Land of my Birth?

More globally I read this passage in relation to Discourse on Colonialism, where Cesaire says:

"They talk to me about progress, about 'achievements,' diseases cured, improved standards of living. I am talking about societies drained of their essence, cultures trampled underfoot, institutions undermined, lands confiscated, religions smashed, magnificent artistic creations destroyed, extraordinary possibilities wiped out. They dazzle me with the tonnage of cotton or cocoa that has been exported, the acreage that has been planted with olive trees or grapevines. I am talking about natural economies that have been disrupted — harmonious and viable economies adapted to the indigenous population —about food crops destroyed, malnutrition permanently introduced, agricultural development oriented solely toward the benefit of the metropolitan countries, about the looting of products, the looting of raw materials. They talk to me about civilization. I talk about proletarianization and mystification. For my part, I make a systematic defense of the non-European civilizations. Every day that passes, every denial of justice, every beating by the police, every demand of the workers that is drowned in blood, every scandal that is hushed, every punitive expedition, every gendarme and every militiaman, brings home to us the value of our old societies. They were communal societies, never societies of the many for the few. They were societies that were not only ante-capitalist, as has been said, but also anti-capitalist.They were democratic societies, always."

To me, this is what Cesaire means when he is celebrating those who have never done anything in western eyes, where inventing, exploring, and masterining/conquering mostly means dominating, killing, and pillaging.

Does Hurray capture the essence of Eia (Aya) bombe?

I read this passage in the original as those who have never conquered anything! I am not sure the double play of mastering/master (as in slavery) comes through.

So, one question I had about the opening box that pops up: first, how do we know that this is the earliest transcription of African music in the Caribbean? Is it the earliest known or do you know for sure that it is in fact the earliest? And related to that, I wonder why musical transcription of this kind happens so late in the travel narrative genre? It seems kind of astonishing that there was nothing of this kind before the eighteenth-century, no? I think this last issue may be related to the questions that have been raised about Mr. Baptiste, the more that I think about it. Mary Caton Lingold mentioned the level of specialized knowledge and skill that it would take to be able to faithfully transcribe this music and Laurent Dubois mentioned the kind of intimate rather than passing knowledge of the community that it would take to be able to do this as well--in short, other travel writers may not have been able to find someone both skilled enough and knowledgeable enough to transcribe?