ties with Madagascar and Reunion Island. With his group Sagaï, Menwar, a spokesperson for the Mauritian Creole minority, developed a musical concept that he has modernized, enriching it with other African percussion music. Sega has, above all, transformed the Indian folk music of Bhojpuri, popular on the island since the time of indentured servitude, and made it a 'spicy' music, similar to the chutney music of the Caribbean. On the other hand, in the 1970s, sega, which had started out under the name of 'oriental sega', demonstrated even greater Indian influences. In the 1990s, the chutney style was claimed to be the herald of 'a home-made, mixed-race music', 'a music from the islands', a 'fusion music' (Servan-Schreiber, 2010) called 'Bollywood sega', confirming both the Indian dimension and the African character of the music.  
In the context of the struggle to preserve a common Mauritian heritage centred on the popularity of sega, Mauritius boasts its own culture, separate from that of the United States of America, 'far from those crude copies of Afro-American urban culture, R\&B, rap and the rest' (Ghanty, 2005, p. 91). It also denounces excessive Americanization, advocating a return to African roots (Assonne, 2003).  
This promotion of Creole Africanity is confirmed in the musical forms of reggae and seggae. With the singer Tony Farla and his group Negro Pou Lavi, 'so-called black music is gaining in popularity among young people' (Hansley). Currently, West Indian and Caribbean music strongly influences representations of Mauritian identity. The most popular festivals in the Indian Ocean (Africolor, Musiques Métisses, Rythmes Caraïbes, Sakifo, Womex, Samemsa Muzik and so on) depend on Indian, African, Creole and European networks, without putting forward the idea of 'Afro-Indian-Oceanic' music as a style of its own which is comparable to that of Afro-Caribbean or Afro-American music; the concept of 'mixed-race' dominates.