Mercenaries in Africa:
It is not Wagner who wants!

Nietzsche, wanting to disqualify the veneration to which the "old enchanter" is subjected, writes: "Wagner is a neurosis". For him, this German composer of lyrical art of the late nineteenth century, must be "considered as a danger" and his music "without future". Even if in hindsight, Nietzsche appears alone in this attempt at disqualification, the history of the twentieth and that of the twenty-first century gives him reason for the moment. First of all, no creative genius has yet managed to build a tetralogy at the height of the Ring, whether in the musical, artistic, literary or scientific field. Then the attempts to transpose into reality did not cease to multiply, starting first at home with Nazism conceived as the last episode of the tetralogy after slavery, the slave trade and colonization. The paradox being that it is in one of the colonial empires that had to be cleansed of everything that is not inherently Germanic or Aryan that applications multiply to appropriate this fatal tetralogy with the certainty of coming out of it grown.
 
The first act is set in the liberated city when the authorities rush to extract everything of African origin, to transform the defeat into a victory obtained without any external contribution. The event is organized as a real declaration of hundred years war (1945-2045?) against Africa whose first act - the longest - ends in the Sahel.
 
Scene 1 (1945 – 1991) takes place in the historical context of the "American Century" (P. Mélandri; 2016. Perrin). This period, however, is less that of the establishment of an Imperial Republic than that of the "Mercenary America" of the international system (A. Joxe; 1992. Stock). This qualifier says a lot about the omnipresence of Wagnerian inspiration: the race for the ring of Nibelung is also a matter of mercenaries disguised as gods, goddesses, giants, heroes, heroines, dragons, all inhabited by demiurgic pretensions.
 
Most of this first scene revolves around the obligation to preserve the status quo within the confiscated colonies, from the fifties in exchange for Marshall aid provided by America. An impressive number of mercenaries crisscross the continent, stifle any desire for independence and eliminate any figure who claims to improve the lot of the populations. All under the benevolent eye of the United Nations where - decade after decade - follow one another "Decades of Development". Like a mechanism of path dependence, austerity programs and projects intended to give adjustment a "social dimension" do the rest to the point of triggering within the Specialized Agencies the cry of "Y-en-a-Marre du Multi-Bi!" Multi-bilateral aid is in fact a gigantic scam set up by bilateral donors to finance projects under the cover of specialized multilateral agencies without an intervention budget, on the condition that the financial flows go back to the country of origin. All African administrations and institutions are cluttered with projects of this type under the supervision of expatriate experts. The counter-offensive is organized with the help of mercenary type "clavaluator" (anticipating the chat). A flagship regional project housed within the Caisse d'Emission whose headquarters had just been transferred to Africa is the main target that, once hit, puts an end to the scandal. The United Nations became aware of the need to review its software and began to implement the recommendations of the Jansson Report (1989).  Like what, it is not only the mercenaries inspired by Wagner who make the law.
 
Scene 2 (1991- ) is inspired by the two campaigns - air and ground - launched against Iraq in 1991 and called "Desert Storm, Desert Sabre". The operation is emulated by people who dream of extending it to Africa to probably continue to be considered the "old ally of the first days". The turn of 9/11 provides the opportunity for this extension and the reaction to the "Arab Spring" the pretext for "Mercenary Europe" to imitate "Mercenary America" acting behind NATO. An operation of the type "Sahel Storm, Sahel Sabre" (Katuba in Tuareg) is mounted with the agreement of international institutions and the countries of the Sahel. Scene 2 continues with a succession of air campaigns in the northern Sahel (Libya Storm) and land campaigns in the southern part (Sahel Katuba) targeting other mercenaries in the pay of the highest bidder. The aim is to cause stalemate as in West Asia to justify the sending of other mercenaries locking countries into the vicious circle of hybrid threats through the construction/destruction of capabilities and protection/aggravation of vulnerabilities. A succession of events and weak signals alert on the outcome of scene 2: putsches in Mali, Chad and Guinea, 3rd  term, Australian nuclear, elections in Germany. The confusion attracts Trans-Siberian mercenaries who proudly claim Wagnerian parentage and the ambition to write the last episode of the Tetralogy. The proven proximity to the apartheid regime and the supremacists who aspire to ethnically purify America inscribes their activism in the adaptive multi-predator/prey dynamic.
 
As scene 2 takes place in real time, the interpretation of these weak signals requires a new analysis grid. But America loses its grammar by shouting "is Back" to show that it is no longer "First" in the Rest Of the World. Europe is following suit and dealphabetized, while Asia and Russia are mixing the letters in the hope of bringing out another alphabet. Africa – as its Agenda 2063 shows – throws the letters into a mortar and chants "Pilons Pan Pan!" in the hope of reducing poverty with every rooster crow. All that remains is to hope for a new generation of mercenaries of the "clavaluator" type to take over and start "Hojotoho!" to repel the assaults of all those who think they are Wagner.