Yepi sanga Yeip sanga - Ei Maquis é...
The
Maquis can be considered the nexus of social life in Abidjan. As such it must be celebrated. Its wooden or
metal truss structure over which a cloth, sheet metal or thatch roof is laden,
offers a refuge from the unforgiving blaze of the sun during the day and a
sanctuary for party-goers at night. Commanded by their thirst, the Maquis’
clients seek its shade, its good ambiance and its cold beers. The main road,
often never too far constantly affirms the presence of the city with its
unending parade of vehicles: orange taxis, yellow taxis, luxurious and diplomatic
SUVs, run-down Gbakas all speed across only leaving behind the fumes of their
exhausts and the echoes of their engines.
The
Maquis’ floor surface is often a concrete slab or bare sand over which a dozen
or so seats and tables are disposed. Depending on the time of day, the tables
feature food, drinks or both. Lunch options may not be very varied but are very
popular and can be quite scrumptious. Garba, the people’s favorite is a dish of
cassava powder (Attieke), fish and freshly diced vegetables (condiments). The act of eating is rarely solitary
and as such often becomes a social and collective experience.
Assembled
around a central dish, two or more people banter about and aloud. Two bowls of
water (soapy and clear) often precede the food and are used by the patrons to
wash their hands pre- and post- eating. With one hand (never the left) digging
into the food and the other manning the beer glass or chasing away the
undesirable flies, eating requires effort and dexterity; it becomes a form of
work/skill that must be perfected. Its work facet betrayed by the beads of
sweat found on the clients’ foreheads after the meal. In the words of Francois
Kouakou N’Guessan, “The word “Maquis” in Cote D’Ivoire evokes a reality that is
simultaneously gastronomic, cultural and political… the commotion, shouts,
interpellations and discussions give to the maquis an exceptional ambiance
which transcends its primary gastronomic function, and turn it into a true
cultural centre with all the implicated human interactions, reflections,
discourses and projects” (N’Guessan 1983).
If
in 1983 the culture of dancing in the Maquis hadn’t yet gained prevalence, the
failed coup of September 2002 in Ivory Coast, and the crisis that later ensued
surely changed the social dynamics of the Maquis. As curfews were declared in
Abidjan (sometimes starting at 6 pm, other times earlier), social angst swelled,
insecurity levels augmented and the climate became tense. However, “Just like
the Messiah came a young man, with his battalion armed with joy and gaiety” His
name was Amidou Doukoure Stephane Sagacité aka Douk Saga. With his Coupe
Decale, his flashy attires and most importantly his constant “Travaillement”
(the art of rewarding fans with money), Douk Saga crystallized himself and his
Coupe Decale as a new model of success for Ivorian youths. Moreover, Maquis
owners and patrons found innovative ways of circumventing the state of
emergency by opening their doors in the mornings or afternoons and offering
patrons the opportunity to liberate some of their worries to the hypnotic
sounds of Coupe Decale music. The Maquis thus became the terraneous grounds
onto which Coupe Decale music took its roots.
Nowadays
as night falls, vibrant music emanates from the Maquis and usually does not
stop until at least 6 AM. Savvy owners append night-clubs or air-conditioned
lounges (bar climatises) to their Maquis and offer their clients a fashionable
décor in which to spend their nights. Special Zouglou or Coupe Decale nights
are featured on big banners and serve to attract either one crowd or the next. If
N’Guessan had previously identified 3 categories that characterized the Maquis,
today a fourth can certainly be added: entertainment. Moreover its popularity has now become transnational as the word exported itself to counties as remote as Paris' Chateau D'eau and Chateau Rouge districts. The Maquis is no longer an Ivorian phenomenon, it is now international.
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