  L. Outlaw acknowledges that that was the main point of Sartre’s Black Orpheus. It could now be argued that the question, today, is no longer that of a “deconstructive challenge” to “the hegemonic ideal of the Greco-European Rational Man” but that of what Outlaw calls “the reconstructive aspects of this challenge” (Outlaw 1996, 68). Has Négritude anything to contribute, today, to that reconstructive aspect? What does it say about the present and future of Black arts, since Négritude as ontology, as epistemology, and even as politics takes us back, according to Césaire and Senghor, to the philosophy of art considered as a vital knowledge of a reality conceived as a web of forces?