Anatomy of a Riot: The Social Imaginary,Single Women,and Religious Violence in Niger

This article asks us to rethink the models that have conventionally represented the coming of Islam to Africa: that of a pre-established entity, given from the outside, coherent, monadic, unity, like an already formed identity. Using Lacanian challenges to conventional notions of identity, this article contests the above version of Islam, viewing it as an incarnation of the imago: always there, always obeying the logic of a model of transmission into Africa as a reception from abroad. The conventional representation of its irruption into Africa has always involved the misrecognition of an identity as a pre-existent, already-whole form, wait ing to be born, presumably in complete unity. What this model ignores is that the language and form of what it came to recognize and name as Islam were already there, and that the Islam that formed its newlyconscious sense of self was grounded in the same act of misrecognition as characterizes the mirror stage, that is, the stage at which the subject comes to state: “This is who I am.” In order to rethink the identitarian model, this article evokes the figure of the dead father, the “McGuffin” on which turns the drama of Hampaté Ba’s Wangrin and Sembène Ousmane’s Faat Kine. In both works, the act of exhuming the father’s body takes on a degree of fantastical importance because it situates the struggle between two competing mirror stage tendencies: narcissism and aggression, tendencies around which all forms of subject-identity formation take place.