  Two conclusions can be drawn from Senghor’s Bergsonism. First, the epistemology of Négritude, what he calls a Negro way of knowing does not simply reproduce Levy-Bruhl’s radical cognitive dualism which ultimately divides humanity into two categories, the European and the non-European. It is rather a way of emphasizing the role played by what Bergson has called “intuition” in the production of African cultural objects, more particularly African art. Because, and this is the second conclusion, when he speaks of an African epistemology in fact Senghor is still speaking about art and aesthetics. He is speaking about art as knowledge, art as a particular approach to reality, art as the realm par excellence of intuitive knowledge or emotion. The meaning of “emotion” in Senghor’s formula corresponds to its definition by Jean-Paul Sartre as a way of seeing the world as a “non-instrumental totality”: “in this case, writes Sartre, the categories of the world will act upon consciousness immediately. They are present to it without distance” (Sartre 1989, 52,90).