development under the leadership of President Leopold Sedar Senghor and President Abdou Diouf. Until his retirement at the end of 1980, Senghor, the poet-politician, pursued a vigorous cultural policy that used Negritude as a basis for its political and Ideological agenda. Under Diouf's guidance, Senegalese cultural policy has lacked conceptual clarity and a general consensus. On the other hand, the political reforms of the 1980s further entrenched multipartyism, resulting in unparalleled opportunities for freedom of expression. Despite a program of economic reform, the economy has stagnated and fiscal problems have persisted. Institutionalization and promotion of culture have, nevertheless, set the scene for some of the most significant political changes that have occurred in the evolution of Senegalese cultural politics since its independence in 1960. This study explores the dynamic relationship between politics and the arts in the planning and in the implementation of Senegalese cultural policy since 1960. It examines political reactions to the arts in Senegal, comparing and contrasting the cultural policies of President Leopold Sedar Senghor and President Abdou Diouf. Empirical evidence will support the thesis that in Senegal politics profoundly influenced the arts, having at the same time a significant impact on political and cultural affairs in that nation's post-independent era. The arts have the ability to animate politics, and this text analyzes how and why these two disparate channels came together in such a compelling way, especially in the first decade of Senegal's independence under the leadership of President Senghor. This unusual connection, i.e. between the arts and politics, sparked my interests for several reasons. First, the topic stems from my interdisciplinary approach to political science and from my personal experiences as a performing artist. In addition, a longstanding interest in French culture and society, enhanced by course work and travels, eventually led me to the study of politics in Francophone Africa. Inevitably, I became engrossed in Africa culture as it represents the natural expression of a people, and intrigued by how and to what extent black artists working in literature, painting, film, theater, dance and music have broadened the parameters of politics. Cultural politics is an important, though neglected, area of research in political science, and this study on Senegal, will uniquely explore further the connection between art, politics, and culture within a theoretical framework.

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