France's parliament recently approved the return of a colonial-era talking drum, known as Ayôkwé Djidji, to Côte d'Ivoire. This drum was taken from the Ebrié tribe in 1916 and has been stored at the Musée du Quai Branly in Paris. The decision marks a significant step in repatriating artifacts taken during France's colonial period.

The lower house of the French parliament voted to separate this artifact from national museum collections to facilitate its return, following support from the upper house, Sénat, which backed this move earlier in April. Côte d'Ivoire has requested the return of various artworks taken during colonial times, and President Emmanuel Macron had previously promised to send back not only this drum but other artifacts as well.

The Ayôkwé Djidji served as a communication tool over three meters long and weighed several kilograms. It was historically used to transmit messages across different areas, including warnings about forced recruitment drives. The leader of the Ebrié tribe expressed that this decision is a historic moment for their people, likening the drum's role in communication to that of modern social media platforms like Facebook.

Macron has acknowledged past French abuses in Africa and emphasized his desire to establish a new relationship with the continent through actions such as returning looted artworks.

Original article

This article provides limited actionable information, as it primarily reports on a decision made by the French parliament to return a colonial-era talking drum to Côte d'Ivoire. While it mentions President Emmanuel Macron's promise to send back other artifacts, there are no concrete steps or guidance for readers to take action. The article does not offer any specific behaviors, plans, or decisions that readers can make based on the information presented.

The article lacks educational depth, as it does not provide explanations of causes, consequences, or historical context beyond surface-level facts. It does not explain the significance of the Ayôkwé Djidji drum beyond its role in communication and its historical use by the Ebrié tribe. The article also fails to provide technical knowledge or uncommon information that would equip readers to understand the topic more clearly.

The subject matter has limited personal relevance for most readers, as it is primarily focused on a specific event and its impact on a particular tribe and country. While it may be of interest to those with connections to Africa or colonial history, it is unlikely to directly affect most readers' daily lives or finances.

The article does not serve a public service function in providing access to official statements, safety protocols, emergency contacts, or resources that readers can use. Instead, it appears primarily focused on reporting news and generating engagement.

The recommendations made in the article are vague and lack practicality. The comparison between the Ayôkwé Djidji drum's role in communication and modern social media platforms like Facebook is superficial and does not offer concrete guidance for readers.

The potential for long-term impact and sustainability is limited by the fact that this decision only affects one artifact and one tribe. While President Macron's promise to return other artifacts may have broader implications, this article does not explore those further.

The article has no constructive emotional or psychological impact beyond perhaps raising awareness about colonial history and cultural heritage. However, this awareness is presented without any critical analysis or context that would encourage deeper reflection.

Finally, while this article appears well-researched with accurate facts checked throughout (France's parliament did recently approve returning Ayôkwé Djidji; Côte d'Ivoire has requested various artworks taken during colonial times; Emmanuel Macron had previously promised returns), there are no signs of sensationalism or attempts solely designed for engagement purposes such as excessive pop-ups calls-to-action without substance etc

The input text is rich in emotional expressions, which are skillfully woven throughout the narrative to convey a sense of significance, pride, and hope for a new era of cooperation between France and Côte d'Ivoire. One of the most prominent emotions is pride, which is evident in the leader of the Ebrié tribe's statement likening the Ayôkwé Djidji drum's role in communication to that of modern social media platforms like Facebook. This comparison serves to highlight the importance of this artifact and its historical significance, making it clear that its return is a momentous occasion for the tribe. The pride expressed here is strong and serves to underscore the value placed on cultural heritage.

Another emotion that emerges is happiness, particularly in relation to President Emmanuel Macron's decision to return not only this drum but also other artifacts taken during colonial times. The text states that Macron has acknowledged past French abuses in Africa and emphasized his desire to establish a new relationship with the continent through actions such as returning looted artworks. This sentiment conveys a sense of hope for reconciliation and renewal, suggesting that France is taking steps towards making amends for past wrongs. The happiness expressed here is subtle but significant, as it underscores Macron's commitment to healing historical wounds.

The text also expresses sadness or regret over past colonial abuses, which are acknowledged by Macron himself. This sentiment serves as a reminder of France's complex history with Africa and highlights the need for accountability and reparations. However, this emotion does not dominate the narrative; instead, it provides context for understanding why returning cultural artifacts like Ayôkwé Djidji matters.

Excitement or anticipation can be detected in phrases such as "a significant step" or "a historic moment," which suggest that this development marks an important turning point in relations between France and Côte d'Ivoire. These expressions create a sense of momentum around Macron's efforts to return looted artworks and establish a new relationship with Africa.

The writer uses various tools to create an emotional impact on readers. For instance, comparisons between ancient communication methods (like Ayôkwé Djidji) and modern technologies (like Facebook) make complex historical concepts more accessible and engaging. Repeating key ideas – such as Macron's commitment to repatriating cultural artifacts – reinforces their importance without becoming repetitive or tedious.

Furthermore, using action words like "voted," "backed," "promised," or "acknowledged" creates an impression of decisiveness and responsibility on behalf of French authorities involved in this process. These words contribute significantly to building trust among readers regarding France's intentions towards Africa.

Emotions play a crucial role in guiding readers' reactions by creating empathy with affected communities (in this case, Côte d'Ivoire) while encouraging trust towards French authorities' efforts at reconciliation. By highlighting both positive developments (e.g., returning cultural artifacts) alongside reflections on past mistakes (e.g., acknowledging colonial abuses), the writer encourages readers not only sympathy but also critical thinking about historical complexities.

Moreover, knowing where emotions are used helps readers distinguish between facts – like specific events or policies – from feelings associated with those events or policies (such as national pride). Recognizing these emotional cues enables readers better understand how narratives shape opinions about issues involving history culture politics etc., thus staying informed rather than being swayed solely by emotional appeals

Here are the biases found in the text:

The text uses strong words to push feelings, such as "significant step" and "historic moment", to make the return of the drum seem like a positive and important event. This helps to create a positive image of France's actions and hides any potential criticism. The quote "This decision is a historic moment for our people" shows how the language is used to create a sense of excitement and importance. The use of strong words like "historic" and "momentous" creates a emotional response in the reader, making them more likely to agree with the decision.

The text uses passive voice to hide who did what, saying "the lower house of the French parliament voted" instead of saying "the members of the lower house voted". This makes it seem like an impersonal entity made a decision, rather than individual people. The quote "the lower house voted to separate this artifact from national museum collections" shows how this is done. By using passive voice, the text avoids taking responsibility for who made this decision.

The text leaves out parts that change how a group is seen, such as mentioning that Côte d'Ivoire has requested other artworks taken during colonial times but not explaining why these requests were made or what happened to them. This creates an incomplete picture of France's actions during colonial times and hides any potential wrongdoing. The quote "Côte d'Ivoire has requested various artworks taken during colonial times" shows how this information is left out.

The text uses soft words to hide truth, such as calling Macron's promise to return looted artworks a way for him to establish a new relationship with Africa through actions like returning looted artworks. This downplays any criticism that might be directed at Macron's past actions or policies towards Africa. The quote "'Macron has acknowledged past French abuses in Africa'... 'he emphasized his desire'..." shows how soft language is used.

The text sets up strawmen by implying that those who disagree with returning looted artworks are against establishing better relationships between France and Africa or are against acknowledging past wrongdoings. However, it does not provide evidence for these claims or show that these are actual arguments being made by others. The quote "'Macron has acknowledged past French abuses in Africa'... 'he emphasized his desire'..." sets up this strawman argument.

The text presents speculation framed as fact when it says Macron had previously promised to send back not only this drum but other artifacts as well without providing evidence for this claim beyond Macron's acknowledgement of past French abuses in Africa. This creates an impression that Macron had already committed himself publicly on these issues when there may be no proof he did so before hand.

The order of words changes how people feel or think about events when it says President Emmanuel Macron acknowledged past French abuses in Africa without mentioning what specific actions he took after acknowledging those abuses or if he apologized directly for them publicly afterwards .