An invaluable record of West African societies during an unprecedented period of change. A seminal contribution to the development of cinema verit&. Jean Rouch's filmic oeuvre is both of these things, but it also stands as a testament to an unwavering faith in the transformative power of fantasy and play. Indeed, placed in historical perspective, much of Rouch's work reflects the effort to channel this power through film and to use the process of filmmaking itself as a visionary form of political engagement. This is perhaps especially true of La pyramide humaine (The human pyramid; 1961), which, like Rouch's other films made during the period of decolonization, is an explosive combination of avant-garde aesthetics and progressive politics (Feld 2003:8).1 Begun in summer 1959 and completed in spring 1960, Pyramide's production coincided with the dramatic climax of independence movements in Francophone Africa. Between September 28, 1958, and October 18, 1960, France divested itself of 15 African colonies, ending its sub-Saharan empire (Launay 1968:160). In 1960, as the question of redefining the relationship between colonizer and colonized loomed large, President de Gaulle proclaimed, I consider it absurd and ruinous for colonial people to base their new achievements on the rupture with countries that preceded them in civilization, and opened it to them.... Will these new-born sovereignties, these young sovereignties, be acquired and exercised at the expense of the former colonizer... or through amicable agreement and cooperation? (Perville 1993:203). Anxious to reaffirm France's continuing role as a global power and lay claim to expanding postcolonial markets, he championed a paternalistic status quo of friendly cooperation with Africa. Meanwhile, the Algerian war cast a pall over French foreign policy. In 1961, as fighting continued, Frantz Fanon published The Wretched of the Earth-both a partisan chronicle of the Algerian insurrection, and an optimistic statement of postcolonial chiliasm (Fanon 1991). He characterized decolonization as a total rupture, both politically and spiritually, between the colonizer and the colonized, in which violence acts as a cathartic ritual process, allowing once subjugated peoples to become agents in the undoing of colonial dehumanization. In an earlier work, Black Skin, White Masks, Fanon eloquently described the emergence of a postracist world in terms of blacks and whites distancing themselves from the voices of their ancestors so that an