A series of journals, including Revi Kiltir Kreol, distributed by the Nelson Mandela Centre for African Culture, serve as a platform for discussion on the issues of Indianness, Africanity, miscegenation and creolization. Dev Virahsawmy, an advocate for cultural diversity and important intellectual figure, takes centre stage. He embodies the specific features of the Creole voice. In Toufann: A Mauritian Fantasy, his adaptation of Shakespeare's The Tempest, he establishes a dialogue with other African writers; he connects India and Africa using a play on words between tüphān ('tempest' in Hindi) and tou fan (Mauritian Creole for 'everything's falling apart', itself reminiscent of the title of Things Fall Apart by Nigerian writer Chinua Achebe). This is an original way of understanding history both from its culture of origin and in a context of contemporary ideas (1999) structured around a so-called 'transcolonial' logic (Putchai, 2003). Namasté, the famous novel written by Creole author Marcel Cabon, describes life in an Indo-Mauritian village, turning its back on prejudices (Joubert, 2005, p. 10). Through his travels in the Republic of South Africa, the poet Édouard Maunick restored the lost link with Africa. 'I am Negro by choice' («je suis nègre de préférence»), he says in Les manèges de la mer. In Paris, meetings with Présence Africaine and the friendship of Aimé Césaire and Léopold Sédar Senghor made him conscious of this. Defying the island where Africanity was at best ignored, Édouard Maunick made it a concerted choice and not a legacy suffered. 'His negritude is neither colour nor race, but a celebration/forbidden to the border Creoles'; ${ }^{2}$ it is 'beautiful and good and legitimate' to be mixed-race: 'Give me my mixed-race kingdom started at the break of day / I predict mixed blood like a fiery tongue' (Joubert, 2009, p. 42).