Performing Contestation

This article explores the potential and limits of popular satire theatre Kotéba in transporting critical narratives into Malian public sphere. It investigates how can be perceived as a means contestation. Through accounts two cultural agents who were actively implicated creating plays censorship-processes during Moussa Traoré regime (1968-1991), author traces Kotéba’s development social function to discuss interconnection theatre, narrative The focus on narrated memories favors backstage perspective, allowing insight otherwise hidden processes which make “performing contestation” possible.