Although the film recounts the epic story of Sundiata Keita the miraculous child who did not walk until several years after his birth, the Director Dani Kouyate stresses the dichotomy between the world of African ancestors and that of the modern Africa inherited from colonization. One of the clashes between the two views of the world is symbolized by the Griot Djeliba (Praise singer and depository of African Traditions) and the school teacher Fofana with regards to Mabou’s education. In the piece posted, the Griot conspicuously puts down the so-called formal education while promoting African oral tradition. He positions himself as an established teaching authority by making the illusionary and idealistic school teacher realize his ignorance and aberration for he does not even know the significance of his own name “Fofana”. According to the Griot, knowledge evolves around generations and is passed on from the periphery (past) to the center (present and future). He views African oral tradition as quintessential unlike the western teaching style and he proves it by attracting Mabou’s attention to the detriment of the school teacher. This case show is similar to the scene between Baroka the old village Chief and Lakunle the Schoolmaster in The Lion and the Jewel (1963) of Wole Soyinka with the victory of tradition over modernity (Baroka wins over the heart of the beautiful girl Sidi to the disadvantage of Lakunle). In this film, Dani Kouyate portrays some of the tensions that still exist and mold African people’s lives. The calmness of the Griot contrasts the agitation (and later on the resignation) of the school teacher during the ideological battle over education and who controls who and what, raising thus the problematic of African identity crisis as it is lived nowadays. I believe that if a just argument should be made about “Keita! The Heritage of the Griot” it must be focused on the dichotomy and the disunity of the world in which Africans live; they are “neither black nor white” as James Patty put it talking about Tamango in Tamango (1829) of Mérimée.