and ethnic citizens emigrating from Africa. In France, to draw upon Fanon’s analysis that racism is fundamental to the economic structures of capitalism, the political infrastructure is also a superstructure: you are French because you embody France’s state neocolonialism, you embody France’s state neocolonialism because you are French. The French state no longer presupposes certain racial and aesthetic characteristics of the ideal citizen: Black African intellectuals and brown Maghrebi media pundits can also be incorporated as new agents of state neocolonialism. In contemporary France, Africans are not othered and excluded on the basis of race, ethnicity, or color, but rather on the basis of their politics, culture, and religion.
When Emmanuel Macron, the French president, decided in October 2019 to share his views on immigration and Islamophobia, he chose the far-right magazine Valeurs Actuelles, declaring that “the failure of our (economic) model coincides with the crisis of Islam” and adding that this crisis leads to the emergence of more radical forms of political Islam. Macron criticized a demonstration in support of the right to wear veils as “non-aligned Third-Worldism with Marxist tendencies” (he used the word “relents,” which can be translated to hint or trace, but also to stink or stench). This interview was published a few days after a mosque shooting in Bayonne, in south-west France. No terrorism offenses were brought by the French government against the white shooter.
The media’s complicity overwhelms any possibility of a meaningful public debate. At its basic form, the process of invisibilization in a one-dimensional society involves the dispersal of productive energies through diversion and abstraction so to ensure that a revolutionary momentum is as unattainable as the end of capitalism itself.
This complicit relationship between the media and the state in France is carefully exposed in Serge Halimi’s Les Nouveaux Chiens de Garde (translated to The New Watch Dogs, 1997-2005). Halimi, the chief editor of Le Monde Diplomatique, lays down a seething critique of a “capitalist” press and media in France that are heavily influenced by the elite interests of politicians and powerful corporations and likely to manufacture propaganda to serve their agenda.
This is exemplified by the controversial debate in France around returning works of African art, stolen during colonial times, to the continent after the publication of the report by the French historian Bénédicte Savoy and the Senegalese economist and writer Felwine Sarr, and commissioned by Macron, which recommends to cancel the project of long-term loan of items to African museums and to support the full and unconditional restitution of the looted heritage back to Africa. The glaring discrepancies in reporting the ambivalent position of the French Minister of Culture, Franck Riester, a right wing politician, regarding the return of the stolen artifacts to Africa highlight the dangerous complicity between state institutions and the media in France. There were two opposing reports of this event: on the one hand, major French media outlets celebrated the efforts of the French government to return 26 works of art to Benin. Radio France International, for example, chose the title: “Restitution of works of art in Benin: France goes a step further” while Libération opted for: “Restitution of works in Benin: Paris says it works for a quick return.” But once we dive into these articles, we are faced with the many approximations and “possible scenarios” under which France will actually return the art. The conditional supplants the affirmative, and what remains is the strong belief that much has been left unsaid.
On the other hand, The Art Newspaper, a leading global art magazine, commented differently on the same event: “France retreats from report recommending automatic restitutions of looted African artefacts” ran the article. Here, what is emphasized is the strong opposition of France’s powerful gallery owners and art collectors against any form of permanent restitution and the pressure they put to change the “restoration without delay” decision into a “temporary return.” The new scenario, according to the minister’s comments, refers now to a temporary “exhibition dedicated to the diversity, complexity and aesthetic richness of these works” that will be held, not in Africa, but across France this summer as part of Macron’s highly publicized event entitled “Africa 2020.”
While most news outlets in France continue to briefly comment on the ongoing debate between supporters and critics of Savoy-Sarr report on the restitution of African art, The Art Newspaper insisted that “the report made international headlines, recommending the restitution of African artifacts in French museums, but the country has not returned a single item to Africa.” A year after the publication of Savoy-Sarr recommendations and Macron’s promise for a quick return, “neither the 26 pieces from Benin nor indeed the 90,000 other Sub-Saharan artifacts in French museums” have been returned to Africa.
What is often dismissed from the debate on the restitution of African heritage is the capacity of the French president to secure political and economic gains while asserting the hegemonic power of France over its neo-colonies. Macron accepted to temporarily return El Hadj Omar Tall’s sword to Senegal for a period of five years during another highly publicized ceremony, and at the same time he persuaded Macky Sall, the Senegalese President, to sign a new, multi-hundred million euro contract “for the construction of three offshore patrol vessels for the Senegalese Navy.” Again, there is nothing new here: as Sally Price reports, “[R]estitution is part of a two-way interaction, based on inequality and demanding something in return.” However, Macron successfully manages to obscure this inequality through a highly-calculated, affective, and Africa-friendly communicative strategy.
In France, as the old world is dying and the new is waiting to be born again, a specific breed of pseudo-intellectuals highjacks the public discourse to further promote a republicanism of inequality and exclusion. Among white French intellectuals, the complexity of the postcolonial field is often reduced to a corrupt discursive technology of deceptive arguments, false readings, and deliberate confusion. It is unconceivable to think of a public debate about, say, the case for reparations.
Whenever I am faced with the abysmal state of postcolonialism in France, I remember how Carina Ray, associate professor at Brandeis University, at a panel on the racial politics of knowledge production in November 2018, described the state of African studies in Europe: There are still issues that are “so 1940s and 1950s.” “White Europeness” has made it difficult to bring new perspectives on the postcolonial question. As she put it blatantly: it is a disaster.
The dangerous pseudo-intellectualism of Bernard-Henri Lévy, Alain Finkielkraut, Éric Zemmour, Raphaël Enthoven, Michel Houellebecq, Renaud Camus, Robert Ménard, and others – the list is absurdly long – has caused a permanent damage to any possibility of a qualitative change. There is no pause here: these figures have always been central to France’s neocolonial project of domination and exploitation.
As Marcuse writes, “The most effective and enduring form of warfare against liberation is the implanting of material and intellectual needs that perpetuate obsolete forms of the struggle for existence.” The omnipresence of Lévy, Finkielkraut, and Zemmour in public discourse in France is meant to turn meaningful propositions of liberation into obsolete forms of insignificant punditry.
In an infamous manifesto signed by 80 figures of the French intelligentsia such as the reactionary Alain Finkielkraut and published in 2018 postcolonialism was deemed “a hegemonic strategy” that attacks the ideals of republican universalism, and it involves “the use of methods of intellectual terrorism reminiscent and far exceeds what Stalinism once did to European intellectuals.”
What is often recurring in these incendiary attacks on postcolonialism among the white French elite is this amalgam of postcolonialism with the North American scholarship. There is the tendency to believe that postcolonial studies, an interdisciplinary field of inquiry and activism, is due above all to the contributions of the American and Anglo-Saxon schools to the developments of its theories and practices. When the existing tensions between France (and Europe) and the United States on issues of knowledge production and cultural superiority is taken into consideration, one is inclined to consider that their attacks against postcolonialism are a deep and irrational fear of hegemonic American interventionism.
The view of postcolonial thought as a universal, progressive praxis that has been forged by the struggles of the peoples of the South is dismissed. The fundamental thrust of postcolonialism as moving beyond racial and identity issues to rethink also political, cultural, and utopian ideals is attacked. While the Americans and others have grasped that, in a world in flux, we cannot afford not to be postcolonial, France’s established networks of neocolonial power continue to dismiss postcolonialism as unpatriotic and as a homogeneous threat.
Faced with Finkielkraut’s racist and misogynist attacks during a televised debate, Maboula Soumahoro, the activist and chair of the Black History Month in France, was succinct in her reply: “Your world is ending! You can be panic struck as long as you want, it’s over!”
Meanwhile, the complicity between the political, media and cultural institutions in France continues to silently enforce the state neocolonialism against the African diaspora. The death of Zineb Redouane, the islamophobic attack against a French Muslim women by a white far-right politician during a school trip with her son and other children to the regional parliament in eastern France, the outrageous and ignorant falsehoods made-up by a white French writer about slavery, the racist mural of Hervé Di Rosa in the National Assembly, the decision of the French government to backtrack on the full and permanent restitution of stolen works of African art, and France’s murky role in Libya’s ongoing civil war are all visible signs of a pervasive state of neocolonialism that dictates the violent relationship between France and Africa.